Sketchbook Explorations : Ink and Watercolor galaxy doodles | Vinita | Skillshare

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Sketchbook Explorations : Ink and Watercolor galaxy doodles

teacher avatar Vinita, That Crazy Doodler

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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

13 Lessons (2h 48m)
    • 1. Out of this world!

    • 2. Materials Needed

    • 3. Choosing What to Paint

    • 4. Pattern Play

    • 5. Composition & Fillers

    • 6. Galaxy Magic

    • 7. Warm-up Project : Swirls

    • 8. Project 1 : Magic Potion

    • 9. Project 2 : Koi Fish

    • 10. Project 3 : Deep Sea Dive

    • 11. Project 4 : Up in the Sky

    • 12. Project 5 : Dessert Sky

    • 13. Thank you and Beyond!

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About This Class

Hello there!

Starting off with another sketchbook adventure this time with my fav watercolor galaxies. I love doodles and I love painting galaxies so this was just waiting to happen ! I tried this theme for all of my Inktober 2020 prompts and loved the idea so thought of sharing all the tips , tricks and details with you!

I have tried to put in a lot of info in this class including the patterns,composition and galaxy basics and the whole thought process that goes behind these doodles. I hope you will enjoy this too and find the resources helpful!

What you need for this class- 

  • Any watercolor sketchbook/paper - preferably 100 pc cotton 300gsm
  • Watercolors
  • Pigment liners / Any pen that works with water media
  • White gel pens
  • One round brush

And thats it! Lets dive into the beautiful world of doodles and galaxies!

Meet Your Teacher

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That Crazy Doodler


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1. Out of this world!: Everyone, I'm Anita, I'm an artist and illustrator from India. And thank you for joining me for yet another edition of the sketchbook explanation series. Now this is like the third class in the series. And I love experimenting with sketchbooks and trying out different things like watercolors doodles in it. And that's the reason I keep coming back to the series. Now this time we're taking it up a notch higher BAR incorporating galaxies and a lot more detail in the doodles. Now this was kind of the theme for my interval series because I loved galaxies, I love trying them out and watercolors. So I based my whole into both many, plenty on this theme of galaxies and do this. And that's the reason that I thought of trying out this class with all the details of our galaxies and watercolors and do this. So even if you are totally new to doodles and watercolors, you're welcome to join in. There are some useful downloadable in the resources section of this class that you can use to get started with doodling. And I'll also be covering all the basic strokes and patterns required to get started. And we can bring everything about galaxies in detail into one separate section as well. And loads of tips on how to get started with doodling, how to walk on the composition, how to incorporate the galaxy, et cetera. I really hope that you'll enjoy this class and try with these two days and nights galaxies and you had sketchbooks. So let's get started. 2. Materials Needed: So getting started with the materials, you'll need a sketch book because this is sketchbook explorations. But then again, if you don't have a sketchbook candy, you can go with watercolour papers as well. So for these galaxy tryouts, I have used the a 100% cotton watercolor people. Now, I do keep stressing this a lot in all my classes. But if you're just starting out with watercolors, I highly recommend trying out different peoples from different brands, different textures just so that you know which one suits your style better. But always go for something that sees a 100% cotton because it really helps with your techniques. So that's just the basic minimum requirement that I look for. Then the brands are totally, you know, personal preferences. So in this case, I'm using this Ba Hong, 100% gotten 300 GSM sketchbook for a class, then you lead a pencil for the basic outlines. Now, you can skip this if you're pretty confident with the line work and you want to start directly with Ben, that's fine as well. And when it comes to Ben's, There are a couple of things that you need to keep in mind while choosing which kind of pen you'd like to try out. So for example, you can have an output like this wherein you have the line work done beforehand and watercolor applied later. Or you can have the watercolor done previously and then do the line work later. Now in case of the latter one wherein the watercolor is done first and then the line work. You can use any band because it really doesn't matter because you're not going to apply any wet media on top of it. But if you're going to use watercolor on top of your pen work, you need something that is waterproof. So I go for these pigment line is this is Prestero and university, no gel pen. You can even go for this oeuvre microns perfectly fine. Anything that sees waterproof and big ment Linus is cool. Then you lead a white gel pen. You could go for a unipolar signal shell or the Sura jelly rules. Now, when it comes to a normal galaxy on paper, you can simply use squash and approach to spray the styles on. But the kind of students that we are going to do in this class are going to be in a sketchbook. And also there'll be a lot of doodling and Ben Work inward. So you cannot just pre the stairs onto this. So that's why you'll need a white gel pen to make this task. Also, I'm using this metallic marker in few of the doodles to just add a little bit of blame to the doodles, but that's completely optional. Now coming to watercolors, I'm using the Daniel Smith watercolors and these are professional grade of supremely vibrant beans. So why I insist on going for an artist creepy indices because all these galaxies that you see over here are done in a single wash. And we'll be learning a lot about the techniques related to the galaxy, the colors that we're using, etc. in a separate section. But then when you're using an artist creepy and you can do, you can achieve this kind of result in single wash. You may not be able to do the same when you're using a student greet bean, you may have to do multiple layers to get the same kind of why prints hand depth. So that's the only difference, but just start out with whatever you have. Don't stress too much about the brand. For brush, I'm just gonna be using one round brush. I'm using the actual sound pressure. But you can go for any branch that you have. Since. This is mainly a sketchbook exercise, you don't need to have a lot of precious for this. So that's about it. That's all the materials you need for this class. 3. Choosing What to Paint: Now coming to the very important question, what to draw? So literally you can go with anything that you see around yourself. Just, we need to understand how to break it down into simpler shapes out of Philip, fill it up with batons, etc. Now, for example, for this particular October series, we had a set of prompts. We had a set of 31 things that people would drying together. Like this was fetched, this was risks. So everyone had the same sort of prompts, but they were all interpreting it in their own style, own imagination. But even otherwise, you can just look around you and find any object like this bean box or a sketchbook may be or a succulent like this. And all we need to do is break it down into simpler pieces, simpler potions, and then fill them up with patents. It could be rectangles, it could be circled, it could be triangles. For example, in this case, we can have these leaves as one set and then we can break down the port into simpler section, smallest sections, then fill it up with patents. So just to show you an example of how to go about this, in this case, I had drawn the schools and then I broke them down into these simpler, smaller sections and then fill them up with different patterns. So we do have a separate section to discuss all the patterns, et cetera. But essentially for this particular section on, I want you to try out is taking any object and then breaking it down into simpler shapes so that we can fill it up later. So I'm just going to try out this one here. So I'm going to draw this succulent. We'll just keep the outlines ready for our next section. So I'm just drawing a very rough thing here. But I want to show you the basic techniques of how to go about breaking down any subjects that you see. So you can also do this with me. You can try out the same object or you can go with something that you see around you and do it. So for the part what I'm gonna do is I'm going to just simply keep separators like this or maybe add something like this. And I've just broken it down into smaller sections. Same for the leaves. You can break it down into smaller sections like this. Or you can just doodle on the leaf directly in, fill it up with patterns. Or you can have sections like this. And that's what this section is about. It's about simplifying the subject. So you can choose anything that you see around you and break it down into the simplest section so that we can fill up the batons later on in them, in a smaller sections. Also, Mill tried to figure out how to incorporate the galaxy in aura around them. So even in this case, you can see that I made this masks and I just put an simple horizontal sections like this and print them up with different patterns. So it's as simple as that. So I highly recommend that you guys try this out beforehand. So just take any object that you can see in front of you. It could be a box, it could be a brush, it could be your water jar. Just take anything, try to break it down into smaller sections like this, and just keep it handy because we're going to fill this up in the next part of the class, wherein we try out the different patterns that we can use and the resources that I have added for this class. But do try this out. Just take any object in front of you, break it down into simpler sections and keep it ready for our next part. 4. Pattern Play: Alright, so let's get started with Pattern play. Now in the resources section of this class, you'll find a couple of downloadable Swan is this worksheet which I'll get to later. And a set of patterns that you can use to fill up the spaces that we created earlier. Now, this is just for reference, some of my regularly use patterns, but you're free to try out any pattern or, you know, any kind of pattern that you like or you're comfortable with using the basic shapes. So I'll get to the basic shapes first. So if you're completely new to doodling, I highly recommend starting out with some very basic strokes and she starting with the most important one which is a straight line. So you just try out drawing horizontal and vertical street lines like this. Now it need not be Street in the first goal, it may take some practice of peer totally new to do link, but that's fine. Then move to SMS exact lines like this. And if, once you get comfortable with these, try giving them a bit so that you know, these wavy patterns come up. So these are kind of the very basic foundations to what Libby trying out later in the batons. So you can see that most of the patents are made up of these simple, basic things like curves and lines. You're just mixing and matching them to create different patterns. And then one of my favorites is this world. So I kind of use it quite often in a lot of patents. So you can see that it's quite frequently used and few more people places, so swirls, kind of my favorite. So you can, once you're comfortable with these exact lines, curves, et cetera, you can try the soils, simple circular motion like this. And that's about it. So once you're comfortable with all the basic shapes, basic strokes, try these patterns, one, so I'm going to be tracked these out in the projects later on. So I'm not trying it out right away. We'll just be mixing and matching them for all our projects later. But you're free to try these out. You're free to make your own patterns using these as the reference or just using the basic strokes in lines that we tried earlier as reference. But do explore this because it's quite meditative and it's fun to create new patterns and you know, figure out on your own how these patterns work, how they go together, et cetera. Now one more thing I frequently suggested my workshop is to make these simple shapes like squares, triangles, circles, etcetera, and fill them up with patterns. So when you're breaking down your main subject of the drying, even then you're trying to break it down into simpler shapes which are like this may be. So it's basically an elongated rectangle. So once you have the idea of how to fill up the basic shapes with these patterns, with the simple strokes, or maybe even complex patterns that you create your own. It'll be much easier for you to try out bigger radians. So let's get started with this worksheet now. So here you can see that what I've done is I've made these curvy sections. You can further break them down into simpler shapes like rectangles or squares and then a triangle at the end. But this is kind of the Basic shape that I use frequently in my projects. So I tried to keep this hill also so that you get a hang of how to Philae patterns when does go around. So I just got four of my favorite patents here and I'm going to be trying them out, starting with this wavy kind of pattern that is one of my favorites. So how I go about this? And again, there are many artists who do the similar pattern and they have their own techniques of doing it. How I go about this is I marked the major shapes again, major waves. And then I fill up, fill them up individually like this. So the idea is to follow the curve of the overall pattern, you know, so we have these bigger waves that I created now and I'm just following the curve of that big a wave to fill it up with a single lines. Also, when you follow the shape like this, you'll see that the edges become darker like this because all the lines are converging at this point. And that really helps in differentiating various shapes within this because she, so main idea is to create that harmony by simply following the overall curve of the bigger shape. And he'll swear the practice with line work really helps. So if you have a steady hand, if even if you don't have a steady hand, actually, if you're just starting out with doodles, if you try these curvy lines first and then go on to creating the complete pattern. It really helps it rather than, you know, just going bang on with the baton strategically. So and that's the reason I recommended that. Try out the simple lines, simple curves, exact lines, etc. before you start out with full-blown patterns. So I'm just going to go ahead and fill up this pattern. Quite meditative. I find it quite enjoyable doing these patterns. And the end result is quite fun. And even if you're fumbling in a few areas here and there, it's fine because I say this in my Mandela classes as well, that when you are doing such a detailed pattern or a big doodle, small mistakes here and there. Something that, you know because you're the one who's growing it. But due to an onlooker to a third party, it really wouldn't be visible because they had seen the complete picture. So once again, just get the basics right. Before going on to this. Try out the basic patterns, try out the basic line strokes and on, and you're good to go. Nobody is going to notice the exact minor details or faults that may happen when you're drawing a bigger doodle. So enjoy the process because I believe that's the most important thing when it comes to all the sketchbook therapy exercises. We're doing this because you want to connect to that artsy side of yours. So make sure that you're enjoying the process rather than worrying too much about the end result. All right, so I'm done with this one. Now if you feel that the patterns are not separated enough, you can use a darker pen and create these outlines for the bigger waves that we had drawn earlier before we started out with a baton via just create these separations. So you can use a darker pen to do this, or you can use the same penance Well, just to create a little bit of an outline. But if you feel that your baton is looking good enough already, you need not really do this. I just do this sometimes because it adds that edge to the overall shape. That's it. And now next we are going to try out another fatten, another favorite of mine. So again, we're going to try this world first and then just top it up with another layer, sort of a separation. You can also add a few more layers or details to this by adding some extra elements like this, like what we do in Mandela's. But that's totally up to you. How, how many layers you want for each of these swirls. But for simply starting out, you can just try a swirl and a layer outside. That's it. And that's good enough. So this is again, another one of my favorite patterns that I like to use while filling up bigger spaces. And you can again experiment with these. I have a few variations of the same pattern in the balance sheet that I provided. And also I keep trying to experiment with this one. So it's quite a fun pattern to try out when you're filling up because spaces. So here again, once you practice the girls and a little bit of swirls and circles, it's lot easier to try this out. And since you have an overall guideline of the bigger shape that you have, it's easier to fill it up like this. And again, we're going to try out a few more patterns like these, but do experiment with this one and the others that are there in this sheet because these are common patterns. They are easy to make, but they still fill up a lot of space and they do really look good as well. So that's the reason I shortlisted these patents. And then again, we have the variations of these patterns in the bigger pattern cheetahs. Well, when you're at the edges like these, you need not really complete the whole pattern. You can simply do the swirls, the central swirl, and leave it at that as well. I just like filling up as much as I can towards the edges as well. So I've just done the half baton, so to say at the edges. All right, onto the next one. And this one's again, another one of my favorite patents. So it's really useful in filling up large spaces. And it's quite fun and easy to make as well. So there are a couple of ways of going about this pattern. And you might have seen different artists do this in different ways. So I'll just show you few of the ways. Like one is to draw the smaller circles and fill them up, fill the space between them as you go. So sort of color on the goal style. You can fill them up with the black band like I'm doing Hill or maybe tryout smallest circles to fill up the spaces as well. I'll be showing this in one of the projects later on. But this is more of, like I said, on the go kind of coloring. So you are drawing the circles, filling up the spaces on the group. Another way of doing this thing, which is far more easier, is to draw the circles first like this. Varied shapes a bit, mix and match some bigger circles, smallest circles, they may not be circles in the first place, you can mix and match these shapes as well. You can have triangles, ovals or whatever hexagons, wherever you like, you just fill up these shapes. And once you're done with the shape, like once you have the outlines of the shapes, use of bigger, bigger net bend like if you're using a 0.5 for drying the Buddha's user 0.8 or one if you have when, if even brush pens for that matter. So you can use the brush pins too, the spaces between the circles. So it's easier that way because it's not easier, but it's faster this way. So I do both mix-and-match board styles, but it's just a fun way to try out. And like I said, it fills up a bigger space quite quickly. So it's one of the patterns that looks really good, is easy to dry out and fills up lot of space. So here I am crying. Slightly bigger unit or filling up the details, or rather the space between these shapes. So like I said, if you have a brush pen, preferably waterproof because we will be trying out watercolors nearby or on top of this. So if you have a waterproof brush pen, you can try that as well. Or for that matter, if you want, you can also use watercolors with a very thin brush to fill up these details. That's also fun. So try mixing and matching these things. You can also add a few white dots like this once you're done with the whole coloring part, filling up the black, but you can add these white dots to add some extra magic to this baton. So just a few ways to spruce up the baton, that's it. And now coming on to this last pattern in this worksheet, what I've done here is I've broken down this big O V shaped that is there in the smallest sections like this. So what you're doing here is you're creating a simpler shape to work on. So you have these lines, separators, and then you can fill them up with patterns like this. So here you can experiment a bit more with the kind of patents that you have because these are not big blocks that you need to fill in. These are more like line separations as small layers that we have in Mandela's. So you can fill them up with similar patents like these. Triangles, simple circles, or even curves like this. So I'm just trying out the one that is here. But like, like a keeps me in. Please try and experiment with the baton set you feel comfortable with or you like. And also try creating some fun patents of your own as well. It's, it's super fun. But at the same time, I've also seen a lot of people stress on creating different patterns for each set of doodles they have. I personally feel that repetition is fine. You can repeat patterns and it still looks good. And even you know, the same patterns when they are mixed and matched in a different way, they'll still end up creating a different kind of doodle. So I really don't mind repeating my patterns and I haven't did got bored of them yet. So it's been almost four years since I started doodling like this. And I've always still find joy in, you know, trying out these patterns. So that's it, that's this worksheet. And I highly recommend you guys that you try this out. And once you're done with this, you can take that outline that you made in the previous section and try filling it up. So for this one, I'm just going to go with these simple curves like this. And this was again, one of my favorite patterns. And I tried to fill up the area between them with dots are triangles like this. You can take some inspiration from this sheet if you want. So there's a bunch of patents over hills. So you can try this out as well to see which patterns sought the shapes that you've created. And again, if you still feel that one of the sections that have created is too big or too complex. Try breaking it down further into smaller shapes and then filling it up. It's it's quite easier that we, so I'm just going to play with some fun patterns here, like this triangle one. So this is another fun pattern. So you just divide the section into triangles like this and then do alternate lines. So you have one like this and the another one like this. So once you've created these sections, just fill them up with lines like this. And the combined effect of this pattern is quite nice. You can see that it has a certain flow to it. So another fun pattern that is easy to try out and easy on the eyes as well. So that's my dog part done. Now, let me try something for this lower area. Something fun. So again, I'm going with this worlds that we tried out earlier. But this time I'm just adding a few more elements to it like this. So since this became a quite a big element overall, in total, I couldn't fill it up much, Just a couple of them, but that's fine. It's looking in sync with the other part. This one, I'm going to break it down into simpler shapes like this and Philippa. So just doing some circles, Hill. And triangles. It does start feeling like a geometry class in which we invert I. It's, it's easier to explain it this way. So I just keep referring to these basic shapes on enough. And again, keep referring to the basic pattern sheet that you have. If you are lacking inspiration or if you just want to some reference to try out. For this one, I'm going to try out the wave. So I really don't decide beforehand unless it's commissioned work. I am not really sure about what patents I'm going to use or what I'm going to try out with a section. It's fun to explore it on the go. Try out different patterns that come to your mind at that point. I feel that on some days, certain pattern clicks better with me. So I just go ahead with that on those days, but it's just about, you know, what you're feeling at that point in time when you're drawing the student, that's it. So again, I am repeating that wave pattern here. Like I said, I really don't mind repeating the patterns as long as they still look instinct with each, each other. So the complete picture should look good. That's URI. So again, I'm repeating that because worldly due to that I did earlier for one of the sections in here. Even though I'm repeating these patterns, you can see that they still go together with each other. They still looking like one big pot. And that's what, that, what matters in the end, it should look good together, that's it. So now I'm gonna use my bigger nibbana and just do some thicker outlines here. So, just so that we have those separations for the bigger sections that we had done. Not really mandatory. You can skip this part as well. I just like creating these sections with a thicker pen later on. So sometimes I skip it as well. So like I said, it depends on the mood, but I am just trying to give this overall shape and outline. That's it. Select said earlier, you can go for nip size that is slightly bigger than the one that you used for your normal doodling so that these outlines are quite pronounced. It totally depends on what Nips eyes you're using for your basic doodles. Mine depends on, you know, the detailing that I'm adding for the very detailed, intricate ones I go to as low as 0.05. but I usually start out with something like a 0.3 or 0.4 for all my doodle. So just go with the thickest one that you have for the outlines. Now, you can also add a little bit of drama to these patterns by adding in a bit of black, filling in the spaces with black. So it's kind of highlighting the white part, you know, kind of the negative painting technique. So when you're filling up these black species, the white petals become quite highlighted. So that is another thing that you can try out with different patterns. And once you have filled up this piece, you can add some white highlights or dots like this with a white gel pen. Looks quite nice. And you can try the same with the leaves as well, but that's about it. I highly recommend that you guys try out this exercise because it really helps an understanding, you know, how to decide on a subject, break it down into simpler sections, and then try out these patterns. So it's a great refresher, even if you are a seasoned doodler and if you are totally new to do link, this would be a great start before we move on to all our projects, et cetera. So I hope you find this helpful and let's move on to the next section. 5. Composition & Fillers: Okay, so I just thought of adding this quick section to discuss a bit about the fillers that you can use for the doodles and also how to include the galaxy in your main doodle. So in this case, I have a few doodles like these flow rules, winds and leaves and the space lees. So these are just extra set you can add around your main subject. Or, you know, just add in to get a little bit more broadly effect around your galaxies. The second thing that I wanted to discuss was about how we go about adding the galaxy around this object. So for example, if this feather is my main subject, so I can either add the galaxy around it just like what I've done in the sketchbook. Or I could just break up the area around it into smaller sections and then include a few doodles in alternate sections and the galaxy in view. So I'll just share an example of this from my sketch book as well. So do a couple of, these, is a couple of doodles in this Type. Select this one. I have the main subject, which is the cassette at the center. And then I have the galaxy and do, do syrup. Or it could be that your subject itself can incorporate galaxy like in this case the whisk. So these are just a few ways to include galaxies. Now moving onto the fillers, I'm just trying out this quick floral will be Hill, which can't be included in an around your doodles like in this case for the whisk, I have this jar which has this magical potion which is creating this risk. And around it, there's a lot of area that is blind. So Introductory, just leaving it like that, filling it up in the way that I just shared earlier with creating sections, etc.. You can go with these simple filters that just the nice floral dude leaf end of effect. So one of them, one of the most frequently used one is this floral. Then I also try out these leaves quite frequently. So just, just the simple leaf pattern and some lines inside. You can play around a bit with the style of leaves. You can fill it up with patterns like these or just have simple lines. And also, you know, just vary the shapes of the leaves. So you could also go for a slightly bigger or smaller Lee. And then you can add some elements around it, like some simple circles like this. Just goes on to add a little bit of detailing onto the doodle, that's it. And for these smaller ones, it's just like this simple. You draw the central reinforced and then you just add in these smaller leaves around it. You can leave the leaves blank like this or maybe fill it up like this. And this is just another style of trying out the leaves. So we have kind of so color leaf here and I'm just filling it up with the black pen. And then comes My favorite that paisley pattern that had shown earlier. So this is, again, kind of a very great filler. So I'll just show how we go about this. You start like this, another curve and down here. So let me just share that once again. And once you have this big pattern done, you can add in another layer inside so that there's a kind of separation for the outer line and fill it up with simple patterns like these swirls or some random patterns that you actually liked from the bad cheat or some patents of your root. So it's just fun to try these out and you can incorporate these in your main Doodle or around it just like this. So in this case I had a shoe that was the prompt and I just drew these flow rules and leaves and basicallys around it. So it's just a fun way to try out different kinds of doodles and incorporate the galaxy with it. 6. Galaxy Magic: Okay, so let's get to my favorite part that is galaxies. I absolutely loved galaxies and painting them is kind of therapy for me. So I have tried out a few galaxies over here just so that I could share these examples with you. So we're going to try out these four combinations of colors and themes to try out the galaxies in the projects. And I kind of tend to use one of them quite frequently, which is the basic blue combination. But I'm going to be sharing all of these with you so that you can try and experiment with different combinations and different ways to create galaxies. So there are certain color combinations that work well together. So I've just tried to use specific themes, specific combinations. Also, I do not use black, so all the dark patches that you see over here are done with indigo. And again, these are all single washes. So based on the brand or the kind of colors that you're using, the results may vary a little bit, but what you can do is to have multiple washes to get same kind vibrance. So for example, in this combination, how web created light is by starting with a light blue and then moving on to a darker blue at the edges. Same for this one, starting with a light pink and then moving on to that darkest blue at the edges. So we'll be covering all the color combinations and colors that I've used for all of these galaxies in detail when we bin them. So let's start with the simplest one, which is the shades of blue galaxy. So here I am used different shades of blue to get that kind of light effect, starting with acetylcholine. So you can go with any light blue that you have, a very toned down one so that you get that light in the center. Then moving onto an ultramarine and then ending it with indigo at the edges for all the dark patches. So this is kind of the flow that you'll have in all of the galaxies that I'm going to share, we start with a light colour at the center and then move out to the darkest one, which is indigo. Also, one thing to remember is that watercolors drive much lighter. So when I'm painting these galaxies and since I'm trying to do it in one wash, I take a very big mended kind of value. I try not to have a lot of water on the paper. I do with the paper a bit just so that the blending part is easier. Since most of this work that we're going to do is going to be wet on wet, which means that both Europeans and the paper is wet. And in this way, the blending happens much easily in watercolors. So you don't have to take as much effort when it comes to blending if you're doing wet on wet, because watercolor just blends on it on its own. It has a life of its own, so it tries to move away from one part to the other, wherever there is enough moisture. So just try to not have your people be soaking wet because then your colors will become lighter and effectively, you know, if you're trying to do this in one wash, you need a much darker pigment ID column. So I'm starting it out with some Boolean, so this light blue. So I'll just swatch it here so that you know exactly what color I'm using. And because we're going to blend it in the galaxy here, so it may not really be visible later on or maybe will not be able to separate the colors like this. So this is how I'm starting. So you start with a very light value and then, you know, just towards the edges, you drop it in a slightly darker, certainly in value as well like this. So this is just for the central light area. And next we start with ultramarine. So this is a slightly darker blue than this. Let me just sorted out here. So you can see that it's a slightly darker, but not the darkest blue that we're going to have in this galaxy. And we just blending it next to the civilian, just dropping it. So don't try to push your brush to hard to blend it because like I said, the papers already wet. So most of the job is done by the watercolor itself. They will start blending on their own. Just need to adapt the brush a little bit and let the color fluid, that's it. So you can create this kind of effect for by going from light to dark to fixing the edges a bit here. And now we add a slightly darker value of same ultramarine. So I'm not adding a lot of water to this. So when I mean a darker value, I just mean that more pigment and less water. So towards the edges, I'm adding a slightly more augmented ultra marine. And for the showstopper, we have indigo. So this is one of my most used colors. I just love. Indigo and the dark blue-ish blackish color that it provides and it really helps in creating these beautiful galaxies. So I am just dropping in indigo like this. So it depends on what kind of galaxy you want to create. If you want to create a swirly galaxy, then you'll have to create that motion with the beans. But again, don't try to press the brush a lot and, you know, make the colors blend. I'm just dropping in the color like this and I'm just dabbing the color and letting it blend. Am not really trying to get it blended through the brush, just dropping it and leave it at that. And again, even with indigo, we'll start with a slightly lighter value like this and then add a much pigment identical towards the edges. So you can see that this is almost looking black on camera. It is actually quite a dark blue. So we're just going to add this on top of it to create that depth. So you can see that all of this was done in a single layer, so we're just working on the same layer. You haven't let it dry yet. It is all being done wet on wet and in a single layer. So this is kind of the way I do galaxies. And I've said this before. There are thousands of ways of doing, you know, creating these galaxies. So this is just one of them. So if you have a good quality pain, it is quite possible to do it in just one layer and it does turn out to be quite dark. So this is just to show you the three different blues. We start with the lighter one, add ultramarine, and then ended up with integral. So this is how it looks when it's wet and once it's dry, it's slightly lighter. And then you can just sprinkle those stars on top of it to create that beautiful galaxy here. So because this is a standalone sheet, I've just used a sprinkle of whitewash. But in case of our sketchbook exercises will be using those dots done with white gel pins for the staff's part. So next we move on to another galaxy, and this time we'll be doing the pink, blue, and indigo combination. So let me just show you the sample here. So we'll start out with a Quinn rose. Then move on. Ultra Marine. It's the same ultramarine and indigo is going to be the same combination that we used in the previous galaxy is just that instead of Julian, we're starting out with the Quinn rose. And you'll see that it gives a totally different effect. Just because of the way the colors blend with each other. So that's it. Windrows, ultramarine and indigo. So let's start again with a wedding. The paper a bit, not a lot. We just need the paper to be wet enough so that the blending happens on its own, but it should not be soaking wet. That's it. All right. So starting with windrows over here at the center. So I'm trying to create a slightly different composition here with the Galaxy. So I'm just dropping it in, in a diagonal fashion. And at the edges that's it, not really putting any pink in the Center itself. And next, we're going to try out the ultra marine. So again, it's a beautiful combination, this blue and pink. And I'm trying to fill up the spaces that were left when we were filling in the Quinn rose. So just filling up the spaces and letting it blend a little bit. So even if it blends in and creates a bit of poeple, that's fine. And again, just stabbing the color, not really trying to blended, but letting the colors blend on their own. I realized that I missed adding the swatches, so I'll just quickly share it here. So this is the ultra Marine that I'm using, and this is the Quinn rose. So you can see that once these colors blend together, they're giving a very muted kind of purple. And next we add the indigo. So again, for indigo, you're just dropping it in like this. And it will be mainly there at the edges because the edges are going to be much darker. So just a little bit of data here and there so that the blending happens. And again, this is the first layer, so we'll be adding in slightly darker indigo or rather with much less water like this towards the edges. Another quick tip, if you don't like the way the colors are blending together, you can use a clean brush and just lift up the color like this. It will still create a nice light kind of effect. So try this out if you feel that the blending is not really going the way you wanted to. And to finish it, I'm just adding the darkest indigo possible. So without much water, a lot of pigment just towards the edges. This is another combination that I really like because of just how, why printed this. So that's it. That's our second galaxy combination. And right now it looks quite dark, but once it dries, it's going to be a much lighter. Because the pink or the blue combination that is there at the center will try lighter. But then again, go for any color that you know, our instinct like this. So the spin blue and indigo, Cindy tried much lighter, so I'm just gonna make it a little dark. So this pink, blue and indigo is another good combination to try out. Now, moving on to our third galaxy, which is going to be this beautiful, vibrant green blue combination. And the fourth one would be a slightly different yellow, pink, and blue combination. So we're going to try both of these out. Again. These are color combinations that go well together. So that's the reason I picked these specific colors for the galaxy. So let's try out this 10 to start with. I'm using nice and vibrant permanent green light for the central part, the green part that you see. It's beautiful color, very vibrant and it looks great with all the spring kind of trees and foliage that we associated. Now to maintain the continuation or flow, I'm going to be using a tailored blue instead of ultramarine in this one. The ultramarine That we have in most France, it's Kwame translating and the wave mixes with the colors is quite interesting and different. But Lego set to maintain the flow here to give that kind of effect. I'm going to start with the woman in green light and then add Othello blue to it. And then ended within the Google indigo is kind of the common factor in all my galaxies because the dark part that is there towards the edges and in between as well. I have added indigo to all of them. So once again, we'll start with this permanent green light. And then we'll go with the yellow, blue. So let me just show you the difference between this and entrepreneur. And so you can see that it's a much more vibrant kind of blue. And it, it goes quite well with this combination of green and indigo. So you can see that they're pretty much in sync. There's a flow to these colors. So once again, we're going to let the people know my water is a little bit dirty or it could be my brush. So again, a quick tip. Keep leaving your water or replacing the clean water. I usually have to just to 11 is the dirty one was clean water. Sometimes I have my cup of chai next to it and it's all muddy By the end of it. But just make sure that you're using clean water for the b's so that you know the vibrant colors, the bees scholar that is there, like in this case, it's the green one. It stays why Brennan in doesn't look muddy. So for this one again, i'm going with diagonal kind of competition, but it's slightly different from the one that we did for the pink one. So I'm going with the little blue next to it, right next to it. And you can see that it's such a beautiful blend. I'm adding a bit of blue here and there over the green that we have already painted as well. But I just, I just love the way this these colors blend. So I'm going to fill it up all the way till the end. And then we'll start with indigo. Just dropping in a little bit augmented pale blue, just like what we did earlier for the ultramarine aswell. So we start with a slightly lighter value and then add in these darker patches. So this is what helps in building up that depth in the galaxy, because since it is just one layer, we have to do different values of the same color so that we can achieve the same kind of depth. And towards the end, I'm just adding the integral. You'd also drop it in a bit in the area that you've already painted with green and blue. So that's kind of it. I'll just add that little board mentored indigo at the edges. So taking in much more pigment, less water, and dropping it in. And even though it's looking quite dark yellow, you can see that once it dries, it's going to get much lighter. But still I really love the way it looks here. This is what I had done earlier and lifted some paint off so you can see some white spots over there as well. But this is the third combination that we did, the green, blue, and integral. Now onto our last combination, which is not the traditional galaxy that you'd see. But I really like this combination as well because it has quite a flow to it. So we'll be starting out with a nice warm yellow. So I'm using the answer yellow medium and then adding on the windrows and indigo at the edges. So you can see that the indigo changes quite a lot. Bennett blends with these colors. So we'll start with the hands, a yellow medium, then windrows, and then end it with indigo. So for the trial piece, I had tried out a little bit of crimson as well, but I don't think it really went well. So I'm going to stick to the yellow, pink, and indigo combination to show you this sample galaxy. So I've just read the paper and we will start with, say, a low medium. So I'm just dabbing it a bit in the center and letting it spread. And next we take the windrows just next to it. So I'll start with a slightly pigment and very itself because it should match up to this beautiful yellow that we have. And you can see that once the mix the create this gorgeous reddish pink color that I really like. So another combination for you to try out. But I haven't really used this much in my galaxies, but I just like experimenting with the colors to just find out different combinations that can work in galaxies. So this is just part of one of those experiments. So just covered all the Ilia with pink. And next we drop in the indigo. So even with a lighter indigo, you can see that it is giving almost that blackish kind of look with the combination that we have here. So I'm just dabbing it, add the edges and letting it flow a little bit towards the center to create that illusion of depth, but not really dabbing it much, just letting it flow. And then for the extreme edges, we are going to use a nice pigment and value of indigo, less water, lot of pigment and just towards the edges and slip it that I loved this combination. Maybe I'll use it for one of the projects. So that's it, that another galaxy, Dan, I'm just trying to smooth the edges. But that's about it. So these are the four different galaxies that you can try out and just watch the colors here, because I completely forgot about it when I started painting this galaxy. So we have integral, we have Hansel yellow medium, and we have this beautiful, beautiful windrows. So these are the four combinations that I wanted to share with you. Of course, you're free to try out more combinations that go well together. And it's kind of a trial and error because some colors work well together and they give you this beautiful illusion of galaxies and some really don't. Some of them may end up getting a muddy kind of color. But do experiment and do tryout different color combinations that you like to create some beautiful, gorgeous galaxies. And next in our projects we are trying to mix and match these and create some nice fun doodles with galaxies. 7. Warm-up Project : Swirls: All right, so before we start with main projects, I thought we'll do a fun warm-up kind of project here. And it's a nice, beautiful, sunny day here in poorly. So I'm just gonna soak up that sun while we paint. So for this one, what I'm gonna do is I'm going to break this up into simple swirls, like just marking the center and then creating these swirls like this. And we're going to alternately fill it up with galaxies and patterns. So like I said, this is more of a warmup exercise so that we can get started with projects from the next one. Also, this is kind of a nice background to use. I usually just please something at the center and let these worlds be there in the background, is just a fun thing to cry out. So now I have divided my pieces into the sections and I'm going to start with the Galaxy part. So since these are smaller sections and since I'm using a very small sketchbook and willing to try out two to three sections at a time. So we'll start with the basic vetting of the paper. So I'm just putting in a very light layer of water in the alternate sections. So again, this depends on what the temperature at your end is and how big a sketchbook is. So use your own judgement as to how many of these can you do in one single gou? I'm just making a wild guess here that I can do at least three to 41 goes, I'm gonna do it like this. And next I'm going to make this the green, blue, indigo kind of galaxies. I'm dropping in my permanent green light onto this already wet people. Remember that we are going to work wet on wet for all of these galaxy parts. So we need to make sure that the people studies where they'll be dropping that Indigo. Next I'm using the theodolite blue to blend in Bell with this beautiful, beautiful green. I like how it almost turns into a nice turquoise, greenish blue. And that's the reason I kind of went with this blue instead of ultramarine for this combination. We just drop it in readers dab in the blue, and we let it blend on its own. This fixing in the central part a little bit. We're going to have outlines with markup and later on. So you lean in, not worried if there's a little bit of color spreading care in there. We can fix it with the doodle part, but just make sure that you have the Galaxy part sorted out in one go. So that we can work with the doodles and then with the outline step. And next we add the indigo. So again, everything is wet on wet, so my people are still pretty wet. So I can just drop it in like this and let it flow. And you can see that it's blending quite a bit on its own. I still want to retain that green, So I'm just trying to fill it up in places where this still a hint of green and the blue that is showing from beneath this layer of indigo. And once you put it at the center, it's gonna spread on to the other ones. And it's fine. I laser, I really enjoys watching the watercolors blend together like that. So it's okay if you think that it's blending a lot more, you can lift up the Galileo, this a bit. Just a tiny bit. Yeah, that's fine. And we can move on to the next one here. Just adding a bit of indigo here and there at the edges still retaining that green. Adding a little more indigo at the edges like this. Same for this one. And in case you feel that there are already hard edges that are forming because your paper has already tried. You can just use a clean brush to blend stuff in. This one I feed it did not have much of the Indigo even though I started with this one. So I'm just dropping in a little more. And since the paper is already dried to an extent, I can see that there are some hard edges forming here, so we'll just fix them with a clean brush. So now just clean my brush adapted in a tissue and then using it to blend these edges. That's it. Same with this one, just lifting up some color here and trying to blend it n. All right, so we're done with one section of galaxies so we can move on to the next one. So we still have a couple of more galaxy parts here. So I am going to vet it with some clean water. And I see that here's a little mismatch in. The number of sections that we have. So I'm just going to extend this one a little bit so that we have an even number of galaxies and doodles. And we repeat the whole process for this. These two section says, well, we start with permanent green light, dropping it, then, adding the paler blue next. And since these are much smaller sections, you'll see that even with one kind of value, you're still getting a very nice and vibrant galaxy. Just fixing the edges here a little bit. And next we'll start with the indigo. So just dropping the Indigo in here and letting it blend on its own. I just feel that I should have one big bucket of indigo ready every time I move with the galaxies because it is just the most used color when it comes to the galaxies and anything dark for me because I do use this color for the backgrounds of food illustrations, et cetera. It really gives a very nice contrast. So just fixing the edges here and think we are good. Just in case you feel that the edges have not come out well. And the spirals are a little out of shape. Just fix the central part a little bit. So we're going to let this dry completely and then start with the doodles. Alright, my people has dried and you can see that it's dried slightly lighter than what we had seen when the people were still vet. But I guess it still looks pretty beautiful. So we're going to start adding the doodles here, and we're going to be having different patterns in the alternate sections. So I'm, for this one, I'm just going to be doing the simple swirl and go like this, swirl and curve. So for these, what I do is I try to have bees like this. So I do have a base on which I'm just continuing to build up the pattern. And then you, once you have one row of patterns, you can just build more on top of this kind of multistoried building. So just reusing the same pattern and building up on this one row that we did earlier. And that's it. That's one section done, just filling up the very edges of it. And we repeat the same for alternate sections. So even in this one, I'm going to be filling up the same pattern. Now here I'm going to be using this word Glee has obese, and just going to build up on the batons. One on top of the other. And this last one a little bit so that I can use similar to the first one. So keep moving your people if you find that the angle at which you are drawing is not really comfortable. And that's the beauty of sketch books. You can just move them around and not be too bothered about fixing them in one place. So I've used this as the base layer and I'm just going to build more patterns on top of this. Now for the alternate ones, I'm going to be filling them up with simple dots, bigger and smaller ones. So we can have a little bit of variety in here. You can add in some small and big shapes of the same type. So you need not really go for the circles. You can go for triangles or any other shape that you like. I am just trying to mix and match some stuff here while keeping the repetition on as well. So you can see that we have alternate galaxies and similar patterns and then another pattern added right into the middle of it. So this is what I'm gonna do for the remaining two as well. Okay. All right, so we're done with all the Bhanwari. Now we're going to add some stars. So for this I'm using the white gel ban and simply jotting down some bigger stars like this. And then once that is done, I simply use the pen to dab it like this quickly so that there are these smaller dots that you can just have in the middle. So there's a variety of styles in there. So we do the same thing for all the other galaxy sections that are in Hill had as many stars as you want because I really like my sky full of stars, so I tend to overdo the stars sometimes, but it's fine. You can add as many stars as you want. And I really enjoy doing the spot. And there we are almost done with this. So one last thing that I'd like to do is to add a little bit of an outline to these sections. So for this, you can use any metallic molecule you have, or you can go with the outlining the section like this. And so that's I think it looks for the actual project deserves. But I just wanted to get started with something simpler. So see you in the next one. 8. Project 1 : Magic Potion: Alright, so starting with our next project, now in this one we're going to try out a different way of incorporating the Galaxy. I'm recreating the risk from, from my interval series. So I'm just making this little portion jar over here. It kind of resembles those magical portions from heavy border. So I'm just taking some very basic proportions to get that jar. She pride. You need not get it exactly symmetrical and just the perfect job and the strain to get system very B's shaped, right? And that's the reason I drew these simple guidelines to get the shape right. And again, you can experiment with the shape of the gyrus wealth. So I'm just going to be driving this outline and then erasing a little bit so that the guidelines, et cetera, gone. Alright, so now I'm going to ink it with the pen, since I have the bees done with the pencil already. Just inking the outer shape of the char completely. And we're going to draw some fun doodles around this one. So it could be those of fillers that we tried out in one of the sections. So I'm going to draw those floral fellows just around this job. So we're not going to have a lot of background for this particular project is going to be mainly the wisp coming out of this job, which is going to be the galaxy. And that will have these fun doodles around it. So this is quite simple, nothing fancy. Just a simple flow rules and leaves and a bit of wine while we're here, and that's it. You can experiment with different types of leaves as well. So like one of them is these smallest believes that he can simply fill in with the dark colors or you can just leave it, leave them like that as well. And then we can have a few bigger leaves which can be filled in with lines or patterns, etc. So here between these flow rules, I'm just going to add a little bit of furloughs and Ryan's like this. And we can have a big leaf over hill. We can fill this up with patterns later. Another one over here. And let's repeat that for the site as well. Simple Florence to start with and then filling them up with leaves and winds. All right, I guess it looks good. Maybe. Just add one more few leaves so that we have kind of a balance on both sides. So I'll add it seem leafy baton. And now a field, it looks quite balanced. So I'm going to fill these doodles up with patterns or simple lines. Starting with these wines, I'm just filling these up with simple circles and filling up the area between these circles with the black Ben no-brainer. If these winds as it is or you can maybe have just fill them up with black band and add white dots as well. Just giving you some random tips and tricks as we go. Next, we'll go with these flowers. So I'm just adding simple lines towards the Center for each of these petals. Just adding a little bit of texture to the floral status. We'll just finish it for all the photos together onto the bigger leaves town. So since we have more area over here, we can add in a little more detail, a little more pattern in this one. So going with a very simple, basic line shape to show that these are leaves, the very basic sheep. And I'll just do that for the other bigger leaves us with. And we have another line here. So I'm going to be the same patterns, circles, and fill up the remaining space with a black pen. So if you noticed in this to do what we're doing is we are going with the pen work first and then adding the galaxy later. So if you are trying this out with waterproof pants, pigment liners, then you can try out the same approach, like what I'm doing here. But if you if you're trying out with normal pens that are not waterproof, then I suggest a TrieNode, the galaxy or the wisp part first, and then doing these doodles later so that the bandwidth doesn't bleed in. So now I want to these smaller leaves, I'm just trying to fill them up with black print. Maybe I'll add in white dots later with the white gel pen. Ok. Just onto these last 2-3 leaves. And you're done. Okay, so let's get started with the Galaxy part for this one. So I'm going to be again going for the green, blue, and indigo combination of galaxy. So since this area is not much, I'm not going to really wet this papal much and just going to be starting with directly with the permanent green light. And we mark the area where the wisp is just directly with the green, leaving a bit of white here and there, and marking the area of the secret potion, whatever this is and the risk part directly with green. So I'm using a little bit more water here to just make it kind of flowing like this. So it's with trying to escape out over here. At this moment that looks poisonous with all the green that is there. But I'm hoping that by the time we end, this is going to be looking like some beautiful magical potion and not toxic. All right, so now that we're done with the green, We'll start with the tailored blue. So I'm just mixing up a nice amount of yellow, blue. And then rapid in hill randomly still leaving those whites as it is, and still making sure that we still have a lot of green that is still visible. I guess it's not looking as toxic anymore. It's taking shape, the galaxy is taking shape. So next we are going to drop in the magical indigo. Again, just dropping it in so that it blends on its own. And still leaving plenty of the blue green that is there below it, visible. Since we are working on smaller sofas and the area is not much. It is easier to work on red like this. But if you're using a biggest sketchbook or a bigger people, make sure that your paper is sufficiently so that it doesn't dry up. But even then if it dries up, you can use a clean rush to blend in the edges if fused feel that there are a lot of hard edges by the time you are adding in the indigo. So I guess we're almost done with this Galaxy part. And next we're going to let this dry completely before we start with the white chairperson to add stars and some highlights. Alright, my people has dry it and it's still looking pretty beautiful. And so we follow the same approach. We start with some bigger dots like this to show the because stars. And then we'll just dab the bend a little bit to have these smallest stars in between. While dabbing makes sure that you're not holding the pen Ad Vd angular position because then it will not be adored will be more of a slanted lines. So try to hold the pen as vertical as possible. And then to step lightly. Don't debit a lot. Just lightly touch the brand to the surface and it should have the smaller white dots. And it's kind of looking beautiful now, okay? No more toxic like how this looks now. And if you feel there are some edges over here which are kind of messed up because the color bled into the Moodle. You can fix that with white as well. But I think it's looking quite good. So I'm going to leave it at that. So that's another project. Dan, I hope you enjoyed this and see you in the next one. 9. Project 2 : Koi Fish: For our next project, we are going to try out some beautiful coefficient. So I'll just share a very simple technique of drawing a coefficient. So usually they have this kind of motion in most of the pictures that you have seen, you, you'll see that they're just swirling around in the water like this. So what I do is I draw the head like this and then identify the motion or the way the body is going to flow and then draw the body around it. Then just this little bit of a tail. You can work out the shape later on. And then we'll have a few fins like this. So too at the front and two smaller ones at the back. So this is kind of a structure that I follow and it's easier to just draw it this way. You kind of know the motion that the fishes in. So you can just simply connect the body this week and that's it. So we're going to try this out in our project. So we'll have two such crayfish in here. And I'm going to draw the mean flow like this. So we're going to have one here and another one here. So let's follow the same technique and draw the fish. So we start with the heads for both of them together. I'm doing both of them together so that I just get a hang off the overall proportions. I don't want them to be extremely mismatch if they need not really be exactly same, but I just don't want one to look much bigger than the other. So just falling it together here so that we have an idea of how it's looking together. And then the little deal and the back. Also, I'm going with the pencil here because I just want to make sure that the outline is OK before I ink it. So these are the front ones, the fins. And now I'll just add the ones at the back. So I guess we're done with the fish. Now we'll add some things to the pond, so just a few lotus leaves and we'd be dueling inside them. And then we'll have the whole pond as galaxy. So we're going to fill this area where there is water in our own galaxy style. So that's what we're going to try out with this particular project. So I'll just wrap up the lotus leaves over here. And also this fish looks little fat. So I'm going to fix that. Just erasing one side and fixing this a bit. So this is where not inking it directly helps unless you're absolutely sure about what you're going to draw and you're very comfortable with the subject itself. So that's it. We have a pencil part sorted. And now we can go ahead and either ink it or, you know, just fill up the galaxy first. So for this one, I'm starting directly with a very light wash of sertraline. So there's a lot of water in this and very little hint of blue, but it's fine. I just wanted to create this shades of blue galaxy for the spawn. So you can directly start with slightly daggers unruliness. Well, but I still wanted to leave that little bit of white in here. So just starting with a very washed down kinda Julian. So just going to be making sure that the whole pond is covered so that we can finish the galaxy in one go in this case. Because unlike the sections here, it's all connected. So if we do it in parts, there may be some hard edges which again can be fixed by simply using a clean brush. But since this is a smaller area, I just prefer to complete it in one go. So now that we have are firstly are done, we can now start with a second color. So in this case, instead of ultra Marine, I'm going with the tailored blue just because this is kind of a pond, a galaxy bonds. So I thought this scholar would suited better. So I'm just experimenting here. So I've taken a nice value of Pillow Blue Hill. And again, I'm just dropping it in. I'm not trying to make it blend with the previous color since the people are still wet, it's going to blend mostly on its own. Just be careful around the edges once again. And that's about it. Alright, so now that we're done with this, we'd move to indigo. I am not dropping another darker value of this color this time I just want to go directly to indigo and see how the shapes of this light, light dish of the low blue and white showing up just below the indigo layer. So I'm just dropping in indigo. Stabbing it here and there. And letting it spread completely towards the edges. It's going to be slightly darker. But for now I'm just, I've just taken a nice dark value of indigo and I'm just dropping it in. And now I'm just taking a slightly darker value. And again, just dropping it, add the edges. I already know how this is turning out to be the depth that you see over here. And it looks even more beautiful once we add the stars. But that's it. I think I'm going to let this dry, just fixing the edges over here. And the same. I'm going to be doing it for the fishes. Well, so you can see that a lot of EDA was left around the fish because I didn't really want the color to enter the fish. So I'm just going to be fixing dosages as well. So you can either use a clean brush or you can use the color that is just next to these and fix these. In my case, I'm just using a clean brush and trying to pick up the colors from around and blend them in. And now I'm going to let this layer dry completely before we move onto the next step. Right? My layer is tried and you can see that it's dried slightly lighter than what we had seen earlier, but that's fine. Now I'll start with the Doodle for the lotus leaves. So I'm mainly marking the outline and then dividing it into simpler smaller sections like bees. And since this looks like quite a big section, just break it down so that we can add in some more. Same for drawing the outline, divide them into simpler sections and fill them up with buttons. Starting with, I'm going to add a link inside, but the fence. We'll just add some simpler. So the outline on this one, I start with my next fish. Same thing. We're going to first fix all the outlines together, then go about filling the details. So I'll start with the peel over hills, simple lines like this. You can again always experimental with a few patterns. I just tend to avoid the super dark ones in these Doodles because our galaxy itself is quite dark, so it might just become an issue with the visibility when it comes to patterns that are supremely doc. So I kind of avoid them. I'm just going to stick to the very basic line to-dos for this one, not trying to do anything extra. And we do the same for the Finns as well. Fish specific patterns like these. In most of the peaks that you get to see you on Instagram or pinterest, you'll see that the have the specific pattern. So I've just drawn the overall pattern and I'm just filling it up with dot, simple dots like this. See this fish going to draw the outline. And then I'm just going to be filling it up with some blue dots. So most of the bandwidth now we'll start adding the stars. So I'm starting this with the bigger dots using my signature. And as always, we're just going to be smallest stars. So starting from the top and add these little stars in-between. And this galaxy is shaping up now. Right? I'm just contemplating adding a little bit of blame to this. So I'm just wondering if I should go ahead and use that golden Marco for the leaves and the fish outline. So I like it this way as well, but I'm just gonna try out the markers. So just outlining the leaves first. Feeling a little adventurous, I'm gonna go ahead and just outline the fishes. Well, I'm not sure if this will work out or how this is going to look, but I'm just gonna give it a try because that's what sketchbooks I meant for. You can experiment and have fun while trying out new ideas. And that's really what matters. Having fun at it while you are trying out these two rules is the most important thing. So get my fish, don't mind that blink. So these seem to be pretty OK with it. See you in the next one. 10. Project 3 : Deep Sea Dive: Alright, so let's dive a little deeper into the lake now. So I'm going to have some kernels over here with doodles and the galaxy lake at the top. So I'm doing the outlines with the pencils first and then we engaged with the ventilator. Also, we are going to try out another bluish kind of galaxy to, I'm trying to figure out the shapes of the corals over here, trying to bring in some variety to them so that we can have fun filling them up with patterns later. So you can try out different shapes and take some references from Pinterest. We weren't just trying to mix and match different types here. And once we have the base layer set really engaged with the pen. And while creating the outline itself, I am just trying to figure out how we can fill in these with batons creatively. So also marking some basic outlines or sections with a batons as well right away. And I guess that's it. So I'm going to end this with the band now. Once again, if you're confident about your patterns and you can go directly with the pen as well straight away. I was not sure what kind of girls I'm going to draw. So I just went ahead with a pencil first. And now I've mocking most of the major sections, right? And the last bit, the last major outlet. Now I'm going to leave this here and start with the Galaxy first, and then we'll add the doodle partly drawn. So for this one, I'm not going to be wetting the people first, I'm trying on a different technique that I mentioned during the galaxy section. I'm just going to add the Julian, a light layer of cylindrically. And then we'll add up the remaining colors later on, on top of this wet on wet. But for the first layer, I'm directly going with wet on try so that you can see that once the paper is wet, you, the color that you add on top of it is kind of gets lighter. But when you add the color directly, you're going to have this as the base layer which is already dark, it's not white. So that's going to create a little bit of a difference in how your end result is. Like the end galaxy is going to be slightly darker than what it was in the previous one. But it's fun. It's fun to try out different ways of doing the same thing. So I'm just trying to share the possibilities over here of how you can go about the galaxy. So with the corals, you just have to be a little bit careful so that the blue does not go in. Even if it does, it's not much of a problem. You can just color it up or add the doodles on top of it. But I'm just trying to avoid it and keep it white. So just filling the area between it with the blue. If you're using a bigger Paypal or a biggest sketch book, make sure that you use this layer is still wet when you add the next layer. So maybe you'll need to do it with a bigger brush or do it faster so that the layer stays. And for the next color, I'm experimenting again, so I am not adding ultramarine. Instead, I'm going ahead with the Taleb blue. So while the base spirulina still read, I'm just dropping in some, the little blue on top of it. Just dabbing Tiran there. You can see that my people is still pretty wet, so the blending is happening on its own. But for the smaller areas like these between the corals, etcetera, it has dried up to an extent. So I'm just going to blend this with indigo later on. For now, I'm just continuing to add the tailored blue in-between these corals as well. And next we call it an showstopper, the indigo. So again, trying to keep it at DHS and just dabbing it at the center a little bit, still leaving plenty of the base layers visible. So towards the edges it's going to be much darker. But I still want the bees blew the Taleb blue and the Silurian to be a little bit peeking through this layer. So I'm just trying to leave some of it as it is. And for these little spaces where we could see that it has dried up the previously it has already tried up, um, stabbing in the indigo as it is. And if needed, you can just blend it in a little bit. Now we'll add the second layer of indigo. Now this is going to be a much big men, did Leo. So you can see that it's quite dark, kind of the one that I've used in the previous ones as well. Just the last layer of the galaxy, which is the darkest. So you can see that I'm just dabbing it randomly, not trying to create any kind of pattern over here. The edges are still the darkest, but I'm trying to leave a lot of the light blue in-between. And we let the scri, alright, so now that you can see, my Galaxy part has dried up and it is quite dark as compared to the previous one. And still we have those little swirls of blue as well. So I'm starting with part four. So for this one, I'm just doing it in this section. Seems a little swirl and layer on top for the sections in between. And just going ahead with simple dot. This didn't want to leave them blank. So I am adding these simple dabbing. I'm going to just try out alternate ones. Maybe I'll leave that blank. The alternate remaining sections and move ahead with this one. So for this, I am doing the circles. And instead of leaving the space in between and filling it with Ben later, I'm just doing it on the goal, so I am just adding smaller circles around the big ones that I'm crying. So you can see that it's just filling it up on its own. Now, for this bigger one, I guess I will draw the big circles and fill them up with Ben, just like we did previously. So how I go about a pattern or the technique that is going to be used for the baton is something which I mostly decide on the goal. And that's what doodles are about, right? You, you don't really plan ahead, but you can have a basic outline like just like we did in this one where we drew the goals. But you really don't plan who'll do lead. So the patterns or the techniques, et cetera, usually it'll just come to you when you start do link regularly. Okay. I'm just trying to create a ticker outline for this. Normally I would use my brush Ben, but I just can't find it right now and I'm too lazy to get up and search for it. So I am making do with disband itself. So you can just create double lines with the same thinner band to get a similar effect. But usually pick up an auto freshmen if you have one handy, Definitely. And for this one and just planning to fill it up with dots but slightly bigger one. So not exactly like the first guru. We create some bigger dots like this and fill it up. Creating some thick outlines here as well. Just helps in creating that separation between the sections that you've created within the core group, but not really necessary. So trying to build this little one hill with simple lines. This one's in the background, so it's kind of hidden. So trying out some very simple lines. And now on to the last two. Just thinking of how to create some radiation here. So going horizontal with this one, just normal lines, triangles, etcetera. But more of a horizontal pattern. And for the last one, again, I'm trying to create that hotline Hill. And covering up a little bit of blue that crept in while we were doing the Galaxy part. So creating these thicker edges for the sections and then we'll start filling it up with the buttons. So once again, I'm going like I did for one of the other. I'm just filling it up on the goal with smallest circles. So not really leaving that species to be filled up with black Lee Tron, just filling it up on the GPU. So just like I said in the pattern section, this is one pattern which helps you cover a lot of area. So if you have a big section, this one really helps in covering it up. Just like the we've fatten that we did. So and it's fun to do it on the goal, just filling up with smallest circles and big circles. So now we add the stars. As always. I love how beautiful this galaxy, but looks once the styles are added. So just enjoying the process of adding stars, he'll never do many styles, so just add as many as you want. And that's it. So that's another project done. I hope you enjoyed it and see you in the next one. 11. Project 4 : Up in the Sky: Okay, so now that we're done with the deep sea diving, let's go high up in the sky with this hot air balloon. So I'm going to draw a simple outline again of the hot air balloon. So not taking any exact proportions, just something that looks like a hot air balloon. And we're going to have some clouds just next to it. And then for the remaining area, you're going to paint a galaxy sky. Again, we're going to try out various shades of blue. But for the next project, I promise it's not going to be a blue galaxy. So this is kind of the last blue galaxy project that you have. I realised to lead that the topics that I chose for the projects, most of them were either sky or leagues of which was all about blue galaxies. So I ended up creating, I think three of them when the shades of blue. But I hope that when you're done with this class, you will try to explore more of these doodles width galaxy and try out the different combinations that we tried out in the galaxy section is where. So for this hot air balloon, I'm just creating the biggest sections Hill with the pencil. Just making sure that we have all the major shapes or outlines here. And after this, we go directly to the galaxy and then do the doodle slit run. So I guess I'm done with this and now I'll start with the sky. So I'm starting with a very light wash of Suilin here. Again, a lot more water and very little, just a hint of some Julian. But I wanted this to have a slightly lighter tune than the leak that we did in the last one. So that's the reason that I am taking a very light warships unruly and to start with. And we leave the clouds white because we're going to add in some doodles on it. So I'm not adding any color to the white, but just covering all the other areas with a wash of this very lights ruling. Next, I'm going to take a slightly darker value of Boolean after this and just drop it in mind when people are still wet. So we can see that most of the blending is happening on its own. If you feel that this pool of water and just use a clean brush and pick it up. It's mostly there at the edges and I just have to take a little bit of care so that it doesn't run over to the next page. So I'm using a clean brush and being adapt from the edges here. You can also use a masking tape if you want. I just tend to leave the sketchbook cells. It is not too bothered about using the masking tape, but it really helps with the collar nought flowing to the next page if you're doing a full page two like this. So next I'm going to be adding the ultra marine can't just simply dabbing it in. I'm still leaving plenty of these Julian and light works that we did earlier visible under this clear. And with this. And next we'll add indigo. So to stabbing it then on the already wet layer. So remember that all of this has to be done wet on wet. So I'm just repeating it for almost all the projects. But the something which is really important if you want to get the same kind of blend here. Because once the paper dries, you'll definitely get those heart disease, which is fine. You can just soften them with a clean brush as well. But when you do it wet on wet, it creates this natural flowy kind of blending. That happens because what ecologists decides how to blend on its own. Next, I'm going to add another layer of indigo. So just mixing in a slightly darker value and dropping internet the edges here. I'm just going to add a little bit at the edges here to finish it. And then we're going to let this dry. Okay, so now my paper has tried, so I'm going to start with the doodle. So since we already have these sections made on the hot air balloon, it's going to be easier for us to just decide patterns and fill them up. We can do alternate patterns or maybe just fill in each section with a different pattern altogether. And I'm planning to add metallic gold kind of blinky layer later on at the end. So maybe we fill up the area that is kind of covert because of the galaxy, so the bandwidth is not really visible. The strings that connect the balloon to the card below. So we'll just add it with a little bit of golden markedly drawn. Now for the card itself, I'm just thinking of creating simple horizontal sections like this. And then we fill them up with patterns. So simple Dart and the triangle pattern that we tried out. Okay, I think it looks good. Now let's start with the balloon. I'm just creating an extra layer of separation over here between the sections. And then we can fill it up with patents nicely, just so that we have some sort of a distinction between these sections. Alright, so let's start with the patterns on this one. So for this, I'm going back to the swirls, simple swirl and aliya. So any chosen patterns for bigger areas tried to figure out which ones can be done easily and can cover a lot more area like this is a comparatively much bigger area than what we have tried for, say the corals. So in this case I'm just going with because was and that extra layer so that I can cover more area. And yet this looks like it's quite detail, quite intricate. So I guess that looks good. So I'm going to go with an alternate section with the same pattern, soil and leave. I'm not speeding up any of the videos that you guys can actually see how slow I am, or rather how, how much time it takes. But then again, this is more about enjoying the process who I never tried to rasters and religious trash the patterns as such. So It's fun to try them out slowly at your own pace. So I hope you guys enjoyed doing that. Now for the remaining ones, I'm just wondering, should we leave them blank or should we just add some patterns to these? Ok, I am going to start with a central one. Let's go with the circle pattern. Again, I'm not leaving the space, he'll just adding in smaller circles as we go. Again, this is quite a big area to cover. So this pattern really helps in adding detail as well as getting the area covert quickly. So just gonna fill this up with lots of circles. I guess it looks good now. But just wondering, should we go ahead with the same pattern on the remaining two sections or not? I think I'll just go ahead with them. And let's cover these up with circles as well. You need not stick to the same patterns at all. You can try out your own patterns or any of the reference patterns that have shared. Just mix and match. Sometimes I just kind of find it comforting to have these patterns repeated. But then it's just something that I enjoy doing it personally. But I've seen a lot of artists, they tried to blend in as many different patterns as possible into a doodle which looks good too. So it's totally, you know, what, you enjoy doing better. So I'm just going to repeat the same one for the last section as well. And then we move on to the clouds. I guess it looks really nice now, that little balloon in the sky. So let's start with the cloud. So for the clouds, I'm going to use this little swirl. So for most part of it we're just going to add these biggest worlds. And then to cover up the areas that is left in between or towards the edges because we've actually created that shape of the cloud. So it's not like one big rectangle that you can fill in. So there are going to be smaller edges that are left. So you can just fill them up with smallest walls and keep the biggest worlds for the central portion. Or mix them up like this. So as you go, just create because worlds and for the area or the gap that is there next to it, just create smallest walls like this. So you mainly just a mix and match the sizes so that you're filling up the entire area and not leaving any white spots behind. Even in this case, you can see that at the top, there's very little space that is left. So instead of leaving it just like that, you're going to fill it up completely with the smallest ones like this. And also these little gaps that are left behind. All right, so we're done with one cloud and will repeat the same for this one. Mixing and matching small and big swirls. And we are done with the doodle pad. So next we'll add the stars, and then we'll add a little bit of blend with the golden marker. I keep saying this in every project, but just look how beautiful it turns out once you start adding the stars, it just changes the whole look of the page. And this kind of is my favorite part when it comes to these doodle. Adding these little stars do the galaxy and making it shine, right? So I'm just going to dab in the little ones. I'm not sure how many stars are just too many stars, but I really like how this looks now. Okay, so I'm just going to be my golden markup and outline for this hot air balloon. So like I said, these strings that connect, we're not really visible. So once you add a little bit of gold to it, kind of shows up like this. But I'm not going to add any more gold to this, so I'm going to stop. So see you in the next one. 12. Project 5 : Dessert Sky: Onto our last project. And as promised, this is going to be a non bluish kind of galaxy. So we're going to try a different color combination. So I'm recreating one of the prompts from the tuber, which was dunes. So creating the sand dunes here. And we're going to fill them up with patterns and have a nice galaxies sky at the top. So just creating all the basic outlines here for the dunes. And then we'll go ahead with the Galaxy. I'm creating these sections that really fill up with the doodled sleigh drawn. And since these are simple line blocks to be filled up, we think of mice creative patents for these later. So let's start with the Galaxy. I have vet the people slightly here before dropping in this windrows. And I'm just damning it in a little bit towards the center. Next, I'm going to add the ultra marine. So just again, going to dab it towards the edges and just let it blend automatically with the windrows. I'm being careful around the dunes because I want to retain the white there. So just trying to avoid that area. Now taking in a slightly more augmented ultra marine and again, just dabbing it, dropping it in there. Just fixing the edges in case a little bit of glue spreads in. And as always, you can use a clean brash and lift the color off if you don't want it there. So next I'm going to add indigo. Just dumping it in, getting it blending. Just making sure that the edges of the dunes are still pretty clear. You can always cover it up with a thicker pen, black pen later on if you want, you can create the outlines with a pickup pen and any small smudging that happens due to the water colors can actually be God up like that. All right, I think it's looking nice. So I'm just going to add a little bit of darker indigo here and there. Not a lot, just adding it in. Some of the places that have already dropped the indigo and just fixing the edges here and there. And we're going to let this try adding a little bit here and there to kind of create a blend between the indigo and the minerals and ultra Marine, just creating these little swirls. And that's it. So I'm going to let this dry. So now that my people as cried, I'm going to start with the dawdling part. So just marking the outline again, once with the band. And once we have all the major shapes marked, we will start with the doodle. At this point, if you feel that you want to add a few more sections, you can go ahead and do it. We still are in the section blocking face, so we still have time. I'm just continuing with the outlines that I already did with pencil. I'm just thinking them. Also. In the meantime, my mind is working on the kind of patterns that I want to try out for these. So since, like I said, these simple blocks, horizontal line blocks, you can try out all the little Mandela patterns that you have or anything that you know, you tried out while filling up a rectangle for example. So these are, these are just extended rectangles. So just think of these as extended blocks and try to fill them up. So this triangle one is kind of my, one of my favorite patterns. I think I have too many favorites here. For the next one, I'm going to go with some simple swirls like this, trying to mix and match some patterns here. And I usually don't leave the space that's left after the swirls blank. I kinda fill them up with triangles or simple darts, etc. And creating an extra extremely separation. And for this one I will fill it up with the simple circles. I guess it is shaping up nicely. So let's turn to new. Let's continue with some more patterns. So I'm going to just repeat these words and triangles from the dark part so that it just creates 11 dune with a specific set of patterns. And the last bit with the triangles. Right? So we're done with this one. Again, I'm trying to create the separation between the dunes. Just adding an extra line over here. Just thinking off some batons. So let's fill this up with the swale. And now just the circle. And since these kind of resemble mountains are automatically drawn to creating these triangular Batten's. Adding in a little bit of fat and a little bit. But the basic shape is again. And now I will just complete this dune with same patents that are at the top of this one. So since adding this layer of completed with the swirls, we have an extra section. I'm just adding a little bit onto the last Hamlin using the soil pattern from the first one. Some more triangles. I don't know. I just think it adds to the overall shape, that triangle here, like the mountains. So I guess that would, that's what makes me to beat these triangles. And we are done with this. So I'm just thinking of using my marker to create some outlines to these dunes. So just doing that, I'm not going to outline all these are all the sections, just the mean outlines for the dune. And we're done with all the adding the stars at the top, starting with the big ones. Now in this case, since the dunes, just like what we had for the gurus, you can simply use your whitewash to add stars as well. If you don't really enjoy adding stars with a band. But for me this is kind of therapies. I just go ahead with wide-open instead. And that's it. That's our final project. So I hope you like this. So see you in the next section. 13. Thank you and Beyond!: So thank you once again for joining me on this scheduled to me of galaxies and doodles. I hope you enjoyed it and I hope you will give this a try. And also tried to develop a sketchbook habit because I really find it therapeutic and also it helps a great deal venue are low and inspiration on the sketchbook exercises really helped you. So I hope you'll fill up your sketch books with beautiful daughters and galaxies. And if you try out these projects and if you're sharing them on social media, you can find me as fat crazy dude law on Instagram, Facebook and Pinterest. And I do have a Pinterest board on galaxy. So in case you're looking for some inspiration, you can take it right there. And if you have any feedback for this class, positive or negative or any of my other classes, please do reach out to me and let me know about it because it really helps me in creating better glasses. And that's it. So I hope you continue with the earsketch with Explorations. See you soon.