Cosmic Exploration: A 15 Day Journey Through Space with Watercolours

1. Welcome to the Class!: Hello everyone. I'm Kito Chandra Mohan, and I couldn't be more excited to embark on this celestial journey with you. Welcome to my brand new Skillshare class on painting, 15 cosmic themed paintings with watercolors. Picture this swirling galaxies, distant planets, and the vast expanse of space all waiting to be captured on your paper. Now I'll be honest with you, idea of painting such majestic scenes can be daunting. It's like capturing the infinite beauty of the universe in a single brush stroke. But fear not because I'm here to show you that it's not about perfection, It's about understanding the techniques and letting your creativity. So each painting we create, we'll build upon the lessons of the previous one. Unveiling a wide array of watercolor techniques along the way. From blending ethereal nebulae to casting starlight upon distant planets. We will cover it all. But here's the best part. By the end of your cosmic expedition, you'll not only have mastered the art of painting space, but also discovered how to infuse your own creativity into each piece. I have included a bonus lesson at the end where I'll be sharing tips on transforming references and making your future cosmic creations truly one of a kind. As a skip teacher, silver brush educator and ambassador to white paint water colors. And see that I'm stationers in India. I have had the privilege of guiding over 25,000 students worldwide on their artistic journeys ever since I started my painting career. Galaxies and the cosmic space has always fascinated me and have repeatedly made it onto my Instagram feet where I share snippets of my painting process and a lot of insights into my studio life as an artist through Instagram stories. Rest assured, while this class may seem intermediates because of the paper size used or the paper stretching method used, it's crafted with every beginner in mind. I'm here to break the preconceived notion that large paintings are not suitable for beginners or that it takes a long time to complete, right? From all the materials needed to the colors used in each of the projects. I will be guiding you step by step through the entire painting process so that you can create your own collection of cosmic paintings as well. So join me and let us explore the cosmos together. Let's defy gravity and paint the stars. 2. Class Overview: First of all, thank you so much for joining the class and I'm so excited to see you here. Before you dive into the class projects, I wanted to give you a brief overview of the class. I know you might be eager to paint along with me or jump into the projects, but hear me out. There are 15 class projects, each one a unique and beautiful cosmic themed painting. We start with the simplest one and piled upon the techniques on each successive class project. Chances are that if you skip one project, you'll probably have a little trouble understanding something in the next day's painting. But that doesn't mean that you have to paint along with me in each and every project. You can simply watch the lessons instead and jump into that one painting that speaks to you the most. Having said that, I would highly recommend you watch the painting session once before you start. Because with my style of teaching, I always suggest a number of alternatives and other things that you can add to the paintings to make it your own. If you follow along for the first time, you will miss out on implementing those bonus tips in your paintings. In each of the class projects, I discuss every step in detail, but the class does assume that you understand the basic techniques with water colors, such as wet on wet, wet on dry, splattering ex tra. So if you're completely new to water colors and you do not understand these terms, then I would highly recommend watching my ultimate guide to water colors and water control classes on skill share, because they will literally take you to the next level with water colors. Both of them are linked in the description of this class. Day one of this class is already available for you to watch Fridaay. Each of the other class projects are uploaded every alternate day, giving you plenty of time to catch up and paint them at your own pace. So if you're watching this 30 days after the publishing date of this class, you will find all the 15 class projects readily available. The colors that I have used in each of the projects are mentioned right before each project starts. And also suggestions to mix alternative colors are included. You can find a PDF of my color palette attached in the resources section here and Skillshare. Lastly, remember we are a community of artists, so don't forget to share your class projects into the resources section here in Skillshare, where everyone else can see your beautiful projects and appreciate you for your hard work. So now, without any further ado, let us have a look at the materials that I have used for the class projects. 3. Art Supplies: So now let's have a look at all the art supplies that we will need for this class. First of all, we'll need paper. And the paper that I'm using in this class is Sanders Ford watercolor paper, which is cold pressed or not texture, it's like a medium textured paper, yellow, white, and normal white. So this is white and the size is basically 12 " by 9 ". It's almost like an four size, but I think it's slightly bigger than an A four. But that doesn't matter if you're going to be using a four, that's perfectly fine. But the most important thing is the 300 SM. It's absolutely essential that the paper that you're going to be using, a 300 GSM, or 140 pounds, 140 LB. As you can see, this paper is also 100% cotton paper, but with the technique that we're going to be using, which is basically the two side water application method or the stretching method, which is basically you're stretching the paper so that it absorbs more water and the paper stays but longer. You're a free to use a paper that is not 100% cotton as well. Because I've tested this on a 900% cotton paper and this technique works. So the minimum requirement that you would need for the paper is to be 300 GSM. That's because if it's any lesser, then the paper that you're using might starts to tear off as you apply a lot of water to it. And we do not want that to happen. Right? So that's the paper that I'm using for this class. Next of course, you need water colors because this is a watercolor class. So I'm using water colors from a lot of different brands, such as Sennelier, White Knight, Schminka, Daniel Smith, Windsor, and Newton, and a lot more. But I will be sticking to this default palette of mine. So it consists of 36 colors. Although it has 36 colors, I usually stick to some common colors because there are other colors in here which may not be available in everybody's palette. So I refrain from using that. For example, there's a petaline green here, paraline violet here, and some other colors. So I refrain from using those colors because I know that we can eventually mix the same color. So I go with the mixing method instead. Because just I want to make it easier for you guys. Having said that, you, of course, need a palette. It makes your paints. So this is the palette that I'm using. It actually came in with the 36 color set of magella watercolors. But I really love this palette because it's got the 36 number of wells and it's a plastic palette. But you obviously can use a metallic palette, a ceramic palette, or even a plastic one like this one. But anything is okay for you guys to use as a palette. So the best, best suggestion for watercolors would be to use a ceramic palette. Because it's so easy to clean as well as it's easy to mix the colors on that palette. All of the colors in my palette are actually saved as a PDF in the resource S section of this class. Which you can download and see or reference, so that you know the exact colors and the pigment numbers of what I'm using. Next, of course, you need watercolor brushes, so I'll be using brushes in various sizes. But the most highly recommended one would be to have a large flat brush so that it's easy for you to apply water onto your paper. Because we'll be applying water onto both sides of the paper. I'll get back to that in a minute. So the brush that I am using here are all from silver. So this is the silver black velvet series. And it is a one, a two inch wash brush. So it's a fairly large brush. It covers a larger surface area as well as holds a lot of water. So that's why I'm using this one. Then the other brushes that I'm using are mainly the silver Kolinski series, and this is a size ten, a size four, a size six, just a large size, a medium size, and a small size. You also probably will need a very small size brush for the details, such as a size two, a size zero, or a size one, whichever is available at your disposal. And it's absolutely fine if you do not have a flat brush like this one, because you can always apply the water onto the paper using a larger brush such as a round brush. But obviously, it's just going to take a little bit more time. Lastly, it's better if you can have a lineup brush like this one. So a liner brush is basically a brush that has a longer stretch of hairs like that, so it comes like a line when it is wet. Okay, so I've got the size one line of brush here. This is again from the black velvet, is in silver. It's okay if you do not have this brush, because you can always do the same thing and because it's a galaxy themed class, we will be using a lot of white. Oh, that's because there are lots of areas that you will need to bring back the white onto the paper, as well as for the stars in the sky. Obviously, those stars, there's literally no way that you can leave them blank at the beginning, right? So you've got to use white quash. So the white quash that I'm using here is permanent white designers Squash from Windsor and Newton. That's the brand that I'm using. I absolutely love, love, love this one. It's very handy to have. But if you do not have guash paint, you can also use watercolors. The white of the watercolors are actually not as deep or vibrant as this one, which is the reason why I use quash. So I would recommend getting a guash tube, but it's okay if you do not have it. You can still paint along in this class. Next is obviously water. I always use two jars of water when I'm painting water gas. That's because one of them, it always gets muddy. Like this one because I'm washing my brushes and washing my paints into that. While the other one, I always try to keep it clean so that when I'm taking fresh paints or when I'm applying water onto my paper, I always have the fresh water. It really helps, because imagine if you're using only one jar and your water gets this dirty, then when you're trying to pick up a fresh paint, like for example, see the color here, that's a very muddy color. And imagine you're going to be painting with a nice bright yellow color. And UGP brush into that one and you pick up the yellow, that yellow is going to have traces of this mud. That is why I keep this one so that whenever after I've cleaned my brush, I dip my brush into this one and I pick up the fresh water. If I want to take in fresh colors for my painting, that's why I would recommend two chows. But it's okay. Again, if you do not want any, all you have to do is like keep changing the water every once in a while while it gets this dirty, you'll need some paper towels or a clothes like this one so that you can wipe off excess water from your paper, from the edges of your paper, and also from your brush when we're trying to get rid of the excess water on it. I mostly use this cloth here, which I reuse again and again after washing. So you can always use any paper towels or a cloth like this one. This is a microfiber cloth that I use. The next most important thing actually that you need is fiberglass or an acrylic glass like this one. It's basically just an acrylic board or a fiber board on which we will be keeping our paper on and sticking the paper onto it using the paper stretching. I know that this is what puts off most people from using this method, but trust me, you do not actually need the same kind of board. What you need is a non absorbent surface. A non absorbent surface means it does not absorb the water from that paper. Plastic surfaces are non absorbent. Any plastic surface is what you need. Do not use wooden surface, such as apply wood or a wooden board. That's because wood is not non absorbent, which means it is absorbing, it would absorb the water from your paper, which is why I refrain from using that. So this one is plastic board. As you can see, it's literally not that thick, it's just a thin acrylic board made out of plastic, of course. So that is what I would suggest. But you know what? If you look at this wallpaper here, this has got a plastic coating over the top. Even this can be used instead of this acrylic board because of the plastic coating, which makes it waterproof. Any surface that is waterproof is what you need. So if you do not have something, then I have a trick for you to get or make your own waterproof. Imagine if you have like a plywood or if you have wooden board. So what you need to basically do is take that wooden board and then wrap it up with cling film or you know, that plastic wrap. So if you wrap it up with that, just make sure that it's got even edges and everything and then use it. It's not absorbent because you've literally put plastic coating on the top of it. Isn't that so cool? You can literally make this and please, please, please, please, do not be put off by this method, because it's literally amazing. It turns your paintings into a breathtaking, beautiful masterpiece. So you've literally got to try this method, and trust me when you know about it, you'll never go back to the old method. Last but not least, don't forget about a pencil and erasor for making out your sketches. And in this class, I have also used a compass because there are lots of planets that we need to trace out, so it's best if you have a compass. Otherwise, you will also see me using makeshift objects to create my planets. Such as, sometimes I use a circle maker, sometimes I use a large plate, or sometimes anything that's round. So you can literally go ahead and use any coaster, or a large plate, or a small plate, anything that's round to create your objects. So just be aware of that. That's what I want to tell you now that you know all the supplies that we need for this class, let's go ahead to the next lesson where we will learn how we can prep the paper before every painting. 4. Prepping Your Paper: Now let us have a look at how we're going to prep our paper. Before we paint in this class, we're not going to be using the taping method, but rather we're going to be using the two side water application method as we've already discussed. For that, I would highly recommend having a larger flat brush like this. But if not, there are various other ways as well which I will discuss now. You can either use a large round brush is the largest size brush that you have would be highly useful, or flat brush like this one. Okay, so this one is the silver tailored hake brush and this is the black velvet series 1.5 ". You could use any of these and I'll show you how we can prep the paper. So it's basically very simple, there's no taping the paper involved, so you don't have to worry about edges or anything. The painting is going to be edge to edge, which is absolutely amazing and literally good when you're trying to frame these paintings. Because most of the frames usually come with a little border. So it's good that your painting does not have any border. Basically, we've got to turn our paper. So if this is the side that you're going to be painting on, for example, you can see this is the better side of the paper that I'm using, which is the sunder spot of foot paper. I've already discussed this in the art supply section. This is my fresh side. So we're going to turn our paper over to the other side and we're going to apply water there first. Okay. So which is why I recommended using a very large flat brush because otherwise it's going to take a lot of time for you to apply water to the whole of the backside and in the front side. For those of you who are not having such a large brush and you feel that this is going to take a long time, there is another method as well. All you need to do is to take your paper and you go to your bathroom or your kitchen sink and open the tap And show the paper below the tap. Make sure that the entire surface of the paper is covered in water. And be careful while you hold it, because once the paper gets all soggy, then there's high chance that it's going to bend a lot. So just be careful to hold it best at two opposite sides like that. When you're holding it at two opposite sides like that, it's obviously likely to bend, but then it'll be more not prone to any tearing. You can be careful that way. And then now we're going to apply the water. I'm using the brush method, but you can always go ahead and just use the tap method. Once both of the side is applied nicely with the water and your paper is like, soggy and covered in water, bring back your paper onto your surface and just lay it down and you stick it flat. Then you can use your brush or something to just soften out and take off any excess water from underneath, which I'll show you now. Okay, here I'm going to be using my large flat brush. Okay. So at the back we really need a lot of water. So here I'm just basically going to drop off a lot of water here. In this beginning stage. You don't want to worry about this excess water or anything, okay? I know that, I always say do not form any large pools of water and things like that. But today you don't have to worry about any of that. Just just keep applying because you'll need those extra bits of water. So there you see, keep applying and nicely apply the entire back surface. Okay? And make sure that it doesn't have any dirt or anything at the back side, because when you turn it over, that is when you flip it over and you stick it to the board, that dirt is going to create like a slight bulge on your paper, which we do not want. There you go. I'm applying water to the whole of the paper. You see how the nice water worked, and you can see how I'm applying water to the edges as well. So some of the water is going to go underneath the paper and that's fine as well. Okay, let it flow underneath, because we're obviously going to be applying water over the other side as well. So here you go. I think I've covered almost all of the areas with nice amount of water. And the water that's there on your surface, let it be, Do not drain it off or anything Now, now what we're going to be doing is we're going to have to pick up the paper. Okay? Although there's some part of the paper that's covered in water now, we'll flip it over and we're going to stick it so you don't need to, like, press too much and get your hands all wet. It's absolutely fine because you're going to do that with your brush. Okay? In the case of when you're using a tap method, obviously you'd have to have a little bit of a dirty hands. But, you know, just getting wet hands is not dirty, right? So you can always just use the excess water that's there on the sides. You can see that there's a lot of water here, accumulated around the edges from the pool that we created in the beginning. Then use that and just apply. Okay, a flat brush makes it absolutely easy as you can see, but I'm pretty sure the larger round brush would do the same. Just that it's going to take a little bit longer. That's it. Okay. So if you're using a smaller piece of paper like you chose to paint this in an A five size, then it's going to be even smaller. So I guess I've done the work. Okay. Just making sure that I've got enough. You can just go ahead and add some nice bits of water. Okay. So there you go. We've added some nice amount of water, but now. We need to get rid of all of the excess water. Now is the point where you need to get the pool of water from our paper. Okay, so it's best to use cotton cloth or a microfiber cloth or a tissue or something like that and then just remove all of the excess water. So you can see I'm running my clothes along the edges and getting rid of those excess droplets of water. So once I've done all the four edges, we're still not done yet. There's one more thing that we need to be doing, which is basically to pick up the surface or that board that you're using, tilt it at an angle and let the excess water flow. Because trust me, even underneath the paper and on the top of the paper, there's going to be a lot of water. Okay? And that is really excess water, so we do not want that See, can you see how the water is flowing out? All of them is going to come to this corner here because you're like tilted that way. And then it's going to come off the board onto your sheet or clothes, whatever you're using. Okay. You don't need to do that too much. Just make sure. And you can always look at your paper underneath, you can clearly see my light. And you can see that I'm looking at it. And you can see the sheet of water on your paper right now. So that's basically what we want. Okay. Not excess water, but just a sheet of water. And once you've done that, just hold and remove that excess moisture from that corner because that corner would have accumulated a lot of water. So there you go. Once you've taken all of that excess water, you can obviously lay your board back down. And then when you look at your paper, if you feel that there's some area that's lacking water or like if too much of it has flown out of your paper, then always you can pick up your brush again, any brush that you're using. And now when you're trying to run your brush across, do not touch the edges of the paper. So if I'm using this flat brush, then I'm going to be staying inside, right along the inside of the paper, running my brush along like that. Okay, So staying right inside and making sure that my paper is nicely coated with the water. Okay, We just need a sheet of water. Let me just show that to you. Can you see how the paper is shining? And let me tell you the advantages of this method. The most big advantage is that your paper is going to stay wet for a very long time. That is because the wetness on the paper is going to act from both sides. That is, the underside of your paper is wet. So I don't know if you've taken my previous classes, if you have taken, you know how I always mentioned that if you want to keep your paper wet longer, then you have to apply with the water multiple times so that the underlying fibers of the paper get wet. This is exactly the same method. It's just that the underlying fibers are getting wet from both the sides, so the moisture just stays longer Okay. On your paper. So this is how we're going to be prepping the paper for every part of the painting. So this is how we're going to be prepping the paper for all of the paintings. So if there's a pencil sketch, we'll make the sketch. And then I'm going to prep the paper by applying water, like this method. So I'm not going to be showing this entire process in all of the videos because it's just going to be absolutely boring for you. So when you reach that stage where you've done the pencil sketch, I mean, if there is any pencil sketch, you've done it and then you want to move to the painting part, then pause right there in that project lesson and just go ahead and wet your paper and then come back to it. Okay, so I'll see you in the first class project. 5. Day 01 Project - Moonlit Pink Purple Sky: Welcome to day one. I'm so excited that you're joining me along in this 15 day journey. So here you go. This is a painting that we are going to be painting today, isn't that gorgeous. Okay, so we're starting with a fairly simple, simple techniques so that we can build upon these techniques each day. Okay? So this is really easy and, you know, quite beginner friendly as well. So you will be able to catch up with this and create even more beautiful paintings in the coming few days. The colors we need for today's class project are Quinacridone Violet rose or Quin Rose, which is basically BV 19. You can also use any rose color that you have. And then a bit of violet, yellow blue paints gray, and obviously some white quash paint. Hey, welcome to the first class project. So let's go ahead and start. As you can see, I've already prepped my paper and there's no pencil sketch. We're going to go and dive straight in with our paints. Okay? And then create some sketch later on. So let's just get started. Okay, as I've said, we've already wet my paper. You go ahead and do yours as well. Okay, so let's start. I'm going to be starting with a nice quin rose color, which I have some of it here on my palette. I'm just going to use that. Plus a bit more quinacdonerose or PV 19. Any rose color would absolutely work as well. Okay. And then I'm going to start at the very edge here. See how your paper is still wet. And I'm talking a lot and I've done so many things after I've wet the paper and like setting up the camera and everything and the paper is still wet, That's the advantage of this method. So you can go over to the outside of the paper, it's absolutely fine. And some of the paint is just going to go underneath and, you know, ain't the paper from behind. But who cares about the behind? Right? So it's absolutely fine. Okay. Or you could be very careful and stay along the edge like that, but you really don't have to. Okay. So here, just pick up the nice pink shade. Go ahead and apply. Okay. So we're going to be using a combination of few colors now. Okay? So starting with the pink, and then I'm going to move over to the right side. So one thing I'd like to tell when you're trying to paint these landscapes is use the entire length of your brush because it covers a large surface area. Don't try to do your strokes like that. Hold your brush always somewhere in the middle. And another reason why I say why you should hold your brush in the middle is because it gives a bit of, what do you say, less control. So you don't want control. If you hold your brush there, then you're going to be having control strokes and it's going to be harder for you to paint. Whereas if you hold it in the middle, there's much less control than when it's over here. And if you actually hold it at the end, then there's literally no control. That's how you can vary the abstractness, I would say. When you're trying to paint with these strokes, I like to hold it in the middle. And when I want it to be completely random, then I hold it right there at the very top for details. That's when I would bring my hand down over to here and try to make careful strokes. Right now we're holding it in the middle. Okay. Then I'm going to start with here, a nice gorgeous violet shade. Okay? And we're just going to blend it. Okay? So this is the Regency I've been talking so long explaining about the way you're supposed to hold your broth and your paper is still wet and you're able to blend it. Okay? So that is honestly the advantage of this method Okay, there. So just going to use my brush and blend that along. Okay? All right. You can in fact pick up more pink when you want to blend in this side. Okay? And I'm taking it over to white side, more violet. Okay. Some more violet over here. Always remember water colors. Try one shade lighter. So if this is the shade that you're seeing right now, when this dries up, it's going to be much lighter, so you're going to have to put in a very, very vibrant color. So here I'm going to pick up a nice amount of my telo blue, and I'm going to use that here, over to the right side. Okay. So staying away from the pink, but staying closer to this violet over here. Okay. So here, just applying some nice bluish shade. Okay. There, I think that's enough. Just over to this side some up until towards the middle. Okay. And you can see how I'm making these strokes. So remember, this is just the sky, the night sky. It doesn't have to be exactly the same as I am doing. So you're free to do any kind of changes. You're free to, you know, like make run up strokes in the sky and experiment yourself. Remember, it's all about having fun. Okay, so here I've picked up some nice dark violet now. So now we're going to go deeper and deeper. And make it vibrant. So you can see, I'm picking up paint directly from my palette and then just like applying onto my paper, because I want this right side to be deeper. Okay, always go with a lighter stroke at first and then try to darken your strokes. Okay? Do not try to make darker strokes at the beginning. Okay? First, it's just like the placement of the strokes in the beginning here, picking and ice, violet shade. And then now we can blend some of it into your blue and you can see it turns into a darker blue. Okay, it's just beautiful, isn't it? See how it turns into a darker blue? Now let's go back with more pink. I want to go with moping over to the left side. Remember water control is very, very important. So let me just quickly show that you in some corner of a year, if I've got a lot of water on my brush and if I put something like that there. Okay. Can you see how it spread the pigment and caused it to create a bloom? So this is called a bloom or a cauliflower effect, and we do not want that. Always make sure that you have, you know, not too much water on your brush. I can pick stat right now because we're still painting and the rest of the paper is still wet. Okay, so here if I take some nice creamy paint, so you can see the paint that I'm using on my palette here, it's very, very cles, not watery at all. If I apply that and I pull all of that water away from my paper, then you can see how all that blooms. Now, gone away. Let's get back to adding. Now along here, it's okay for you to mix in a little bit with that blue over there. It's going to create a different kind of purple. Not the purple that we have there in the sky, but it's fine. Okay. See, it's a different kind of purple. Honestly speaking, this bottom part is not that really important. Okay? Because we're just going to be covering it up later anyways. Okay? Taking up some nice pink shade. Okay? Remember, you can always use your clothes to absorb excess water from the very edge, so that this excess water does not flow back and cause any blooms on your paper. Okay, blooms can form along the edges as well, if there's excess water from the outside flowing towards the inside part of your paper. So we do not want that, we absolutely do not want that. And here along the edge, and you can see somewhat how my paper has like started to make a bit of dryness. But so long as you pick up paint and then you brush over, then you'll be just able to blend colors and create the perfect looking blend. Okay. So it's absolutely fine even if your paper has like, somewhat started to bend. So now you can see I'm taking a bit more of the creamy mixture and trying to apply onto my paper. And I'm just going to move that big mint towards the top as well, making sure, see, now we've got perfect, perfect blend all around. Now we're going to add in the darker colors of the sky. Okay, so here I'm going to use in a dark paints, gray color. You can also use black. I almost don't use black in my paintings. What I tend to use is I use paint scray to create the depth and the darkness. Okay, taking over that paints gray, we're going to apply that over the top. The reason why we do not add paints gray in the beginning is because when you have an underlying tone or color below the paints gray, it's going to create an even more beautiful effect. We keep applying that darker tone towards the end here. This is not foliage or anything. We're trying to create some nice edge to the galaxy. Okay? So it'll give some nice underlying tones, okay? You can see the underlying pinkish tone shining from that region. Just going to add in same here. And you can see clearly how our paper is literally wet, giving us the freedom to go and, you know, create darker strokes over the top and still blending along with the background here. Adding those darker strokes like to add some more darker strokes over this violet, towards this edge as well. Okay, Some of them just just move your brush stroke inward like that and let it just blend along. In fact, then you can also pick up the color that you used previously. For example, if you want to blend a bit more, pick up a bit more violet and blend it over top like that, okay? That way it would not be weird. Okay? If you're not able to achieve the blend. That's what I mean. You see how it works. Okay, let's not make it look like folige. We'll add some darker, darker strokes towards the inside as well. I'm going to take a bit more violet to add over this region, blending along those little bits of the blue as well. So it's better if you can add vibrant colors from the beginning. Okay? So that your pavementing will be vibrant even after it dries. Okay. That's one thing we have to be careful about here. I'm going to pick up a little bit more of my pink and I'm going to apply to this area here because I really want it to be vibrant. Okay? Because if you leave your colors somewhat dry like that, not dry, but you can see here that it's got very less pigment. And this pigment, less pigment, is going to dry out soon, so we do not want that to happen. Okay. Just showing you different methods and how you can blend them. We've got some nice blends in the sky now, in the space now. So now what we need to do is to obviously have this dry up completely. Okay. Before I move on to dry this up, I just noticed that, you know, some areas here could have a bit more color else. This is going to lighten up a lot and I do not want it to lighten up. Okay. So that's why just lying a bit more of my ins, gray over top like that. I think that's probably good enough. So now let's go ahead and dry this up. All right, here I've dried this up, but let me explain the process of how I've dried it up. You can either like wait for this thing to completely dry up naturally on its own, but that's going to take a few hours because the underlying side is wet. Okay. But what I've done is I used a hair dryer like this one. You can also use a heat gun or a hair dryer. I have this in my studio. This is actually my studio hair dryer. Now what I've done is basically I run the fan along top surface of the paper, so the top surface is completely dry. But if you look at underlying area, that is the underside of the paper, it's still wet. That is, it's got still water at the underside. Okay. The other side, we only need to be painting at the top side, let the other side dry naturally. So that's what I mostly do. So I'm going to paint over the top of this one right now. So here's what we need to be doing. I'm going to just draw a circle. So this is where the pencil sketch of this project comes in. You can use a compass as well, So I'm just going to make it simple and use this for my sake. But you can just go ahead and use a compass. Okay, Trust me. So what we're going to do is don't do it in the center. Try to do it like somewhat along the focal point. Focal point obviously is going to be one by third of the paper. If I have divide my paper into one by third here, so that would be this line. Then one by third along the horizontal, that would be this line. I'll make the center somewhere focused around that area. Okay, And draw the circle. Okay? But one thing to note is do not draw the entire circle. So I'm just going to draw a three, four of a circle. Okay? Somewhere there. And somewhere there. So this area here, I'm not going to draw anything. Okay? So I've just made the pencil sketch. If your paper is still wet, then it's going to be really difficult for you to make the sketch. So I can see my sketch is there. And along this side, if you make sure that your paper is not wet and if it's still wet and you're not able to see your sketch, then you can always go ahead and use a small pen, like a 0.8 MM size or something like that. Okay, like this one micron pen. You can use that as well. I'm just going to use that here. Not complete the circle. Okay, there. Now, that's almost equivalent to pencil sketch, isn't it? It's better if you stay away from that and don't use it at all, and just go with the pencil sketch. But then now we have to cover this up. We're going to be using our white quash for this purpose. The whitewash that I use is this. Designers ph permanent white from Windsor and Newton. Okay, so that's what we're going to be using. I have this little allot over here which I always use for my white wash. Picking up some nice amount of white quash. What we're going to do is we're going to paint along the circular line that we did. Okay? So make sure that you cover up your pencil sketch or your micron pen sketch. Okay? Because we don't want to be seeing that. How do you cover it up? Just use the tip of your brush. And you tip of your brush is what should be going and touching that line. Okay? And then just follow along the circle ski, going until where you've got the end of the three quarter circle that you made. That's my end. Now what I'm going to do is I'm just going to add in some more paint. Okay, towards that region on top of our wide that we just added. We're going to soften out the edges. Okay, Softening is basically clear your brush and don't have any paint in it. It's also not a damn brush. So make sure that there is a little amount of water in it. Okay? And you're going to pull that paint outside. Okay. See? And then it slowly starts to soften so that you don't get any hash edge. Okay, That's basically the softening method we want to be softening such that the edge seems to fade away. I dropped a little bit of water. I'm just taking that off here. Just want to make sure that the edge is faded away. See that? Don't want to see any part of the edge then. If you want to pick up a little bit more paint and apply towards the inside, that's absolutely fine. So we're just trying to create an effect where there's like a blended moon effect in our painting. Now we've got an eye blended moon effect. When this dries up, this is going to be absolutely lighter. So that's the reason why you probably need to take in a bit more of your white paint and make sure that you go over it again. Just make sure that the paint is not too light. And also, you have to make sure that your paper is absolutely dry while you do this, because if it's not dry and then when you're trying to soften it out, you're going to move the underlying paint, which you do not want. Okay? So the softening has to be done very, very, very carefully. I love the way it turned out, so I'm not going to wait for ease areas to dry. So what now I'm going to do is I'm going to paint and add in the stars and we're done with this painting. Okay? So basically to add in the stars, I've switched to a smaller size brush. Okay? And I'm going to load up my brush with a nice amount of water. Today we'll just stick with the most basics and just add in these white stars. Okay? It's okay if your stars go over the tiny moon surface that we have added, It's absolutely fine as well. So the splattering method for those of you who do not know. I love to splatter using my single hand where I hold my brush like this and these three fingers, do you see that? Okay. That's what's going to hold the brush. Okay. So it's going to be this Hold the brush. Have this hand freely. Okay. And then you tap using this hand. When you tap, it releases those paint and it starts to splatter over the top. Can you see how it's splattered? And it's kind of created these wet on wet splatters. I did not expect and I did not intend to do that, but now I love it. It's needed to be a little wet and we apply the splatters. Okay, just go ahead. The other method of splattering is to have a brush like that and then tap using a different rush. Okay? But this tends to be a little bit more messy. And gets paint all over your table surface and everything. And I feel that this is a bit more controlled because you're just going over next to the paper and doing okay. Because the other method, when you do that, the paint even goes over to the top and everywhere. Trust me, you don't want that. The good thing with splattering is that you get smaller stars. You get bigger stars and comes in all these varying colors. We're basically done with this painting. I don't want to pick it up and show it to you right now because the underlying side is wet. But obviously you've seen the final painting, so you know how it's turned out. What I want to say about the underside is see how it's still wet and see how everything is flown towards the inside the paint. So now let me tell you how you can dry this one. So I'll tell it to you because this is the first painting of this class. If you need to dry this up and you want to go ahead and paint the next one, then what you should be doing is pick up your paper, lift it off this board. Okay? And then keep it somewhere else. Then clean out the board. Okay. The entire board completely clean it out. All the paint, all the excess water and everything. Clean it out. Then once you make sure that there is no water on your board at all, no droplets or anything, then you can bring back your paper, turn it over, and then dry along that side. Or you can let it dry naturally on your board, which should be around a few hours. And once completely dried naturally, you can obviously take your paper off and then clean your board. That's it. So that's how you can work with this method. So I hope you enjoyed today's painting. Thank you for joining me today and I'll see you in the next painting. 6. Day 02 Project - The Green Planet: Hello, welcome to day two. And this here is the painting that we're going to be doing today. So look at that majestic planet. Okay, so I hope you enjoy this one. All right. The colors we need for today's painting are a transparent yellow, olive green. If you don't have olive green, you can obviously mix it up using green, brown, or orange. Just try wearing those shades in sap green, dark green, indigo. And obviously, hello, green and lastly white wash paint. So if you're ready, let's get started. All right, let us start for today. We do have a small pencil sketch to do, so we'll do that before we start applying water onto both sides of the paper. You need a compass or a large object, A circular object in which you can make the circle. Okay, So I'm going to use this large plate because unfortunately I can't find my compass. So just going to plate that, make the circle such that the right half of the circle is outside of your paper. Okay, Just to make it interesting, that's it. So just a teeny tiny bit going outside of the paper and make it towards the bottom. It's not ideal when you have placement of objects right in the center or the focal point. And for the composition of the picture, it's much better if you can place them on a slightly angled or in corners. Ideally one by third positions. Okay, so there, and I'm going to mark out that circle. Honestly speaking, using an object like this is much easier. Now, we've got the pencil sketch done and ready. So we'll start by applying water onto both sides of the paper here, since I already have covered one lesson, one particular lesson on prepping your paper, that is applying the water onto your paper. I'm not going to be showing that right now. At this point, you can pause, apply water onto both sides of the paper, just like we did in the prepping part, and then we can start painting. All right, there you go. I have applied the water, so I'm just going to you on the surface without going towards the ages. Just going to apply a little bit more, flatten out those areas. I think that's more than enough. So let's now get to painting. Okay, so today's painting, I hope it's going to be absolutely amazing as I am picturing it. Okay, so we're going to start with a nice transparent yellow color. So this is transparent yellow, so if you need the pigment number, that's P, Y one 50. Okay? Taking Y one 50. And we're going to start here at the bottom. So what we're going to be doing is we're going to make some lines like this on the paper. Okay, there, it's okay. Right now. We're not going to focus on that large planet that we have made. So we're just going to add some nice lines, slanted lines like that. Okay. So we can see some of my lines are slanted only up until that point. Then you can see the creamy mixture that I'm mixing up here. You don't want your paint to be overly watery, or as I mentioned, it like to be a milky consistency. Okay, so what do you want is a creamy consistency? Milky consistency would mean it's like milk and it's more loose, creamy. It's really creamy. Or you can even call it like a buttery consistency. Then here, I'm just going to add some more here. But here I'm going to change the direction of it a bit. Okay, Now here I'm going to do like that. Instead it's just these random strokes that's happening in space and maybe let's follow along that region, okay? Needed to be some more vibrant. That's why as you can see, I'm picking up directly from my palette over here. Okay. As vibrant as you can get. If you want, go ahead and apply multiple times, especially if you're using paint from hands. Okay, just go over multiple times and use it. Then the next color I'm going to do is olive green. So I know that many of you may not have olive green in your palette, so you can mix this up instead. Okay, so mixing up olive green is actually very easy. All you need is kind of like a nice vibrant green, such as a Hooker's green or a sap green color. And then you can mix a teeny tiny amount of orange or transparent brown, or any brown in fact. And keep adjusting the consistencies of those two colors, and you're definitely going to get an olive green shade. And if you want, try and mix in a little bit of yellow as well to, you know, get that exact shade that you have in your mind. All right, so here I'm not going to even mix it up in my palette. I want the paint to be nice and creamy. So I'm here directly taking off from that palette region. Okay. And then I'm just going to apply over the yellow that we did only in some areas, but going to make my lines like that. So notice my hand movement. Okay. It's better if you can keep your hand free and do not do it with your wrist. Okay. So the wrist is not what does the work, but it's your whole hand. So that's why hold your brush right in the middle and then just do that. Okay. See that? Okay. That helps a lot, trust me. And then I'm going to do it right here as well. So that's another thing that I'd like to explain when you're painting. Try and paint with your entire hand and not just your wrist. It helps tremendously, trust me. Okay, so here added some nice olive green strokes. We want to be adding some here as well. So it's just marking up some greenish shades in between. It's not absolutely green, it's almost closer to the yellow as you can see. We've got the olive green in now. Now let's add in the next color, which is going to be a nice sap green shade. Okay, So here, digging up that go just sap green. Now we'll just add it back and start mixing it along with the yellow. Okay. And like I said, don't bother about the fact that it's getting mixed in with the circle that we're going to be painting. Okay, so here when you come, try and blend that in, in a uniform direction. When I say uniform, that's not ideal, is it? So it's like this here, isn't it? So here, try and just like bend your strokes such that it comes and blends together and it doesn't look straight here. And then you know of another direction here. Just try and smoothen it out. That's it. Okay. Yeah, smooth, that's probably the word were looking for. Then this side as well. Now, blend that into the olive green and yellow region. Okay, slowly. Can you see how it blends even though your paper might start look like it had started to dry. But as soon as you touch your paper with paint, it's going to be moistened again. That is the best thing about this technique. The int, and the water that you have in your brush is going to give the moisture back onto your paper. Okay. So it's going to work really nicely. See how I've created like a swift direction here and how I've just blended that into that direction as well. So those are the things that we need to see. Don't try and do the strokes in very strict directions. That's what, okay, try and just smoothen out things here and there so that it really helps into the blend that you're trying to achieve. See here how I got a bit of dry stroke because it's almost started to dry. But trust me, it's not dry. Okay. Because when you apply water and you just blend that along, dried area is gone. This is why this method of blending your strokes and keeping your paper wet longer really works. So we've covered almost many of the areas. Just some more to do here, some in between, we obviously have more work to do. Okay, then here, digging my screen and going around. So right now I'm not bothered about my paint going inside of my planet Circle. Let it go, it's absolutely fine. What we want to do is cover the surrounding areas really nicely. Okay. That's really nicely covered. Now we'll start to go with the darker strokes inward. Okay. The next color I'm going to be taking is a dark, dark green. Okay? So it's a really, really dark green. If you don't have this dark green, do not worry. You can make it up in two different ways. One is to mix up your soft green with a little bit of indigo, or you can mix it up with black. Okay. I prefer the indigo method, although that indigo is going to cool it down. That's okay, even if it gets cooled down because we're going to be adding some cool colors that is thalo green after this. Okay. So having that coolness to your green is absolutely fine. So here picking up that darker shade green, I'm just going to blend that in. See that from this edge here. Okay. That's where I want to be adding along here, towards the inside, That's it. Okay, so now I want to blend that green that we just added. So I'm just going to pick up a little bit more of the sap green and go ahead and blend because remember the underlying color that we just added for sap green. So taking that sap green and bending that, remember the direction when you reach this region, okay? So it needs to go and soften. Then we'll start adding the next darker shade. So this corner here, I want it to be really dark, but then we're going to achieve that darkness by varying levels. Okay. So now I've picked up my paints gray. I'm going to be adding that in the corner there. Okay. So there picking up my sap, sorry. Paints gray. Okay. There. Okay. I mean, around there. Let that reach into up until that point, somewhere there but the end region here. Okay. That needs to be absolutely black. The reason why we do not apply the pain screy directly is that because even if there are some areas that you were unable to cover up with your paint scray, it would still seem darker because of the underlying colors there. Okay. If it was just paint scray, then it would get lighter when it dries up and we do not want that. Okay, so let's blend that up again a little bit. So here I'm going with my paints gray again, and I'm just going to try and, you know, blend that region because I do don't want my paints gray to stand out like that. Okay, so I'm just going to blend it into the old region. So now let's start adding some nice cool colors. Okay? So for adding those cool colors, what I'm going to be doing is I'm going to take my Hello blue just a second. So my Hello Blue is contaminated with a little bit of horizon blue there, I think from a different painting. Hello Green. Okay. So hello green. I know that you may not have this tello green, so you can go with a turkuis green shade as well because that's going to be cooler. So in order to make the turkuish green, just mix blue and a green together. Okay, I deal hello blue and your sap green together and you should be able to get a nice turquoise green shade. Okay? But the best one is obviously hello blue and hello green, which makes the best turkuish green. But if you're not having that, then comes this method. So here, just going to take up that halo green. Put that over our paper, okay, onto that area. And you can see how it starts to get cooler and blend it along with our black region. Okay. And here slowly, just pull out your pigment in those directions. I don't want it too much visible. I want some yellow strokes to be there as well. I love that blend. So Sina, how we've got some nice cooler shades over there. So we're going to do something similar in some of the other areas, picking up my yellow green. Again, we're going to add it here, so see how that's like, very vibrant and showing up over the top. So I'd like to blend that. So I'm just going to pick up a little bit more of my yellow paint. Okay. The paint that we applied, don't worry about the olive green. It's still going to show up because it's, you know, you're applying yellow over something that's slightly darker. So the olive green will still show through. Then here again, add in this region, I think that's good enough. But this region here, I'd like to make it a bit more darker. So instead of paints gray, now I'm going to go with indigo. Okay, so here taking that indigo. Okay, indigo, because it'll make it more cooler. And try to blend that in. And let's add that darkness. Going to pick up the thalo green again, going to blend that in there in that region. See, I dropped a little bit of water from my brush and it's turned into a bloom. Let's fix that. As long as you just run your brush over and spread that water out, you're going to be absolutely fine blending that in. Think that's good enough. I love the way this whole thing turned out. Okay, so yeah, we're good to go. So in today's lesson, before we dry out our painting, there's one trick that I'd like to show you. I mean, I think we already covered it a little bit in day one, but it's mainly how you can get some wet on wet splatters. And it's going to look amazing because it's just going to spread in the water and going to create some amazing wet on wet platters. Okay, so we're going to be doing that, so I'm going to use my quash paint, which is from the previous days yesterday, and it's quite dried up, so I'm going to have to take my time and put my brush along to re wet that quash. Okay, I think that's good enough. All right, so we're going to do the splatters, so watch closely. I've shifted to a smaller size brush because I don't want these platters to be huge. Let me grab that again, a bit more quash. Okay? And I want some of them to be majorly over that black paint. Okay, Because it's gonna stand out more rather than all the other areas. Okay, we've got some nice platters and you see it's spreading. Okay. So that is the wet Rex flatters. It really looks amazing. It's going to turn lighter when it dries out. Going to turn absolutely lighter when it dries out, But don't worry about that. Okay? Because those are the stars that we're depicting, kind of like far away. And the closer ones will be the one that we add with the wet on dry method. Okay, so another we've done with this, let's just go ahead and quickly dry this up so that we can paint this planet over the top. All right, there you go. It's completely dried up. So I used the hair dryer to dry this up, obviously because I am recording this and I want to finish it soon enough. But you're more than welcome to, you know, wait and let it dry. Because I'll just tell you one disadvantage if you're using a hair dryer. Okay, so see those beautiful splatters that we did with the white paint? They faded. They faded because the hair dryer just pushes the pigment more and then it just kind of disperses out into the areas surrounding it so that it gets very, very light. Whereas if you let it dry naturally, then it would stay at that point and it'll be a little bit more vibrant. So you can see those platters are very light. Okay. So that's one disadvantage of using the hair dryers when you're using these wet on wet platters. But I guess it's okay because I've got some nice stars over there, which I'm happy with. Okay. And some at the bottom here. And you can actually see these ones as well. It's not that faded. So now we go ahead and paint this planet. So what we're going to be doing is we're going to start with the bright, beautiful yellow itself. Now our paper is dry, so you can actually go with a milky consistency of water and paint. Okay, So that's the milking insistence. You can see how it's like a nice watery mixture and we're going to paint over. So obviously it's going to have that underlying color from the edges shining through, and it's absolutely fine. Okay. So here taking that nice yellow paint, I want to apply some over there. And I'm just going to go along the edge now. Careful as you paint along the edge of the paper there, you can see very, very carefully. Then I'm going to go with the next shade which obviously is sat green. So now you can see again, I'm using a milky consistency of the paint. And I'm going to start over the yellow along this edge. Okay, we're going to be blending that in. So we're going to be doing a blending, which is the wet on dry blending. We're painting wet on dry right now, which you obviously know because we're using a wet paint on dry paper. Here, what you need to do is you're going to use a milky consistency paint. Okay? It's watery paint, but then you're going to apply it onto the paper before your previous stroke tries out. So you can see here, my stroke that I applied for the planet is still wet. Okay, These are still wet. The edge is dry, but so long as you go and add paint over it, see that it becomes wet again. Do you know why is that? It stays wet. And it doesn't create the brush strokes because your paper is still wet underneath it, still has that moisture and you're able to paint that beautiful wet or dry stroke using this method. Okay? So here I just want it to be lighter and some yellowish region over there, but the rest of this region here is going to be slightly darker. Okay, so we need to be adding more darker colors there. That's how we've added the green, the sap green. So now I'm going to go with a further, further darker green. That would be my dark green. Okay. And I'm going to blend that in. Each time you blend, make sure that you know you're careful along the edge of the paper, okay? Because you don't want your paint to be spreading. Also, make sure that you dry your paper nicely. Because if it's not dry, it can spread out. Okay? Because obviously paint moves when it sweats. Okay. Now I'm using my darker green. And as you can see, I'm making these circular strokes. Okay? Try and follow somewhat the shape of your planet. Okay, here in the center. Try and keep the shape me wash my paint. Going to take some yellow blend that in here. I want that to be nice and blended. And then I'm going to go with a bit of olive green for this region. Okay? The olive green and all that you're applying is not going to be that visible. But that's okay because you're trying to get, you know, a darker shaped planet. Okay. With a lighter tone here. We'll make it even lighter. We'll see that. I mean, you've already seen the final picture, so you know how it's going to turn out, You just need to know how we did that. That's all right. So keep picking up the darker paint, add it over the top. Now you can start adding random strokes and making this edge here darker. And try and blend them nicely together. We need a really nice darker tone for the edge. In fact, you can also make it cooler by taking a little bit of indico and adding that as well. Here as you can see, adding a little bit of indico, what you always need to do is you need to look at the surface of your paper. If you look at your surface of your paper and you feel that it's starting to dry out, See how I've got some strokes now. Go ahead. Pick up your paint that was underneath it and just reinforce that pigment. Okay. I'm just taking up sareen again and I'm adding over the top and blending along and see how that whole thing just blended. Okay. And now it doesn't look odd anymore. Sometimes you can just even you use water, not too much water, just damp brush to brush up your pigment. Okay. See how that worked? Okay, So just going to pick up yellow this time. I'm going to add a yellow over there just because I want to keep my paper wet. Okay. I just want to let you know why my paper dried. Actually, I had to like pause in between and go because my son woke up. So I came back like after 15 minutes. So it had started to dry, but it's still not dry. Okay. So that's why I'm doing this. But you can clearly see how this method is so effective, it was not completely ruined. Okay, I seriously prefer doing such paintings because even if you have to like go in between, it really works this way. Okay? Some more darker color. That would be my indico along the edge, and also gives a nice cooler tone. Okay, some more. Okay. Now, then you can also pick up the color and start adding dots here and there. Okay. The planet surface doesn't have to be perfect. You can have dots and imperfections in there. Which is why do not worry about any blending. And you don't overly think about the things that you need to be achieving. Okay, there you go. So now there's just absolutely one thing left for us to do, which is obviously to add some nice white paint. So that it's absolutely shining again. Okay, so here I'm going to be using my white paint. My paper is still wet. So what we're going to do is we're going to pick up that white paint nice and go. Just white paint and we're going to add over the top, along the edge. So watch this. Okay, we start with that heavy white paint along this region here. And as you go towards the edges, decrees either paint, so here, a lot over the center. And then using the entire length of my brush. Then as I move towards this side, I'm lifting my brush. Okay, lifting as in okay, let me show you that. Again, lifting as in I'm doing this. But then as I go towards the site, I try lifting, lifting. So I start only now towards the edges. The pointed tip of my brush is touching and nothing else, We need that nice absolute white shade. Then also add it, then let me wash off that white paint. Okay? Because I want to blend now. So I'm going to pick up that yellow color and we're going to blend that. Okay, so this white paint that we just applied, we don't want it to be like shining white, we just wanted a lighter tone over there. So what you're going to do is now we're going to pick up that paint that was there which was the yellow color. And we're going to blend it into our white. Okay, so don't let the white be too vibrant. We just need it to be some lighter tone over there. Okay? Blending that you can see how it's blended. Wash your brush in between, if needed. Then going back with my yellow paint and just making sure that I have a nice blend. I love the way that's turned out. This is going to turn absolutely lighter, so we'll have to do some more work over the top, but that would be after it has dried up. Okay. So I love the way this has turned out. Now let's go ahead and dry this up. All right. There you go. I've completely dried it up. Now we're going to take up that white paint again. And now we're going to go over the top and do the softening method. Okay, This way, this region at the end, we'll have a nice, vibrant white. Okay. But then softened out. What we're going to do is we're going to start out with the white that in the center, nice and vibrant. Then remember to go soften and lighten up towards the edges. Again, not light enough, but thinner towards the edges. That's the correct word. There you go, Thinning towards the edges. Let me take up that nice white paint for the center. Now, going to soften that area here, I've got a damp brush. Just amp, that's it. Okay. Nothing else. Every time if I'm picking up too much pigment on my brush, then I would just wash it off. Okay, so here I've got the white paint and then I'm going to go over the edge. Let's spread that paint, this edge as well. Now you can clearly see how we've got that shining white along that region. Okay, If you want, you can add more white to the edge, but the very edge, don't go further to the place where you had softened. Okay? Because remember you went into such great heights to soften that you don't want your paint to be blending again, smoothing out. Okay. Don't want any harsh edge at all. So just to smoothen out beautiful way. So next thing I'd like to take in a little bit more yellow and I want to add a nice yellow stroke over here. Okay, So it's okay that some of the strokes on your planet is going to be a bit dry, but it's kind of depicting like, what do you say texture or the surface texture of the planet. Okay, that's what this is, so think of it that way, but if you're a smoothie, smoothie person, then you can go ahead and smoothen it out as well. Okay? Maybe along the edge. So as long as you're able to match out your strokes and blend it out, you're absolutely fine. Okay? And plus, when you add in the stars and everything over the top, then this painting is going to look amazing. So there I've got the planet. I've got the edge nice and clean. So I think we're good to go. So I'll just quickly dry this area up again so that we can do the flatters. Okay, and finish off with our stars. All right, here you go. You can clearly see how the white actually lightens up and it dries up. Okay? But that's completely al right. If you want it to be more, very, very white, then what you can do is you can keep applying some more white and do the softening until you're satisfied with the level of whiteness of that planet area. I'm okay with this one, so let's just go ahead and start adding the stars. Okay, so we've got to be careful with this one. We don't want stars to be over the planet, okay, So it has to be around. So what you can do is I think you can use some kind of object or you know, a cover to mask out the planet region. So there I'm just going to use this little board that I have and mask out, and then add in my splatters, the stars. Okay, so we can see how I'm splattering. And we're going to add in literally a lot. And it's ideal if we can just use a smaller brush as well. Okay? Because it then just gives a lot of teeny tiny splatters. So because this is a circular our area, you would have to like move around the cover that you're using. Okay? Otherwise, if you're using a square or rectangular cover, just like I'm using, then you're going to end up with stars in just a rectangular area, which we do not want. Okay? It has to be all around except for the planet's region. Okay? So like I said, if this method of splattering doesn't work for you, you can obviously go with the other method as well. So don't hesitate to follow along the other method if that is what works for you. You can also use your hand like that to just, you know, mask over those regions. We've done some nice ones. Let me just show you one last quick thing as well. Let's just add some shooting stars. What do you call them? Comets. Okay, so basically what you're going to do is ideally a brush that has got a very nice point of tip and a very detailed brush is what is going to be useful. Let me see a line of brush or a very small pointed brush. So this is a size two brush and it's literally pointed. That's what we need. Okay, And you're going to pick up your white paint, make sure that your brush is pointed. See that it's a point. Let me show you that. To closely see it's a pointed tip. Then you're going to choose one of those teeny tiny platter stars that you just did. And from that star, you're going to pull outside and draw a line. As you draw a line, do not draw a line like that, But what you're going to do is you're going to draw a line and lift off your brush. Okay, lift off like that. That it tapers towards the end and you get a very tapered line. Okay? Just like the tail of a. Come, let me show that to you on this one here. I'm choosing this teeny tiny star here. I love that. Just going to use this one as well. I always got a nice tale. Let's do some more. Let's not do too much, but there you go. Okay, so if you want to add more, you can do that as well. Okay, so I think that's more than enough for today's lesson. It's been quite a lot, I feel. Here you go. This is the painting that we made today. So I cleaned up the edges so that, you know, it's good when I show it to you like this. And thank you for joining me today. I'll see you in the next day. 7. Day 03 Project - Pink Planet Moon: Hey my beautiful people, welcome to day three. And this here is the painting that we're gonna be doing today. So I hope you enjoy this one as much as I did. Here you go. This is the painting that we're going to be doing. The colors we need today are Quinacridone Rose or PV 19, Transparent orange violet, transparent brown, and a little bit of white quash. So those are the only colors that I have used in this painting, and it's going to turn out beautiful. Okay, so let's get started. All right, let's start. So today we have a small pencil sketch to make again. So at the bottom here, we need to have a planet. So you've already seen the final picture, so you know what that is. So let's actually trace out the outline of the edge. Okay, the curve. So it's going to be quite difficult obviously, to sketch out that part because it needs to be north end and like part of a circle. So it's an R, which is a part of a planet, a huge planet. Okay, So I'm going to take it somewhere around here, which is again, one by third of the paper. Okay, Somewhere there. And then it needs to go way down there. The best way to draw that arc is to draw it in a one single line or like continuous way, rather than in a broken up manner. And instead of using your wrist, try using your entire hand. Okay? So if you use your entire hand, you get a little bit movement. So you can actually practice in the beginning how you're going to do that stroke and then continue on with that practice. Okay, let me show you from here to here. That's where I need to achieve. So if I were to do it, this is what I need to be doing. All right? So let me just try that. Okay. See, that's not what I had in mind. I want it there. So I'm going to try that again, so it's completely okay that if you do not get it in the first try. So that's what I wanted to show here. Okay. So again, so it's supposed to be here. Let me keep that in mind and try that again. I think that's good. That's where I want it to be and I've got that edge of the planet now. The next thing is we also have another planet to make, which is a smaller one, as opposed to this larger one that we've just made. Okay, smaller one, somewhere over here. Let me see if that plate fits. No, that's too big still, so I don't want it to be that big. Here today I've found my compass. So we're going to be sketching out with the compass. Okay, So you can use any other object as well that matches a circle, that is any circular object as well. So we're going to be choosing point that is around lesser than the one by third point. Okay. I guess some way here. Okay, that's where I'm going to be choosing my point. And we want a planet part to go outside. Okay, See a part of my circle goes outside, come back in, goes outside over there as well, then back into your paper. It's always considered best if you can avoid tangent edges, okay? When I mean tangent edges, it means that, for example, if you choose some point on your paper such that the edge of your circle is going along the edge, okay, of your paper. That's called tangent edges. It's best if you can avoid that because tangent edges do not look good in a painting. It looks good when you have things cut across and like cutting off from the painting, then it becomes more visually attractive. So that is why we have some parts going outside here, Going outside here, rather than this here sitting in this corner here. That would be not as attractive as this one. So now that we've made our pencil sketch, let's go ahead and apply water. Okay, so you already know how that process is. Just go ahead and apply water to both sides of your paper. Do not worry about your sketch. Okay, we'll deal with the planets and everything later on. So just now, apply water. All right, there you go. So now I've applied water on all of the areas that is both the back side and the front side of the paper. So let's get started. So we're going to be starting with a beautiful pink shade, okay? So it's basically PV 19, Acrodone rose again, green rose or PV 19. You can even use, you know, like the Neon pings if you have, that's going to look much, much beautiful guys. So if you have that you can use that as well. Okay. So I'm going to start here and I'm going to apply the paint over to this right side at first. Okay, remember to always notice the direction of my strokes, so let's go keep applying. Okay, so remember to take in a nice, creamy consistency of the paint. Not a milky consistency, because you want your paintings to be nice and vibrant. Right here as you can see, I'm taking directly from my palette because that makes it more vibrant. When you start like mixing your paints on your palette, then it starts to become less vibrant here, taking my paint and we're going to cover it up with one base color first, and then we'll start mixing up other colors. Okay, So I think up until that point is enough because we're going to be having a different color over there. I think I'm happy at that point. Got enough pigment. Let's take it to this side as well. Okay, I've added enough figment over those areas. As you can see, I've covered the right side with almost nice pink color. Now let's go ahead and start with our other colors and start blending that beautiful sky. Okay, so the next color is going to be violet. And I'm going to start with that violet over to this left side, okay? It's okay. If you're going over your planetary areas, it's absolutely fine. But over here, try and refrain from going over to that planet. Okay, Over the top of that planet, just try and be careful. That's it. You can see my paper has the moisture has started to decrease which is why it's not going over to that planet region yet. Okay, Some of it will flow but that's fine. Okay, here taking my paint and adding there, then I'll take over here as well. Okay, I'm going to add that violet. I'm going to add some more violet. And we're going to cover the surrounding areas of this planet with that violet. Okay? And then we're going to blend that violet into our pink. Okay? So that's what we're going to be doing. First, lay down the colors. The blending part can be done later on. That is because the water is still there and it helps in the blending part. Okay, there now we've laid down enough color. Let's get rid of that violet. We need it to be more like a pinkish violet, so that's why we lay down the violet. Then you blend with more pink rather than violet blending onto the pink. So if you pick up more pink and then you start to go over that violet. Okay, See, and start pulling your violet paint over to the pink area. Okay? But at the same time, can you see how it's becoming a more pink violet region or a blue violet region? Sorry, a red violet region rather than the dark violet. Okay, so that's what basically we want. All right? I'm taking more pink even on this region. I want it to be like in a purple, red, purple shape, not violet. Okay? Taking my paint, always consider the amount of water that you have on your paper and very carefully look at it. Okay? So if you have less water, then you're not going to achieve the perfect lens so when you're doing the water application method. Okay? And just make sure that you have covered both the sites with enough water for it to stay wet longer. Okay? That's very important. All right. I've covered somewhat areas, but now what we need to do is before the rest of the paper starts to dry out, we need to fill it up with pigment here. I'm picking up my pink shade and I'm just going to go over that planet. Okay. And cover it up. Same here, along the edge. Okay. So that it does not create any harsh edge. We'll create the harsh edge when we're trying to paint the planet on its own. Okay. But right now, once you've added pigment, then it'll stay wet a bit more longer because as I've said before, you're reinforcing the moisture on the paper. Okay, again, we've got some pink region over here at the corner. Then for this planet, I want to bring in some other colors into the picture here. I'm going to start with a nice transparent orange. You can also use cadmium orange or any orange that you have. Cadmium orange is going to make you mixture into a muddy color, which is why I prefer to use transparent orange. And this transparent orange, I'm going to use it and create these lines like that. Okay, See how my paper is dry Over here, I got a dry stroke, but as soon as we apply our paint, it's going to become wet again because the underside is wet. That part is really advantageous. Okay. Here I've taken up a bit more violet and I'm going to go over and add some stroke. Then we're going to pick up some more pink and add some stroke. Okay? Which is basically trying to blend those colors. Okay? And here again, pink shade. And let's add it. So sometimes if your paint is like, dark enough, you may not be able to see your pencil sketch in the end, but that's okay. Okay. Because we can always still draw over the top. We obviously roughly know the position of where that planet was going to be. Right? So it's going to be fine. Okay, so don't stress about that. You're getting rid of the pencil sketch. Okay? We're just laying down the preliminary or the underpainting colors right now. Okay? Even for the planet to the region. And then we'll add everything over the top later on. See how we've got nice blends in that region. I want a bit more violet here a bit. Let darker, okay, darker region over here. Going to take some more and start, I'm going to leave a large chunk of pink over there. Pick up my violet again and try and make it darker here at the edge. This time we're not going to be using paint scrape, we're using that violet to make it darker. The red purple shade that we will create with the blend is going to make that region darker okay here, taking more pink. Just going to blend that. Okay? Right now, while you're blending, careful not to bring your violet towards that top region. In order to prevent that, what you can do is see, I've got pink on my brush. If you apply the pink. Okay? And then once you cross over to the violet, do not bring your brush back upwards, wash that pigment off. Okay, That is how you can keep that area still violet and achieve that nice blend over there. Now, over to the bottom, let's start blending. Okay, so we've got the nice violet. Okay, let's bring down the violet. It's absolutely fine that we're now bringing down the violet and blending into that ping region. The violet is not going to last for a longer region, it's just going to blend and eventually it'll turn into a pink shade. Okay, I think we've got some nice background regions. We've got the planet here. I love this, you know, the softer background of that planet. I'm seriously right now considering if I should even paint that planet in its contrasting wet on dry method or just leave it like that. But I guess my original intention was to paint the planet. So maybe I will, but this is really, really fascinating to me that I really love that how it turned out finishing off the first layer. So what we're just going to do is I'm picking up a little bit more of my purple and I'm just going to add, you know, like a line structure here over my planet. Okay? Lines and some dotted structure. So these are going to act like in the background. Okay. Now you can use the point, a tip of your brush. So I'm holding my brush straight down like that and adding some strokes. I need some darker violet stroke here. Okay. I think that's enough. Rest, we will add over the top. Okay, Now to finish off what we're going to do in the background as we're going to add in some nice white areas. Okay, not white areas are not stars, but giving some lighter stroke to the pink region here. Because we've got taker regions here, we've got taker regions here, we've got the planet here, we've got the planet here. Today's new thing would be to create this white stroke in your cosmic region. Okay, so here taking up that white paint nicely, it's still the dried up paint. So that's why I'm running it along to activate it, taking that nicely. Then you're going to apply. Now observe where I'm still holding the brush. Okay, And then I'm going to do this movement and apply the paint. Okay? Something like that. Applying the paint by doing that kind of movement. Okay? So I've applied that paint, but now we need to blend it. Okay? Because you can see that it's not, this is the thing with opaque colors. They try to form these hairy structures and not blend properly. Okay? In order to blend properly, you'd have to pick up the color underlying color again, and you go over it multiple times and create that blend. See how I'm trying to blend and get that color in. This white that we've just applied is going to turn much, much lighter when it dries out. It's not going to be looking like this at all. We will still have that lighter tone there, which was our original intention. Just going to add some over this planet as well. Okay, oops, I dropped a large drop of water and how it's forming a bloom. But I'll fix that. Just taking a little bit, moping, spread it and let it flow. That's it. Okay, there you go. So now we've got the nice background. If you want, you can go ahead and add in those wet splatters which will create those beautiful, unique stars. Okay, let's do that. Just a tiny, tiny amount, okay? Anything that falls over your planet is fine, because we're going to be adding darker colors over the top later on. So that's fine. Now, I've dropped in some nice white splatters. Okay. Now, let's just quickly dry this up and we can go over to the next layers. Okay? All right. There you go. It's the front part has completely dried, but the underside is still wet. Okay. So let's go ahead and paint in the planets. Right now we've got two planets to paint. Okay, now we're going to use a very milky consistency of the paint. See how I've loaded up a lot of water into my palette here. Okay, so we're going to be using that milky consistency of the paint. Initially, we painted with a creamy consistency because we wanted not to introduce a really watery area, but rather just applying the paint onto the wet paper. So here now let me look at where my pencil sketches, that is the line of my pencil sketch. It's really very evil, but that's okay. So what I'm going to basically do is I'm going to start from the bottom and I'm going to apply my pink shade. Okay, This pink color we're going to apply over the top. And you will then see how those violet tones that we applied goes like, you know, one layer below, because obviously it's one layer below. Okay? So there. Follow along the shape of the planet. That's very, very essential. Only then you will be able to get in that, what do you say, that ideal look. So here loading up, milky consistency of the paint again, let me, I can't see the end line here. That's okay. I think we'll adjust it. Okay. So what I can see the line here, you can always adjust with your brush. So even if you go a little outward, then you can let you know, straighten it up with your brush. Okay? So there, okay, that's the line. Then let me pick up the paint. Go over again and this side again. So I'm just going to turn my paper because that's convenient for me to paint along the edge. Okay. So you also turn your paper or do however it is convenient for you to paint. Okay. So that is the convenient line for me. That's good enough. I don't see the line and I'm pretty sure that I did not follow the exact line that I had done while catching out. But that's okay because we just need that rough line which clearly depicts like a planet but not also out there. Or not getting the right word for this. Okay. Anyways, so there you go. It just doesn't need to be perfect. That's it doesn't need to be perfect. So now that you've added in that planet, you can see how that planet shines along. But then now we've got to add in more details. Okay, so I'm going to start with that white paint because I want to give a nice white edge to my planet. But observe closely how we're going to be doing it. This is building on from the day to lesson how we did it. Okay, so we're going to pick up the paint. You can use a smaller brush if you want, but I'm just going to continue with this brush. Okay, We're going to apply along the edge. So let me turn my paper again because that's convenient for me to draw. So I'll basically just hold it like that. And we're going to draw along this right, this edge here, the left side, taking up my white paint nicely. Okay, load up your brush with white paint a nice amount and then we're going to add that over the top here, so see how that shines through. And then we're going to draw such that it becomes thinner towards that side. I guess we need a little bit more. Let me load up my brush. This region on the left side needs to be thicker and it needs to taper as you go towards the further edge. But also the tapering should last until the very end, which is why we need to add more along this side. Okay, here, let me add more. If you make it bigger enough, then you'll be able to decrease the thickness as you go over to the right side. There you go, see that. But we obviously need to like now perfect it and make it even. Because as you can see, it's very thin all the way from there, so just going to adjust and make it even. Make it more thicker where it needs to be. Okay. See, that's much better, isn't it? Me load up my white paint nicely over to the left side. The truth is this is going to lighten up very much and it's not going to look like this at all. Okay? So that's okay. We're just trying to give that subtle lighter tone there. Okay. And you can see the hairs that we were talking about. It's formed those hairs which we obviously do not want, But that's okay. We'll blend it. Okay, so here picking up some more white and then we're going to add to that region. So now I'm just adding over the top and I will not blend this. Okay, So I'm just going to leave it as it is. The next thing I'm going to pick up some pink shade, but this time go for the creamy consistency, and I'll tell you why. Because your paper, with the paint that you applied all over, is still wet. So when it's wet, remember to load up your brush with paint such that it's got lesser amount of water than there is already on the paper. Did you understand that that's the trick? Load your brush with paint plus water in a consistency such that it's got lesser water on your brush than there is on the paper right now. This part of the paper is wet. When you're loading up your pigment, make sure that it's not too wet. Okay, it's got to have lesser water only then you'll get the perfect wet on wet technique. That's actually like the rule one oh one with watercolors. I'm just trying to smoothen it out and I'm taking off excess pigment that I'm picking back up from the paper. Think I need a bit more white for this edge? All right. Yeah, I see. I like the way that's turned out. Okay, so we're almost done with this planet. Just I just want to add in a few more violet strokes. So for that I've switched my brush to a smaller size one. You can either use a size two or a size four. So this is a size two, one, and we're going to load it up with violet. Okay, so here that's the violet in a creamy consistency. So you can see here at the corner, I'm using a creamy consistency of the paint, and we're going to add it over the top. Okay. So. This creates thinner lines and texture. That's why we're adding this. Okay. But it'll be still above and the other one that we have will be like in an area underlying it. Okay. What we're going to do is you're going to do such smaller lines and details onto the planet. At some areas you can probably add in these oval shapes. See how I added an oval shape with my brush. But still remember to follow the oval shape in the direction of the planet. Okay. My oval is not facing this way, it's facing this way like that. Okay, that's what we need to do. Maybe another oval. Lend it along there. Follow along the center direction. All right, there you go. I've added a nice stroke that's more than enough for that planet region. We'll add more white over the top if it is needed. Now we'll go over to the other one and finish it off. For the other one, I'm going to try and get that circle again. Okay. Because it's kind of gone a bit. Okay. So I'm just going to add that pack with my pencil. Sk pencil. Okay. So I can I know where it would be. Yeah. It was supposed to go out of the paper, isn't it? Or somewhere there. In fact, you know, you can make your circle even bigger than the one that you already had. Okay. That would be, let me see. There in this direction, it's coming to be a little bit bigger because I can't find the center point where I did the circle. The reason why I said that you could still draw it is because this side of that planet is going to be in a different color. So it's absolutely fine for you to go ahead and do that. Okay, so here I'm loading my brush with the orange paint again and we're going to be following along the direction again. See orange, orange paint up until there. Remember to load it up with wet water pigment. Very important. Okay? See how it's a nice and watery pigment. Okay? Then we're going to go and continue over with our pink and finish it off. Okay. So now I can see the edge of the pencil sketch that I just made, so I'm going to follow along that edge and cover it up. Okay, so now you're not going to go outside, but you need to follow along the pencil sketch that you've made. Okay, so here again, this is the other edge of the planet. The pencil sketch that I've made, load up your brush nicely with the milky consistency of the water and the paint there. So now we've added the planet. Now we've got to add in darker colors. Okay. And we'll be good to go. So what darker color? So I'm going to be picking up my violet. I'm going to be picking up my violet. And I'm going to start, okay, so my violet. I'm going to start from the very edge here and then I'm going to take it and go over that orange. See what I'm doing. Okay, so just going to take, and then I'm going to draw like an arc over the top. So that is going to be the area where it's in shadow. So here picking up my violet paint, but you can take it in a nice dark consistency, then follow along the same arc that you did. Okay, I think the arc needs to be a bit more like that. That's it, two round. Okay, let me take that. Yeah, I think that's good enough, but obviously it needs to blend here. I'm taking up my orange. Okay. And I'm just going to add my orange. You can pull out some of the violet paint and blend that into the orange. Okay. Like that. So that you get somewhat color, like a brownish color. You're looking for something that's brown over that region. Even if you did a mistake, then you can pull off pigment. I didn't. I'm just showing you how you can do that. We're going to put that back, taking that orange and you can mix that up with the violet and get some brown strokes. And let that brown stroke be in there towards her planet. Let me take that violet and I'm going to fill up the edge here, but leave some edge over to this side as pink. Okay? You want that little edge to be as pink itself? Let it be a bit pink over there. You can even make it slightly lighter by adding a little bit of the white. Okay, this is based on the shadow theory. Here is actually the shadow of another object or when the planets turn, one side is darker and the other side is lighter. That's what's happening here. Okay. You're actually trying to make it, but then because of the shadow, you're going to have a subtle amount of lighter tone towards this side. And then the rest of the region is going to be darker, and then you're going to have a lighter region again. So that's how it works. All right, there you go. So you see how that turned out. Okay. So any violet that I'm picking up from there, I'm going to try and add it over the top and make these ions. All right, so I've got the planet over there and I've covered everything up. This would be really good when it dries up, that's it. Basically we're done with today's. All we need to do is to add in a lot of tiny, tiny Plata stars. Remember we have to cover up the planets, because now we cannot have our stars over the planet's region. Okay, so let's go ahead and add in stars here. I've got my white paint. I'm going to lower it up with ain't nicely. Okay. Then let me cover up this region first. And then I'm want to drop in nice Plataskay. Add in a lot of stars more now covering this region. And adding, I've got a little splatter over there, but I'll get rid of it. I'll show you how to get rid of any white splatters that falls onto your planet region. Okay, so you can see you get these stars in varying sizes, which is exactly what we want. Isn't it added enough of these stars? But now let's clear up any where it's gone over the top of the planet. We'll start with here. I've got some here. I'm just going to use the same paint that I have and run it over. It'll just look like a white region in the end when you do that all because your paper is still wet underneath. Can you believe that that's really, really, really amazing part about using this technique because your paper is just really wet here. I'm just spreading that white. If you spread it real nicely, it will not be even visible that there was a little white paint there. In fact, if it's the violet region, you can pick up more of your violet and just cover it up. See now we do not have anything over the planet but rather we have it in all the other areas. Okay, We're almost finished. I just want to polish this up because sometimes it's that part of me where I tend to do it. Okay. Here I've got my transparent brown pigment. Okay? And I'm just going to add in some random dark details onto this planet. Okay? Maybe like another oval shape or maybe like some more darker lines, things like that. Okay? Now I'm satisfied today, an additional thing that I'll teach you is how you can create those shining stars. You definitely need a brush that's very, very small. Okay? An has a pointed tip. You notice the pointed tip of this brush? Okay? See that? That's the pointed tip of this brush. What you're going to be doing is using that pointed tip, we're going to follow the method that we did for painting the shooting stars, remember. But instead we're going to do it such that you're going to create the lines of comes out of the star in all the directions. Okay, we only actually need to do only in four directions. So let's pick one of those stars and I'll show you. Let me pick up this one because it's a bit isolated and doesn't have other stars around it. Too many other stars. In fact, this one is actually much better because this one's got a smaller one next to it. So this star here, you see that it's not got a lot of stars around it, so I'm going to use that one actually. This is a size four. I want to go even smaller, so this is a size two. I think I should use the size to. That'll give me even a thinner line. More thin line. Okay. There I've loaded up my brush. Okay, with the white paint. And this was the star that I'm going to be using, isn't it, for this star from the center outward? All of these lines should be from the center towards the outward. Only then you'll be able to get the tapering lines. Okay, That looks like a vertical shooting star, isn't it? So now you're going to do that vertically downward as well. Okay? See vertically downward, then let's do it other direction as well. So you can already see how that's shining right then towards the left as well. There now we've got a shining star. Four directions, the middle directions, okay, like the Northwest, Northeast directions. You can do smaller ones, okay, Which will eventually make it look like it's really shining. See that, how that's shining. You can do more of these stars wherever you want. Okay. Like I think I'm going to stop at that because I really love that one shining star over there. So there you go. So we're done with today's painting. Can you believe that There you go. This is today's painting. I hope you like it and thank you for joining me today. 8. Day 04 Project - Yellow Wonder Planet: Hey, welcome to day four. This is the painting that we're going to be doing today. Isn't that beautiful? Isn't that gorgeous? Okay, so the best thing about these paintings are it can be in any direction. There's no literal direction to these paintings. So you can look at it this way, you can actually look at this way, or in any of these directions. And it will absolutely make sense, because these are cosmic paintings, isn't it? So here is, the painting that we're going to be doing today is not tough. It's really, really easy. And trust me, you can do it as well. Let's have a look at the colors that we need for this painting. The colors we basically need are transparent yellow or Indian yellow. Anything Y 150 is the pigment that I've used here. Then, Quinacrodone gold. If you do not have quinacrodone gold, you can mix it up using Alizarin crimson and transparent yellow, or a yellow, orange and brown together. Then also you need Alizarin crimson, transparent orange, burnt sienna, transparent brown, or burnt umber in gray. And then for the splatters at the end, and for the planet area, you need cadmium yellow, cadmium red, and obviously some white. So those are the colors that I have used. Now, if you're ready and up for this very beautiful project, let's get started. All right, let us start. So we're going to go for a different color scheme today. You already know the colors as I've already mentioned it right before starting this project. So we're going to draw a circle. Again, you can either use a circle maker or a compass. I only need a circle that's this size, which is why I'm going to go with this. It is much easier for me. That is, today I'm just going to go for a very unusual composition, I would say. Because usually I always say that you shouldn't have your planets right in the center. Right. Today, I guess it's okay. We're going to create something like closely resembling a photograph. Not realism, but you know like how the photographers capture galaxies and everything. Okay, So it's going to be right in the center. So it's okay if you want to move this up or down or anywhere, and you don't want to have it right in the center, you can do that as well. That's our minimalistic pencil sketch for obviously. We're going to start with applying the water on both sides of the paper. So here I'm going to flip my paper and I'm going to apply the water. We wanted to discuss this, so go ahead and apply water to both sides of the paper. All right. There you go. I've applied water on both sides. Now. I'm just going to make sure that I run my brush along the inside of the paper so that there's anything that's dried while I was getting rid of the excess water would come back onto my paper. Okay, So now let's get started. I'm going to start with a nice transparent yellow color, or Indian yellow or Indian lake. Any of these colors are really good. Y one 50. That's the pigment number that I'm using here, which is a transparent yellow. Okay. So make that up nicely and observe it's a creamy consistency. All right, and then we'll start applying. So we're going to go like in a criss cross manner here. But do not go it from edge to edge. Try to keep it like, you know, that part around one by third to one by third. Okay? Not edge to edge but this direction. So it should be something like from here to here. Okay. There, Something like that. All right. That's the direction. Keep note of that. The same over on this side. Okay. As we apply. So make sure that you are applying a creamy consistency because you do not want your paint to become lighter after it dries up there. We've applied that, let me pick up more yellow. So now we're going to go around the edges and start applying. Okay, We'll do this like the base coat at first, in several places, and then we'll start adding darker colors. Okay, but towards the edge, I feel that we can give another base coat color. Start with the Indian yellow or the transparent yellow, whichever you're using. Okay, there, let's go in the inside of the planet as well. That's absolutely fine. There going towards the inside of the planet. And as I come outside here, again, I'm going to extend all the way down there until this point, I guess. Okay? I'm happy with that. The more vibrant you apply your paint, the more vibrant your painting is going to look at the end. Okay, so to achieve that, vibrancy, taking creamy consistency of the paint is the key thing here that's very, very important. Okay, so here I think I've put in a nice amount of my yellow paint. We'll move on to the next color, which is going to be the Quinacrodone Gold. Okay, so I know that many of you may not have Quinacrodone gold. We've already discussed it. But I'm going to tell you again, you can mix in your Alizarin crimson and a transparent yellow to achieve this color. Or it's just a simple mix of orange, yellow, and a teeny tiny amount of brown. Okay? And you'll be able to get that color. So here I am picking up my quin ac done gold. So this is like the base layer before we apply in the darker colors. Okay. It's always best to have that underlying color because even if your darker color does not get that vibrancy at the end, there will still be some underlying color as opposed to showing the white of the paper. Okay. Which is why we use this method. So here picking up my inarcrodone gold and I've covered at that edge, now we need to cover the rest of the areas as well. So here picking up my paint. Okay. And you can see just applying along the edges some around here as well. Now on to the top side, Remember to adjust the consistency of the paint always. So as you can see here, some of it has started to dry. So make sure to like tip the tip of your brush in water. So if this is the water, just the tip of your brush, that will absorb a tiny, tiny amount of water. And then if you blend that, again, you'll get a nice something in between creamy and milky consistency for those areas that your paper has started to dry. If it hasn't started to dry, go for a very creamy mixture. That's how you achieve the perfect, perfect water control. And that's very important, isn't it? To get such beautiful paintings, you need to have that water control. Now, I'm going to go with another layer over the top, just so that I can darken up this thing so can you see? It's very, very light here. So I want to token that up. I'm picking up my Quinacdme gold again. Okay. And I'm blending that Quin Akron gold is the same as Indian gold in white knight or Quinacone gold in Schmike. I don't remember the color name in yellow, but I think there's like a golden ocher color in Senelio brand that's almost similar as well. So if you're using these different kind of France, you can use that paint. Okay there. So we've applied a base coat and you can see why I ask you to do in those specific directions. Because in the end you are eventually able to see the direction of the strokes. So we want to maintain that. We want to keep that, that is why we're doing next color that we'll pick up is let's go for like a brown shade. So here I'm going to pick up my burnt sienna. The best ideal color in this scenario would be to take up the burnt sienna from jello if you have, because that is an absolutely amazing, transparent, yellowish, burnt sienna color that gives the amazing vibrancy over the top. I love that color. But because I decided to stick to this palette for this class, I'm not going to be using it. But then you can go ahead and use that and you'll see the difference in your paintings, how vibrant, gorgeous that becomes. So here you go, taking my burnt sienna and we're going to be applying over the top. Now, again, careful about the directions. Okay, so you're going to follow this line and this direction as you apply. Okay, so start from there. Taking more of my Persia and applying over the top, it becomes like a slightly more darker version of the Indian gold or the Quinacone Gold that you applied, basically. Okay. But you still need to get it to your paper adding the various amount of layers. Very, very important. I guess we need to get some over this edge as well. Here, I'm picking up my golden color. We need to capture a nice amount of yellow there on this one by third part of the line. So remember to keep that yellowish color over there. The rest of the areas, you can start to like add your burn sienna. Once you're happy with the burn sienna, we can move on to the next color, which in our case would be transparent brown. It doesn't need to be transparent, it can be any dark brown. So you can go ahead and use like a burnt umber N dike brown or a dark brown color. So see now taking up that dark brown color, we're going to start at the very edge and we're going to darken it up. Remember to take a creamy and like, you know, a dark consistency of the paint. So you can see I'm like literally taking from, straight from my palette and applying onto my palette. Because if you go ahead and mix it on onto your palette here, that's going to lighten it up a little bit, but we do not want it to be lightened up, which is why we're using this. Okay? Now remember, remember the direction of your strokes. This is the direction that we want to go in, okay? So here I'm going to pick it up a little along this edge here. Okay? A little along this edge some more here. But not a lot because we have another color to be adding there. A little along here. This edge, definitely. Some along this edge as well. Let's bring it inward now. More along this side as well. That side. We definitely need to darken it up a lot. So let's bring out the colors, okay? Picking up that color and going in that direction, okay? You can see it's very, very light. I know it's a little bit tricky there with the light coming off my studio lights, but I hope you can still see the color. It's turning into a brownish shade. But we need it to be nice and dark. Okay. So here. I have blend up a nice little area. Now we need to create more depth and darkness over that region. Now I'm going to give it a further layer. Okay, That further layer is going to be this paints gray color, which will make it further darker. Okay, Picking up my dark paints gray and I'm going to apply over the top, we start blending it. Okay? As you can see, blending it inward, but do not mix it over to the yellow, which is why we gradually brought in our brown shade. Okay, here taking my brown shade and mixing into that pain scray so that the end is like, nice and dark. What I'm just going to do is I'm going to absorb the excess bit of the paint and the water here at the end because that can hinder the process where your paint starts to flow back inside and creates some looms or the cauliflower effect at the edge. I don't want that here. I'm just getting rid of that excess paint over there. Okay. Now, I think I'll capture a little bit more picking my dark paint. Did you just see when I applied it turned a little bit lighter because that was because I had an extra bit of water on my paper. If you have too much water on your paper, you're just going to be picking up the paint back rather than applying onto your paper. Okay? Always be sure that you have very less water than what is there already on your paper. That's very, very important. Okay? Here picking up the paint, gray. And then I'm just going to apply now along this side. Okay? Which is going to apply and create these random strokes towards the inside again. Okay, let's apply some more here and some along this edge as well. Okay, Need to make it darker in around this edge. Now let me show you the next beautiful color that we're going to be applying. So it's basically Alizarin Crimson. If you pick up a nice amount of the Alizarin crimson, remember we already have some yellow on the paper. So when you apply this Alizarin crimson over the top, it's going to turn into a slightly more reddish color as opposed to the pink that Alizarin crimson is. Okay, so just observe, see how gorgeously red that is. Okay, We're just going to be applying that over the top in some of the areas. Okay. See closely along with those brown regions. And let's blend that along Okay. Nicely. And the same on this side as well. Picking up nice amount of Alizarin mixed up with that, paints gray and the brown. Okay, so it becomes like a slightly darker brown or reddish brown. Okay. Not just darker brown, but like, kind of like a reddish brown color. And oops, I dropped a little amount of water there and you can see it's formed a bloom, but that's okay. Always easy to fix. You just have to spread it out. That's it. See, oh, that's gone. I just spread that water around and make sure that it like blended into those areas where it's got lesser water or the water was drying up. Okay, so here again, taking up my Alizarin, mixing it up with this end region. Remember we added some paint spray over there, so we're just going to blend that. Okay, so now that becomes like a brown paint spray kind of mixture. Dark brown mixture. And remember to keep this region lighter water again, but just spread it out and that'll be fine. Now just need to bring that inward and blend it up. Now we can see how we've created like a beautiful structure or texture for the background in this direction. Now over the top we're going to create some chunky bits and everything that goes over to the background, it is still the background. Okay, so what we're going to do is we're going to pick up the Alizarin and we're going to mix up a new color on our palette. So I've shifted to a smaller size brush. Here, you can see that. Okay, so pick up nice amount of Alizarin, make sure it's a creamy creamy mixture. That's what we're going to be creating okay, is my Alizarin. Then I'm going to pick up a nice amount of my brown paint and I'm going to mix it up at the Alizarin. Okay, so it's almost the same color that we just created on our palette. Okay, But now on our paper, but now we're going to be creating and mixing that color. Definitely need it now. And observe the very creamy consistency. This is like almost devoid of water. Very less water in it, because we want to create some structure or texture on our paper. Now, picking up that paint that we just mixed, okay, it's very, very creamy. I'm just going to like place it on my paper and create these random shapes into my sky. Okay. So these are still wet. Wet, because you're applying onto the paper, but then it'll be like really vibrant over the top. It won't spread too much because you're using a very, very creamy mixture. If you had not used a creamy mixture, then it would spread too much and you wouldn't be able to get it like a texture, okay, over the top. Not texture, but you wouldn't be able to get it to stay in one place. It will start to flow everywhere, which we do not want blending that into that sky region there. Then we'll add some here over at the bottom as well. Okay, If my paint's finished, need to mix up some more. I always say this is the most advantageous part of, you know, like this. You can still end up mixing a lot in between and your paper is still going to stay wet so long. And I love that about this technique. And then in some areas you can even mix that up line in some places. Now what I'm going to do is the same paint. Okay, see that same mixture of paint and we're going to add some splatters, but this time wet on wet splatters. In order for the paint to splatter, it needs to have a teeny tiny amount of water in it here. I've just made that into somewhere between the creamy and the milky texture here. See that? It's got a little bit more water. I'm going to pick that up and I'm going to splatter around. Observe. See, we've got some nice platters. Try to stick away from the planetary region, which is why I like doing this tapping method. Because it stays away and a lot on here as well. Okay. In fact, here I would like it to be more darker, so I'll pick up a lot more amount of my paint gray. And I'm just going to add over the top. Okay. The good thing about when you're doing these kinds of galaxy is that there's no strict rule, okay, as to how the sky should look. You just experiment and you just move on and do all of these things so you don't have to make the galaxy the same exactly as mine. What is more important is the techniques. There are so many different techniques covered. Isn't it just the techniques on how and how you can build up layer by layer of colors over the top? Those are the things that's most important. Now that we've done that, let's just add some more lighter color. This time for that lighter bit of color, what I'm going to be doing is I'm going to be picking up my cadmium yellow. Here's my cadmium yellow. The great deal about cadmium yellow is that it's opaque. And that's why I'm going to be using it. I want some opaque colors and at some places, so here, this cadmium yellow, I'm just going to mix it on my palette, onto that place where there is my Quinacodone gold. So if you want, you can mix up a teeny tiny amount of the Uinacodone gold as well. Okay? Because you want it to be a little bit nice. Like a golden yellow color. Not too much, but just a teeny tiny amount. Yeah, my Cadmu yellow. And now we're going to splatter that. Now wash that off. And we need a brush that's very thin. Okay, so here I'm going to shift to my size to brush and we're going to use the point a tip of that. And using that same mixture of the cadmium yellow that we added, we're just going to create some nice lines in our galaxy. Okay, it's probably like it's fire in the sky or some fiery thing going on in the background. Okay, So that's what we want to capture. So make sure you mix up the cadmium yellow and use the pointed tip of your brush. And using that pointed tip of your brush, try and create these random shapes. Okay, here what I'm going to do is I'm going to try and go around these teeny tiny shapes that we created. Okay? And maybe some towards the outside as well. So it's not going to come over the yellow regions because yellow is very light and it's not going to be seen because what we're applying is yellow itself. But if you apply over to the darker regions, then it's going to be seen. Okay, here what I'm going to do is I'm going to take up that paint and I'm going to drop in some of my cadmium yellow lighter regions there, maybe some more over there. All right. I'm good with that. Now, lastly, before we give this out to dry and go with our final layer over the top, what I'd like to do is I'd like to add some white paint. Okay, I guess I've got to pick up fresh white paint again because this is like almost dried up. But let me see if I can salvage it taking a nice amount of the white. Okay. It's got a little bit of bluish color mixed into it, but I guess it's okay taking that a little bit of white, I'm just going to apply it into my planetary region over here. That's because I want a teeny tiny amount of white there. I want it to be lighter over there. Okay? Just along the edge here, okay, Where it's pointing outward. And the same if you take the criss cross edge here. There, I think that's enough white. It's not going to be that visible in the end. It's going to be turning ultimately very, very light. But that's okay. But still we tried and we applied a bit. It's going to be at least lighter than the other areas so you can see the dense, dense background. I'm pretty sure that when you saw this painting, at first you were like, oh my God, how on Earth are you going to do that? You see, it's not that difficult. It's really very, very simple. So let's go ahead and dry this up so that we can finish our planet. Okay? All right, there you go. It's all dried up. And you can see how the background does stand out even with those lines in the background. It's just very subtle but also not something. A lot is going on in the background, isn't it? So now let's go ahead and paint our planet and finish this off. Okay, so what we're going to do is we're going to start with our transparent yellow. At first, I know there's already a background of transparent yellow there, but we start with the transparent yellow, because this is just going to intensify the color as well as it's going to apply water. So what we're doing is we're applying water. Okay. So you could also just go ahead and simply apply water if you do not want to apply the yellow. But I prefer to just go with the yellow color because that's going to intensify the color on that planet as opposed to the surrounding areas. Okay. As you apply the paint, it kind of densifies the color. Okay? And it also moistens the paper inside a planet. So carefully along the edge, follow the line, the pencil sketch that you've done and go ahead and wet that surface. Okay? All right, there you go. I've wet the planet surface. Now we need to go ahead and add more details. Okay, I am going to start with my transparent orange. You could also use cadmium orange. But the thing with cadmium pigments is that they're so opaque they wouldn't spread out as much as the transparent pigments. Okay, there you go. Picking up my transparent orange, and I'm just going to draw inside without touching the edges. Notice here, okay, I'm not touching the edges and there's a reason for that. We need the edges to be nice and gluing. Okay, so we'll be applying white later on. So now, for now, just apply the orange. Okay, So here applying the orange all over the inside okay, of my planet. Nice amount of the orange paint all over the inside. Then the next color that we need is a teeny tiny amount of brown. Okay, but we'll go with the brown and the Alizarin mixture. So here I am, mixing up the brown and the Alizarin together here. And that color we'll start applying. But now we'll start to apply it in the form of shapes. Okay, so I'm just going to create some nice shape here then. Something like that. Then something that, okay, they're all just random shapes, but the shapes that go into the planet, let's say some big chunky data here, something here, and some where you can just use the tip of your brush as well like to create these random details. Once you've done that, then you can go with a further darker color, which would be just the brown. Initially, we mix it up with Alizarin, but now then you can go just the brown. Okay, and even for the lines and everything, we need to capture some shadowy areas. The bottom part is the area that's going to be in shadow. So go ahead and pick up some of the red color. Start applying to the base, on to the areas. Okay, Let's say pick up like the halfway point along this direction, always go for this direction. Okay? The halfway point is there and I'm going to apply my darker paint. Okay? But the next color which makes this region darker. Okay, See I'm going to go around that edge with my see how we've captured that. Now we need to go ahead and capture the light that we talked about. Okay, we're going to do that in a set of two layers. Basically, shift to a smaller size brush so that you get more control over the edge. And start with the cadmium yellow, okay? The cadmium yellow is going to make it nice and light. Then over the top of that, you can apply your white paint. Okay? Cadmium yellow along the edge, perfectly along the edge, okay? Capturing the glowing planet. You can see how the planet area is already gluing. But obviously, you need to be adding some more colors over the top in order to make it fully glowing. As always, I'm just going to turn my paper because that's more convenient for me to draw when in, you know, careful edges like that. All right, there you go. So you can see how I've captured a nice edge to that planet. Okay, so now we'll start to refine it. Okay? Oh, we start to nicely refine and pull our pigment towards the inside. Okay, correct any mistakes to the round shape that you've got. Just like I've got here. So basically that would mean just spreading out pigment towards the inside and correcting anything, especially to this side here. We want it to be nice and glowing, so you could have a bit more of the yellow coming over the top there. It's already glowing, isn't it? Now, we'll go ahead and start with our white paint. Okay, so here I've taken some fresh amount of white paint here on my palette. Okay? Because I really wanted it to be vibrant. Okay, so now over the top, we'll start applying and adding that white glow. Okay, so go over to the very edge and apply it over the cadmium yellow that you added, and can you see how it's already glowing? So I've got to turn my paper again to cover the other side, Covered all the way. And now you can see how we've got that glow around the planet, isn't it? Isn't it looking so gorgeous? Now, along some areas, what you can do is you can take your paint. Okay. This is dangerous. Okay? Just observe this white paint. Okay? I have it here in my brush and I'm just going to pull out some of those paint. This is just going to be like those fireballs coming out of the planets. You've seen the sun, the pictures of the sun. Then you have these surface things coming out of the sun. That's what we're trying to capture here. Okay. And then some along that side as well. So remember, that's why I asked you to make that little chunk of white, lighter colors. Okay, So that's exactly opposite here on this side. Just little. You don't need to add a lot, but then it creates so much difference. Okay, So this is basically a bit of a dry paint. It would end up dry as you're pulling like that and that's okay. Let it be, okay. All right. I think that's enough. They making you scary and it's absolutely fine if you do not want to do that as well. If you can't do it and if you do not want to do it, it's okay, just skip that. And you're painting up until this stage. If you noticed it was still beautiful, right? So just ignore it. If that is something that you cannot do. Now, I'm just going to finish off with most platters, but this time instead of white platters, we're going to be doing other colors here. My first splatter part is going to be with a transparent brown. Okay, I'm just going to hiding my planet because that's still wet. Adding some nice splatters of my transparent brown. Then if you do have, go ahead and add some splatters of cadmium red as well. Okay, cadmium red is this beautiful, dark red color. Okay? It's just going to like elevate your piece as you get those tiny, tiny red splatters. Okay? But it's totally optional. You don't have to do it. And as you can see, I'm careful about protecting my planet. Okay, I've got the splatters on my hand because I'm using my hand. You could use like a paper or anything to protect your planet as well. One last splatter with the brown paint on this side. You could almost say, wait, done. Unless if you don't want to add the white splatters, I do. So I'm just going to give any tiny amount of white splatters. Literally. We done. Oh my God. So was that tough? I don't think so. Right? This was amazing, isn't it? So, there you go. That is the painting for today. I hope you enjoyed it. Thank you so much for joining me today. So I know that this is not tried, but once it dries, it's still going to be beautiful. Thank you. Thank you for joining me today once again. 9. Day 05 Project - The Spiral Galaxy: Hey, hey, hey, welcome to day five. And this galaxy here is what we're going to be painting. Don't panic, this is absolutely simple, and I'm going to break it up for you. So I know this looks tough, but trust me, it's not okay. So you just got to give it a try. And this two side water application method literally makes anything easier. So let's have a look at the colors that we're going to be using for this. So I start with transparent yellow, transparent orange. And there's a little bit of Quinacridone rose, violet, halo blue paint, gray or black. And lastly, cadmium orange. And obviously don't forget the white quash paint. So basically those are the colors that I have used for this painting. All right, let's start. So I think we've done enough of the planets, so let's go ahead and do the galaxy that you just saw. First of all, because there is no pencil sketch, go ahead and apply water to both sides of the paper, and then I'll see you for the first rook al right there. I have applied enough water onto my paper. Okay. So it's wet on both the sides. Nice and wet enough for us to do our strokes. Okay? So shall we get started? We'll start with the center point of our galaxy. Okay? Because that is the lightest color. And we want to put that onto the paper at first, so that we know where that lighter color is. Okay? It's always best to start with lighter colors, with water colors, and then you go over to the darker colors. All right, so here I'm picking up a teeny tiny amount of my yellow. Okay? It's nice and transparent yellow. And choose the center point of the paper for this one. It's obviously okay that your galaxy is not going to be like, you know, centered or, you know, like focused towards the composition point. It's absolutely fine. So here, choosing the center point, approximately center. Don't go about measuring everything so there's approximately the center. So I'm just going to, you know, drop down my yellow paint. Okay? Make sure to pick up that dense, dense, dense yellow. And then create, you know, like an oval shape like that. Also note that little amount of the white space that I have left in the center. Very, very, very important. Okay, so here then picking up my yellow, again, just going to draw and go around. Okay, Like that. But again, I've left a little bit of gap. But even if you don't leave a gap with this one, it's absolutely fine because we're going to be filling that gap with another color. That's why. Okay, now that's done, let's move on to the next color. The next color that I'm going to be picking up is transparent orange. Okay, just a nice, beautiful orange that you have. Pick it up and let's start, let me load up my brush nicely for this kind of paintings. I feel that even if you're like working off from a pan, just don't blend it on your palette. Because if you take aricly from that bit there, it's going to be nice and greeny going to fill that orange up in the middle. But do not draw it in like a line. Let it blend together slowly. Okay, see that. Just blend it that. Now next thing is where we're going to try and build that galaxy of ours. We've done the center part, okay? Now let's go ahead and build that galaxy there. Taking that now we need to create that spiral. Okay? Something like that, so you don't have to do it in one flow. It's absolutely fine. Just, you know, it's okay that your brush is breaking apart. Mainly also, you don't want it to be like in a perfect manner, isn't it? And it's okay that your pain like spreads around and goes in different directions. Okay? For example here, I'd like for it to come out a little bit more, okay, then going over to the other side. Okay? It doesn't have to be always in a perfect manner. That's what the abstractness is going to make that look beautiful. Okay? As you can see, trying to create like a teeny tiny amount oval shape and then going around again, you can note that going around now, Coming around like that. This one. Okay? This part of that spiral that's going to go outside. Okay? So we're not continuing on with that, but what we're going to do is we're going to start another one over here. Okay? See that? Okay. Something like that. And then we'll take it outward. And this is going to expand out a bit. And that's gone that direction. See that. So we've put some nice initial strokes now. Okay, so now let's go ahead and put some more. So I'm just going to drop in a lot of my orange paint. Okay. Around the areas that I have added those lines. Okay. Those where our tracing point lines. Okay. Not the pencil sketch. So kind of like the pencil sketch with the brush. Okay. So here just dropping my paint. Okay. It's okay if you know it somehow diverges out at some point. Okay. That'll just add to the beauty of it, trust me. All right. There, I think I've gotten enough at that point. Now we'll go with our next color here. Our next color is going to be gorgeous, gogus violet. My other areas of my paper has like started to dry out. What I'm going to do is I'm going to fill it up first. Okay, let's just take the violet and add it to the other areas before we try and begin to add in areas that we've already added. Okay, picking up my orange towards this right side, I think I want a little bit of blue, bluish touch to it here. I'm taking my Theloblue. We'll just blend that with the violet. Okay, so we're going to be blending that with the violet. First, apply the thalo blue, then violet. Okay, here I've got some telo blue. Do not bring the blue over to the orange. Okay. That's going to create a muddy color. That's going to dilute itself out. That is orange and blue in the color wheel wear. That is, that is complementary colors. They are going to mute each other out, which we do not want. Whatever comes closer to the orange is going to be the violet. Okay, here obviously go ahead and mix in the violet and add it over the blue shade. We only actually want a teeny tiny amount of the orange to be visible. Most of it is going to be the violet shade. The orange is going to be like in a subtle and shining on the top here. I've got to add to this side because I can see that it's starting to dry out there. Just keep looking at your paper and do not let any areas dry. So just because I applied there and then I came back to this side, doesn't mean that you have to apply to this side as well. Okay. This is why I always recommend that you watch my videos once so you know what's coming, you know what I'm doing, and you know why I am doing it. So your paper might have started to dry here and not here, so just don't go there. Go there. Okay. So that's how you should be working on, depending on where your paper has started to dry. So if you look at an angle, you'll always be able to see the point where it's kind of started to dry out. So use that information and then paint on your paper so you know how those strokes are going to be if you washed this once before. I think I've filled up a lot of those spaces. So now I'm just going to do the remaining areas. Okay, let's now fill in the gaps in between. Like I said, going over the orange areas. The orange is not what's important, it's the violet. And the orange is just some teeny tiny bit that's going to shine through in between the violet. Just make sure to not have any white space now. Okay, now we're going to cover the entirety of the white spaces approaching the center slowly. Let's tick away from that yellow shade for now because that's, again, complimentary color. The complimentary color of violet is yellow. If you start adding violet to that region, then it's going to turn out like this brown color here. Do you see that? So we don't want that on our paper, so let's just keep away from that for now. Okay? As you can see, I'm staying away from that. Okay, Let me get to the area in between. This is already turning out to be some kind of evil looking painting. I don't know why, but that's the word, you know, I can relate to this painting at this point. All right? No white spaces. Let me get rid of the white space. White space. No white space. Most of the white spaces are gone. I know there's still so many. And that there's that center part where we said we'll stay away from the yellow. So when we stay away from the yellow, what are we going to do there? We're going to put in a red or a pink. So in this case here, I'm going to go with the quince rose. Okay, so we'll just see just adding that quin rose. Okay. And blending that. Okay. So it's going to be turning into a purple shade, as you can see, see here how it's blended into a red purple shade. The same along here, I guess you can leave a little bit of white in the center areas. Okay, So it's absolutely fine. And you can in fact, go ahead and add in more pink, you know, to the areas that you see are white. It's just going to attract and make it beautiful. Okay? It doesn't have to be entirely violet. So this color combination, that is the blend of these different colors, it's just going to make it look beautiful. So that's why I'm now looking at my paper, and wherever I see white areas, I'm just going to fill it up with my pink shade. Okay. So there's some here, see some here, some here, and where else? Here, I guess. And then obviously you can go over the orange as well. Okay. All right. Some nice shades already in there. Now I'm going to go with paint spray because I want to start adding darker depth and darker regions. Okay, so here loading up my paint spray and we're going to cover that region up. If you have black, you can also use black. This is actually lamp black. I'm not sure if it's granulating at this point because I'm not sure if it's lamp black or you know there. Black from Daniel Smith that I love. So I'm not sure which one is this, but go ahead and use any kind of black or a dark color to apply over the top. Okay, that should darken that area. We want it to be absolutely dark. Remember the previous lessons where I told you that if you want something to be dark, start by adding multiple colors over it. Because if you just apply the black, it's eventually going to turn into a lighter shade. This is the case even with a gach paint, because it would eventually turn a little bit lighter. But then if you start applying other colors and then apply the black over it, it would be much better. Okay, so here dropping in, as you reach to here, you can start to decrease the blackness. I want this bottom to be black as well. Okay, this region here needs to be black. And this corner as well, basically anything away from the galaxy needs to be darker. That's what we're doing here. Okay, so here is dark, this region is dark. And then as we approach towards the galaxy, it needs to turn into that gorgeous violet shade here, mixing it into that violet again. Okay, so that it's blended in nicely. So I think we've covered some bits nicely, and you can see how the paints spread a lot and created those beautiful shades. So now let's go ahead and start refining a lot of things. Okay, so I did take a little bit of violet and started to add, but what I feel is we need a little bit more orange. Orange. Because I'm just adding orange so that the area that we had applied orange, it possibly might have started to dry out. And we want to blend that. Okay. That's why we're adding the orange again. It's not for the purpose of solidifying the orange, but because that area might have started to dry, we're applying the moisture back onto that region. Okay. That's what we're doing here. These regions are actually fine. I love the way that is. But if it's dry, then do apply. Okay? All right. I love that. Now let's get back to business. Okay. So here, picking up my violet paint again, because I can see that this area is lighter, lighter as. And look at it under light. And if you see that, even if there is like a teeny tiny amount of the watercolor paper coming out through it, then that means when your paper dries out, it is going to be very, very light and you want it to be the pigment that's shining through. Remember the rule? Watercolor dries one shade lighter, always. Okay, so now what we're going to do is pick up your dark, dark, dark violet. So you can see I'm picking up straight from my palette. Then dense violet and start adding over the top. Now you don't need to make it in a single line or anything. You're just going to create these darker colors at random places. Okay? Also over the orange areas. Okay? Because the orange is going to be like, just like a little fiery area. Okay. Not a lot. See how that's turning up that region now. Not too much. Also, do not cover up the entirety of it, only some areas. See how I've covered that region. Let's do it here as well. This region here. I know that we need to apply more blue and more violet here. I've applied more violet. We'll add more blue after that. This is adding more violet, just like we spoke about, on to the orange region. Blending that nicely. That's a lot of violet done. Now we'll start adding those missing colors again. This is the telo blue, like I said. Let me add that taleo blue color over the top of that pit that we just applied so that it turns into a darker blue, tallo blue. And the violet mixed together is going to give like a darker blue, darker also warm blue. It's going to be making warmer because a pilet is over to the red site. When you consider it in the blue spectrum in color wheel, then that's why it would turn into a warm color. Here we're going to pick up a little bit more of my pink, the quin rose pink. And let's add it in some random areas. It's just going to look beautiful. And see here. Now see how the pink is. Very light. That is going to show the whiteness of the paper when it dries out. We literally do not want that. Go ahead and apply more pink, more vibrant pink over the top so that it's not going to show up. You can mix up a little amount of violet to get that red, purple shade Clearly, go ahead and observe all the areas of the paper where it's likely to turn lighter. I'm looking at my paper and I can see a little amount of light region there. Again, there's where I'll apply the paint. And here, see this region here. Okay? This is clearly an example. I don't know if you can see, see this region here. It's got a lighter touch to it. Okay, so let's apply there. All right, so we've captured some nice areas, we've captured the spiral. So let me just try and lighten up some part of the center because that white that we applied at the center is gone. But that's okay because you could bring it back by using quash paint. Okay. So now picking up my quash paint, just going to add that to the center. Adding a teeny tiny bit to the center as opposed to the white of the paper. There is something about, you know, adding white of the guash paint to galaxies. Because, because it acts literally different when it dries up, it's not going to look like the white of the paper, but rather it's going to look like, you know, chunks of white details at random places along this line of the spiral. Let's just go ahead and put in some nice white strokes, okay? This is going to look very, very light when it dries and it's going to be different than the white of the paper, which is why we're doing this method. Okay? Some along there. And also you see how that spreads. You can't create that with the white of the paper. Okay. All right. And teeny tiny bit there. I'm happy with the way that area looks. Now, all of the areas, only thing that spending is I want to add in a little bit more orange, but in a different manner. So I'm going to be shifting to my smaller size brush. I think size four because I want to do some nice splatters. Okay, so here's my brush and the splatters that we're going to be adding, that's going to be with cadmium orange this time. Okay, so it's opaque. It's cadmium pigments. It's going to be opaque and coming on top of our other colors. But if you do not have cadmium orange, you can go ahead and use quash paint if you do, and now it's best if you can do the tapping method. We do not want the platters to be everywhere. I want it to be closer to where I'm going to be applying indented for the areas like here instead of the cadmium pigment. It's actually water from the brush that's falling o okay there. That's good. So it's going to stay in that region. Mostly we've got some nice splatters over there. I want some more. Ideally, I want it along this line. So how do we get that? You could actually use like, you know, two different sheets of paper and trying, but let me try with my hand. Okay. Just going to hold my hand there and I'm going to put in the splatters just little and hide off. Not bad. Got it. Along that line also ruined my watch. And lastly, along this end here, okay? Okay. I think I need my hand again. If there are any areas where you do not like where the splatters as turned out, simply go ahead and brush in your violet or the dark paint here in this area, it was the black paint. So I'm just going to be brushing in that black paint over. The splatter itself is like a very light pigment. There's no too much pigment when you splatter. It's absolutely fine when you spread it around. It's just going to go away. You can see that's gone away, I think some more to take away here. It's just going to spread out and go away. That region's gone away now. It's this region over here, and that's violet over there. So here it's violet. If I pick up my violet paint and I go over those regions, yes, I love that. So almost done. Almost done. I'm just looking at how this has turned out. I love the way it turned out. I missed this stint. Any part here, I don't want that one. I'm just going to spread that one. It's amazing, isn't it? So now what you can do is I think more than enough for today. There was something about stars that I wanted to include, but I think I'll do it next day. Because, because I think this is already too much for a galaxy, you know. So all we need to do is now to add in a lot of stars, isn't it? So let's wait for this to completely dry out and then you can add in the stars. All right, there you go. So can you see how lightened up it is after it's tried up? So this is what I was talking about. Even look here in the spite adding too much black, you can still see here that it's like very light and it's good. We've got some nice blues there and oh my God, I love these platters. This straight in here is my absolute favorite, you guys. Okay. So now if you're done, let's go ahead and, you know, just add in our white paint. That's all, okay. Pick up nice amount of white paint. This is a size six brush. Okay, and splatters. Just go ahead and add in a lot of splatters. Try and keep most of it towards the inside of the galaxy and lesser towards the outside, so basically just dropping. And for the galaxy actually, it's always best to do the splattering method because it creates teeny tiny stars. But then it's very hard to control where it flows. So I'm just going to be, can you see it gets these tiny, tiny stars when you do the tapping method as opposed to the hand. Because your hand is literally not able to do it this quick, to generate that many stars, that's the problem. The direction that you hold in will definitely get some extra. Okay, see that? I'm trying to get it along that spiral line. See how you've got like a real good combination of stars over there. And observe as I have not picked up any more of my white yet. Okay, Which is going to use whatever's there on my brush to the maximum. So it's going to generate smaller than tiny amounts of stars. We've got some nice good ones and then we've got some larger ones. I'm so sorry if this tapping has been disturbing my speech. Not speech, whatever I was telling right now, but I'm sure you heard it. Even my brush looks very light devoid of any pigment or paint. So let's pick more nice amount of white paint. Back to the tapping. Now, along this line, I'm trying to follow along the line of my spiral, those will be the areas that has most number of stars. Okay. Okay. I think that's more than enough. We've got stars all over. Okay. So that's basically it. If you want to go ahead and add some shooting stars or the comets, you're more than welcome to do so. Or if you want to add in those stars that we've seen where it kind of like, you know, shines, we can add that. Okay, I think let's just add one of those. So where do we add? Which one do I choose one over here, I'm going to choose that. Okay, so remember outward from the center top atom, right side, left side, and then smaller one in the criss cross direction there. We've got some nice shiny one there. I think I'll take another one as well. But this time I'm just going to try and make it a little smaller than the one that's already there there. So we've got like two shining stars, and I think that's enough. So there you go. That's today's galaxy. Isn't that gorgeous? Oh my God, I'm in love with it. Okay, so I hope you enjoyed painting this. Trust me in this technique, anything is possible. If you enjoy today's lesson, then let's see tomorrow. And thank you for joining me today. 10. Day 06 Project - Blue Space: Hey, welcome to day six after yesterday's big spiral painting. I thought that we go over to something more simpler and this is actually really simple. It hasn't got much colors, we're only using very few colors and we're just using wet on wet method and some splattering. That there is a very big secret to painting stars on this one. And it's okay. So watch out for that one. So now let's go ahead and have a look at the colors that we need for this one. So basically we low blue, indigo, and paint spray for the entire background. These lighter color bits are cadmium orange and cadmium yellow. It's absolutely fine if you do not have the cadmium orange academum yellow. Do not use any other orange other than the cadmium ones because you want it to be opaque. So if you do not have an opaque orange, I think probably you can skip that step. It's still going to look beautiful, except that it's not going to have those orange fury bits. That's it. So skip that step. Or you can use quash paint instead. Just like you used the white quash over the top of water colors. You can use the colored quash which is orange and yellow for these fori bits. And if you do not have that, skip that step. All right. Then obviously the other last color that I have used is whitequash. That's it. Okay, so three colors for the background plus the adu mellow, and the cadmium orange, and whitequash. That's it. So if you're ready, let's get started. All right, here you go. I've applied water to both sides of the paper. Okay. So it's all wet all of the areas. Now, we'll go and stop. So I am going to be starting with my sis ten rush because it's better to have a larger surface area covered in the beginning hand, to start with a smaller brush and keep working on and on in a larger paper, especially if you're using the same size as mine, which is the four size. So the first color, obviously, we are going to be starting with the Hello Blue. As there aren't much colors in today's painting. So starting with the thalo blue, we're going to start, okay, so we're going to lay down our colors such that we get like that glow here. Not in the middle, but somewhere on the side over here. Okay? So I'm just going to start in this corner here. Okay? And then I'm going to lay down my strokes such that. And then I'm going to bring my strokes something like that. Just going to create some strokes outward like that. Okay? Leaving some gaps of white. All right. Note that. Okay, very important that I'm leaving some gaps of white. Taking my brush again and applying. Okay, there. I've left some gaps of white and applied. Okay, now onto the rest of the area. Now this is going to be much easy. Okay, so just go ahead and apply the to blue. So this is the first layer of color that we're applying, so just go ahead and apply a nice amount of the to blue. Okay, Fill up the entire region. So remember some white chunks over there. That large piece of white is what we want to leave. Okay, the rest of the areas, go ahead and apply a nice amount of the thalo blue here. Taking the theloblue, applying, take all of the areas. Oops. I think I picked up a little bit of some other blue in between, but that's okay, because the dominant color in my brush is telo blue, a thing it would not affect. It's quite difficult when it's a very large paper and you've got to cover up the entire surface. Observe here, there's that little white that we left behind. So I just touched a teeny tiny amount there, left some gaps. And then continuing on the same here, so see some touchings and then continue. Let's get to adding to the rest of the areas. It's always best when you can add like multiple colors over the top. So we've already discussed, as in plenty of lessons before, that is, I think all the five days that's preceding this project, we've already discussed it, that it's much better if you can do that covering up the entire region with my low blue. Okay. Actually, much better if you can grab hold of a brush that's even bigger than this one. As you can see, I'm still struggling to cover up the large area. But if you had like a size 20 brush, just imagine the amount of area you could have actually covered with that brush, isn't it? That's okay. Even if you're not having such a big brush, it's fine. Okay. But I'm pretty sure that you might have a size ten or 12 because brands come with it. We've covered up that much. Okay. But now I'm just going to add some more so you can see the areas, but it's slightly lighter. This area here, I can see that it's slightly lighter. So I'm going to darken it with more of my lo blue over the top. Okay. More pigment. The more pigment you add, the more docker it is going to be. Okay. So there thing a bit over here on the left side as well. So wherever you think that, you know your paper is lighter, just go ahead and add. Okay, so we've got some nice white areas there. The white area that we left. But now we slightly need to blend it inward because it doesn't need to be really white, but it just needs to be in a very subtle, lighter tone. Okay, so whatever's there towards that center, just go ahead and blend that blue inward. Not everywhere, I mean, not all of the blue, but just that subtle amount. Okay. That way you're keeping that region wet as well. Because remember, you're brushed in touch that area, you touch the entire other areas, so that area is not going to be wet longer if you do not keep moistening it, which is fine if you could just like push up your pigments into that area a little. You could also just use water and you brush, that's it. Okay, so we've done that now. Let's go with adding the next layer of color. That would be indigo. Okay, just in some places, if you can just add indigo. So let's start here. Just going to drop off my indigo over the top, then here at the base as well as I reach towards my center point. Not the center, but I call this the center. Okay, that's what I mean. That is the center part of the galaxy or where the light source is coming from. So I'm going to touch up and you know, like leave dots and strokes there. The rest of the areas, I'll cover it up taking my indigo paint. Then as I come towards the center, I'll try adding lines like that. So you use the entire length of your brush and try adding some stroke lines. Okay, so it's like adding lines. All right. The same here, we'll do the same. So here, see I'm just going to add lines. So now I'm using the point to tip of my brush. So I'm holding my brush like that and using the point to tip, I'm doing this. Okay? Just movement on the paper. So it's still random. You can see that. See, it doesn't need to be uniform. But as long as you can get these lines kind of structure, it'll be fine. Okay, see that I've got some nice lines over there. We'll continue on onto the other areas. I think here I want to have some more lines. Okay, there, adding some line shapes. Then here I'm just going to make it chunky again, then back upward. I want to get that darker in some areas towards the top. So like that, this area is going to be darker. Okay. So that's why it's got color there. Then as we come towards the center, again, we start trying to add it in the form of lines plus the chunkiness. Okay. I know it doesn't make any sense. You see that? Some lines and then I use the entire length of my brush to cover this side. Okay. So there, keep adding all the way up until there. Then as we come along here, observe the gaps that I am leaving on my paper. Very important. It's okay if you do not match the same thing because it's just a galaxy, okay. But I'm just saying if you need it to look like mine, that's all, then it's better to leave it. Otherwise, you can just go ahead and observe the techniques. Observe the strokes and then do your own kind of galaxy. Okay, very important that also here, capturing those lines. And then reaching towards the outward. Then we'll go with the next archer sheet, which is going to be the paints Cray and I'm going to be using nice pigment. Okay? And I'm going to add it over the top so that we get nice and dark. Okay? Onto the edges and some of the areas here adding that paints gray. And you can see it's turned nice and dark. The same thing. I want it to be nice and dark over here. Picking up my paints, gray, adding, then more of the paints gray towards this bottom. Now, this bottom needs to be absolutely black. Okay? That's why I'm adding the paints gray. All right, Then I need darkness here as well. In random areas where we did the lines. Some of those lines you can add with the paints, gray, Go over the top. And I guess some areas over here. Remember when this whole thing dries out, Some of these areas are going to be lighter, some of these areas are going to be darker. That's what it's absolutely fine because these are things that beyond your control. So it's fine. Okay. Then I'm going to go back with my lo blue and try and add over the top so that we get some more paint into our paper. Okay. Pigment. Very important that we keep adding those pigment and you fill up the areas. So here you can see how it's coming along here, see lots of hairs. So if I add in my blue pigment over there again and try and blend that region, it should look much better there and going to start adding lines. All right, there, I see it. I already love the way it's turned out. I've washed my brush, so now I'm just going to pull those pigment inward again. Okay? It's going to be lighter, but we still need to have and moisten the surface. Remember that the part where we were going ahead and moistening the surface again and again, very important. Then let's see if there are any more areas where you need to darken it up. So here I'm adding some more pan screen taking straight from my palette and onto the paper in the areas where I want to be. Nice. Okay, and I can see that some of these areas have gotten lighter again, so I'm just going to go with more paint spray over the top, just going to pick up a little bit more blue and blended that region. So the indico that I'm using is from white nights and it has a tendency to go really light after it's dried up. So I've got to add it multiple times to make sure that I get the vibrancy. Okay. So work along with your pigment. Even if you're new to water colors, in a few days, you'll be able to understand the palette that you have, the pain that you have, and the consistency that it's making and how many times you need to apply to get it to work and things like that, okay? So in my case, I see that my indigo tends to lighten up very much, so, which is why I'm adding it more and more. All right, so now that we're done with that background layer, we need to add like some part of the galaxy and just give like a unique touch to it. Okay? We don't want to leave it wholly blue. So now I've shifted to a smaller size to brush. Okay? And using that size to brush, I am going to pick up a nice color which is a really contrasting color in this case, which is cadmium orange. Okay? So you need an orange that is opaque to work, okay? Because if you use the transparent orange and you apply onto the paper, is not going to work because these are darker colors. Whereas, observe what happens when you add the cadmium orange. Here you go. I'm going to try and add here. Okay, see that light spot over there? That's because it's cadmium orange. You can also use guash colors instead if you do not have a cadmium orange or such opaque pigment. Okay, But it's so worth adding. You see how it displaces the pigment and comes over the top. Very important in this case. Okay, I'm just adding layer there and then I'm going to splatter some here. It's okay, it's not going to be visible much, but when you look closely at your paper, you'll be able to see it. Now after that, let's go and drop in some more areas, okay? Like here, I want to drop it more closely attached here, and then some more over here, some in this region. And then just going to drop some more here and create like a crossover path through that white space. Okay, So it's going to be very, very feeble when it dries out. But that's not the point. The point is it's still going to be there. So done with the cadmium orange, we will add some more, the next one. Obviously, you must have guessed it, knowing that you already know the colors, it's going to be cadmium yellow. So okay, so we're dropping that cadmium melo, but we're going to drop that cadmium melo near to the orange. Okay, so you've added a bunch of orange there, right? So we're going to drop it right next to, in the middle of those orange areas. Okay? So it's going to be difficult to get that color to pop back in. So long as you keep at it and you pick up nice amount in your brush, you should be able to get that. We're almost done. Before we add in the stars and everything today, I want to show you something special about adding the stars. And to tell you something about how we all have been painting stars for so long and how we can make that better. Okay, so you know, the stars, we paint them white, right? And we paint them with the wet on wet splatters and the wet on dry splatters. But what if I tell you that stars are not actually white? As in when you look up at the sky, you see all those stars. They're white. But why do you think it's white? You think it's white because you're thinking with your analytical brain or your left brain. But what you need to actually do is to think with your right brain, which is the creative side. Now if you look at stars and you look closely up, you'll see that it's all in different shades. I'm not telling you like the real color, but it'll be white. But it'll be a pink white, or it'll be a lavender white, or a purple white, or it might have a yellow hue to it. So now when you look at the sky again, go check that and you're definitely going to see that difference. That's what we're going to capture today. Okay, so we're going to paint the stars, but we're going to add different colors to it. Okay, so for that, let's start with the white stars first. Let me show that to you. Starting with the white stars, nice amount, let me it paint nice amount. It's dried up, so I'm going to have to reactivate it, which is what I'm doing, splattering it, obviously. We've got some nice splatters. These are hit on wet slatters, obviously. But now let's do the thing that we set with two, which is to add subtle colors over these. Like, for example, if I pick up a little amount of pink and I add it to that mixture, I think I might need a bit more. Okay. There, I've taken a teeny tiny amount of pink. Okay. And I've added it to my white paint, and if I splatter, that's not going to be perfectly white, but it will have that subtle ping hue. Okay? I can see it on my paper, but I'm not sure if this can be captured in the camera. But this here has got a pink hue and the one right next to it is actually white. So when you do it on your paper, you'll be able to see it closely, trust me. So you can do this with multiple colors. For example, let me try adding a little bit of my cadmium orange to my white. And then I'm going to splatter that one. Okay? So these ones are orange. See the difference? Oh, oh, this is clearly visible guys. Now look at this one, this is orange. Whereas if you look at the other ones, it's white. Do you see what I mean? This is something brand new for today's lesson. We're not done yet. There's just a tiny amount of details to be added. But now that you've been adding the stars and your papers are a little bit settled down and your paper is like, probably starting to dry out. You're going to pick up a nice amount of indigo this time with a smaller brush and in a very creamy consistency. And then we're going to create like some nice Strokes. Okay? So these are like parts of the galaxy itself. But these are strokes subtle details that go on in the sky. You're just trying to make it look as close to real as possible, Isn't it? Details then what? Okay, Like something there. All right. I've got something here going to create a large chunk there. This one that I just applied, I would like to spread it outward a teeny tiny bit like that. Now we've got lots of movement. We've captured lots of things. We have some colorful stars and everything. Thinking with your right brain, of course, the creative brain. And we've got a lot of beautiful stars. Now it's time to dry our papers so that we can add in the foreground stars and finish this up. All right, there you go. It's completely dried out. And I want to show you those stars that we added. See these ones here. See how orange they are? And look at this one. It's got a pinkish hue as opposed to this one which is a bit white. See what I mean? This is hot. But I'll show you how we'll make this even better. All right, so now that we're done adding all of that, the only thing left is to add in the stars itself. Okay, The four ground stars here. I'm just going to load up my white. It's actually mixed up with a little bit of orange, but I'm okay with it. All right, so we're going to add that, add those stars in. White. Stars in at various places. Right? Let me wash that off and also try and clean up the white. I just think that the more unlock the white paint underneath, it's going to become more and more white. See it's become very, very light. All right. Going to do the tapping method because that's going to make our tiny, tiny stars, which is what we want. Right before that I've dropped a little chunk of water here. Let me get rid of that. I'm going to go with the tapping now. All right? It's going to be noisy and it's going to ruin all of your table surface. So be careful with that. Remember to add in concentrated stars. Just keep moving your brush around and you'll be able to make those stars. Okay? Also, do not point your brush in one single direction because if you observe closely, the brush is actually dropping those in the direction that you hold it in. Keep moving the directions as well so that you'll see that it starts to come in different directions. Okay. Here for example, I just hold it, held it in one line and see that line of stars, which is why we need to keep it moving. Now all that's left to do is to add some shining stars. And that little trick that I said I'd show you. Okay? So remember I said that we've got those stars that we added in the background. Okay, Now we're going to make those stars as a little bit shining. So how do we do that? The background stars already has a spreading effect, which has created those stars, isn't it? So for example here, I'm going to choose that orange. Okay, one of those oranges. And on the center point of that orange, I'm going to drop in a star. So what happens is that white that we add to the center is going to be the shiny part. And the outward part of it is going to look orange. Let me show that to you. See what I did there? And see how it's glowing orange. But it's still got this center glow of orange. Okay. So go ahead and do that for many of the stars or look at that one. So can you see? It's a background star but still shining. And it's not like those foreground ones where we deliberately draw the line. Isn't it really cool? So go ahead and do this to as many stars as you want. Okay? These orange bits that we added, those are not stars, those are some fiery things in the sky, okay? So those are not stars, but you can clearly distinguish and see those background ones yourself. So just go ahead and add, for example here have a train of them. I'm not going to add to all of them, but like to some of them I'm going to add, we can see a lot of other background ones as well, but I'm not going to touch all of them. Just some of them. We've added enough of those. I love this one, especially because it's got that orange glow to it. You see? Is that something new about stars? So I'm just going to finish off by adding one or two in the foreground. Okay? Where do I add? I'm scared to go and add in some place where it doesn't sit. Let's go ahead and add to this one. Okay? It's just in the edge, isn't it? And I'm going to make it as small as I can and subtle see it's a subtle, smaller one that I've added. Let's try one over here. Okay, Remember outward from the center there, I think we're good enough. Let's not do too much and ruin this gorgeous painting. Okay, so there you go. Way done. Isn't that so cool? There you go. I hope you enjoyed painting this one. Thank you so much for joining me today. 11. Day 07 Project - The Red Asteroid Planet: Welcome to day seven, and this here is the painting that we're going to be doing today. Stay here and watch because there's a lot of differences to the way we painted the planets, the asteroids, and everything, and a lot of different concepts, new concepts of our light and shadow as bow. I hope you enjoyed this one as much as I did. So let's have a look at the colors that I have used for this one, and you'd be surprised. I have only used four colors for this painting. Let's have a look at the colors that I have used for this painting. The colors I have used is Alizarin crimson, transparent brown, transparent yellow paints gray and cadmium red. Okay, obviously white quash, but I guess you know that by now, so I don't have to probably see it, right? So let's get started with this one. Alright, let's start. So first of all, we'll sketch that Dani tiny planet. So here, I'm going to use my compass again. And we're going to sketch that planet around one by third position for the best composition. So that would be one by third of the paper from the top and from the left. That here, taking that point as the center. I'm just going to make that planet, but it's going to be a smaller one doesn't need to be bigger and remember not to touch any edge and create any tangent edges. We don't want that. App simple circle, and get that glowing. That's basically it for our pencil sketch. Now that you've done that, go ahead and apply water to both sides of your paper. All right. There you go. I've applied the water in a nice and we'll start straight away. We're going to start with the first layer, so we're going to cover it up with a nice amount of red color. We need it to be gorgeous and a bright gluing red. Ignore all these colors in my palette because eventually it's going to turn out into the red that we want itself. I know that there's a little bit of brownish color here and there's a little bit of yellow here. It's absolutely fine because what I'm going to be doing right now. I'm going to take my Alisa and crimson. And you see, actually the color that I need is. I need my Alizarin crimson, mixed it a little bit of yellow. Because Alizarin crimson is cool red. It's in a slightly pinkish stone, but we want it to be nice and vibrant red. In order to make that vibrant, if you actually mix it up with yellow and then apply it, then you're going to get that vibrant vibrant red, and that's what we want here. That is the difference. Let me just show you what Alizarin alone would be like. That is the difference. You see this is slightly darker as opposed to this one, which is more reddish, isn't it? Which is why we're doing this method. By mixing it with a little amount of yellow. Another thing if you do not want to mix it in your palette because you remember I always say that if you mix it in your palette, then the color is going to reduce. In order to get a creamy consistency, you need to apply directly from the tube or the pan. What you could do is you could apply the Alizarin crimson initially and then add in yellow at initial places. In some places. That's going to look even much better mainly because of the reason that it's going to have varying shades of red just because of the different or the different yellow that you're going to mix in. I don't mean different yellows, but I mean the consistency of the yellow. Some places might be more vibrant yellow. Some places might be a little yellow. Then that's going to change the look of the red color, isn't it? Here, let's go ahead and apply Alizarin all over. That's going to be the first layer. In fact, I don't know why I'm using this whole brush. You should probably do it with a larger larger brush, pick up a whole lot of pigment and apply it to the whole of the paper. That would be your ideal case. See this little amount of white there, I am going to leave it. Something like that, like a pathway. Then the remaining thing, go ahead and apply the Alizarin. If you do not have Alizarin, you can also actually apply pink color. Just remember to mix your pink with yellow because if you make pink and yellow, going to get another beautiful red. Keep adding, that's the first layer. Like we discussed, can you see that area still has a different reddish stone to it because I mixed it with yellow initially. But we're going to do that over the top here, which would make it more vibrant. Cover up the planet for now, we do not mind what the planet is at the moment. This is our background. We're just filling up the entire background. Now, I'm just going to add more color. Over the top into the areas where I want it to be more vibrant. I can see white areas here going to add there. You can see my strokes are so so random, but the best thing about this technique is that as soon as it starts to spread around, it just goes away and all of these haphaz out brush strokes, I'm not going to be seeing yellow paint now. I'm just mixing it with that red again. Okay. I'm just going to apply at random places. You can see that as soon as I apply, the color changes to a more reddish color. Let's not apply it everywhere. Like I said, let's try and make it into a beautiful mixture. Here applying that yellow. Only into those areas where you apply, will it look more reddish or slightly orangish? You can change the orange look of it. You just need to add more red over it, that is more Alizarin over the top, and then they'll be figured out. I think the rest of the areas, you can leave it as the nice red color it is. This is such a vibrant red red red painting. You've already seen the outs and say you know how it's turned out. Here, just picking up more of my Alizarin, I'm just going to add over the top, because I don't want it to look orange, but I want it to look red. If you've made it orange, go back with the Alizarin over the top. That should make it back to red. I picked up the wrong red. That's get me red, and I don't want that. There. Now we've got different kinds of red on our paper. I'm pretty sure that will work out for you as well. Now let's go ahead and add dark colors over the top. I'm going to start with a nice brown shade. So here's my brown shade, and I'm going to start here at the very end. It is a transparent, so I will have to apply multiple coats. Here I'm picking up nice amount of pigment and I'm going to apply to the very end here and this side. We're going to start blending in and creating the depth effect in various areas. You can see how that pro turned out. Is going to add randomly. I think that's good enough now for this side. Then the next color is obviously paints gray. We're going to add that over the top and create the depth to create dark edges for those areas. Here picking up a nice nice consistency of the paints gray, and we're going to apply. Make sure you cover up the edges nicely. I'm going to go slightly towards the top. We're going to cover up that region, I just want to come something. That there will be some parts of the brown seen through underneath. But most of the edge here on this side is going to be nice and black, which is why I'm using a very, very creamy consistency of the paint gray. Let's get to this side now towards the top, but leave some portion there, which we needed to be red. Let's bring that down but do not come and touch there. Let's take it towards the left side. I think I'm going to drop it there. Then I want to sum on this region. I think that's enough. I don't want at the top, going to apply more to the areas that I know that when I look at my paper, I can see that it still has some underlying colors seen through. For example, here in this corner, I can see that it's still showing up some red, but whereas I want it to be nice vibrant black. Okay, that's more than enough. Now I'm going to go back with my transparent brown into some areas. So for example here, I'd like it to be more brownish coming over. Then in this corner here, you can see that the brown is already gone. It's absorbed into the paper. That's one disadvantage of this, you've got to use a lot of pigment for it to become vibrant because what actually happens is the paint just gets absorbed into the paper because of all that moisture. In order to get it to the vibrancy that you need, you actually need to apply a lot. Here picking up my zain again. Just going to blend that picking that color up. Let's blend in, leave that large white chunky space. Let your color blend in. Can you see how it's ended there? Just pick up your brush, go over that region so that it looks blended in rather than having a clear edge to the paints gray that we applied. The same over this side. If you look some of the areas, I can see that where the paints gray is ended, which I do not want to depict, I've gotten rid of that. I'm so sorry about how the light is so disturbing, isn't it? See, how can we fix that light? See how I've done that region? Do really apologize for that light, guys. Apight Some more. What you can do is maybe pick up some nice which is brown shade and I'm going to do some splatters. Splatters of the brown. Here over the top. Here, this area, there's going to be a huge planet. That's okay. But I guess the other areas could be the areas where you add in the splatters and that'll be visible. I like the way it turned out. Just adding more color to make sure that I don't have any areas that's going to pop out white in the end because I know that things turn out very lighter in the end and that's not what we want. We've captured a nice white area there, easing the white of the paper itself, and then plenty of areas. Oops there's a little red in the corner there. Don't want that. I think we're good to go. Now what we can do is we can go ahead and add in some stars over the top. Just those the wet on wet splatters, that's what we do. I'm just shifting to a smaller size for brush to do those splatters. Here, I've got fresh quash pigment here today. Not a lot. Just in some places. This area is going to be the planet, so no point adding over there. We'll try and add to these other bottom areas. I think that's more than enough. It's nice, teeny, tiny background stars added. So now all we've got to do is completely dry this up. Okay. All right. There we go. So you can see after it's completely dried out. I love that white space as well as the different kinds of red on white paper. So remember when I said that when you apply the red face and then you add varying shades of yellow, not shades. Why do I keep saying shades. Varying consistencies of yellow onto the paper, then it's going to look good. So see here, this is like a more orangish warm red, whereas some areas here are like the dark red. Then we've got the nice brown shades there and the black all around. Isn't that looking gorgeous, and then we've got the background spas as well. Then now let's get to painting the planet. Today, we're going to be painting the planet in a slightly different manner as opposed to what we've done before. Because I want to show you a new technique where you can paint the planet and have the areas nice and white. I've got a new fresh tube of white paint because my other ones finished. All right. Taking a nice fresh white. Paint. Even if you're taking using white water colors, just make sure that it's nice and fresh and it's got nice creamy consistency of the paint. That's what we want. We want it to be nice and creamy consistency. Here, loading up my brush with the white paint. Make sure it's creamy, not a watery and we also haven't applied water to our planet, which will ensure that it stays wet. We need that bottom part to be nice and white. Let me explain that first. It all comes down to the light and shadow. This region here, it's bright white area where it's got light. It's white because it's got light. It's a light source. Not as heavy, but then it still is going to cast light onto this planet. The bottom part of this planet is going to have light, whereas the other half or the other side is going to be in shadow. You need to capture that white. Taking down here. You know what? I need to turn the paper because that's what's comfortable for me. Do as it is for you as well. Now for me, the top part is going to be where the light is right around there is where my light is going to be. Needed to be a bit more greamy need a bit more water, now we can see as I'm applying. This is bright bright white. If you apply to this with water, then it's not going to be as white as this. That's another technique. This is wet on dry. When I say wet, it's not that wet either, actually it's possibly you could say it's dry on dry, but it's not that dry brush technique either. The paint is still wet, but in a very, very creamy consistency, which makes it this vibrantly white. I hope it makes sense. This region here is where I'd like to the majority of my white paint to be You can see I'm applying over the top there. Then as I go towards the right side, I'd like to decrease that white and get it tapered up like that. Now then use the pointed tip of your brush, taper down onto that side. Nice amount of white. It's okay if you've got some white coming out to the center like that. Then once you've done that, we'll go ahead and start adding the next colors. It's best if you can use colors such as cadmium red, but it's okay if you do not have. You can use the Alizarin mixed with the yellow. Make sure you mix the Alizarin with the yellow if you're going to be adding this because we need the red to be warm red and not a cool red. Make sure you get that. Then here, I'm just going to add, mix it along with the white, so you can see how it mixes up. It's just creating some blend, but then it's going to spread out a little into the inside, but then it's not going to be a very light Okay, that's what we want. Now I'm going to follow along the shape, the pencil sketch that I did and do my planet. Now, I think it's safe to turn my paper onto the other side. Just going to continue along the pencil sketch that I have got. It's very tricky to see the pencil sketch. In fact, you know what? When you're sketching, if you feel that your paper is going to absorb that sketch, then go ahead and make a very darker pencil sketch because you can cover it up anyways. It's okay, even if you've got even a little bit of pencil mark at the end, I guess it's better than not having a sketch where you can easily do it. Here. Now we're going to use the watery mixture to cover up the inside. Once you've done the outside. Let's get to it, adding enough of the cadmium red bringing into the area up until where I've done. You can see the bottom half of the planet's got nice and just white shade. But now it looks like a dirty little blop isn't it because it doesn't really capture what it is. Now we go back and we're going to add in the beautiful colors. Here, we start with paints gray because we're going to capture the shadow. Go ahead, add in the paint gray over the top. Use the edge of your brush. Can you see how I'm using the entire length of my brush to paint the strokes? That way, you're able to cover and pass through the edge. Whereas if you were using the tip, then your hand was going to kind of like shake, or even if you shake, you're going to do a mistake, whereas if you do use the entire length of the brush, then you can see clearly as to how it's moving and it helps. And remember to paint with your hand, your whole hand rather than just your wrist. It's a very tricky business to just paint with your wrist. So if you keep your wrist as safe as it is and then try to move it around or spoil it around, it's not going to work, because that might create errors. Whereas if you paint with your whole hand, it's more freeing and it works. Just going to turn up my paper because it's more comfortable for me. Let's get to the inside. Now as you get to the inside, when you come over to that bottom area, you can have some areas of the red showing through here, leave areas of teeny, tiny bits of red. Also, you will notice that when you're blending this with the paints gray, it turns into a reddish color. It doesn't purely turn into black. Okay. And that's exactly what we want. You don't want it to purely turn into black on all the areas. Now, can you see how that planet already looks beautiful. It's gorgeous. It's shining, isn't it? Go back with your red and start to try and decrease some of that white, but do not go over to the edge, but this is just going to make sure that some of that is blended in. Let's go back with a little bit more white, and we're going to go over to the very edge. Now you're going to use the pointed tip of your brush. So we're going to create that glow around and goes up until there as well. That is really promising. Now we've got to capture more black towards the other side. Here, just picking up more dense paints gray and add it into the areas, but do not go over to that edge there. Pick up nice amounts of paints gray, or if you're using black, then that's even better. I just don't have good black on my palette here. Paints gray, and just adding that. All right. There you go. We've covered up the planet. Also, I wanted to be a nice blend. Here, can you see there's a clear cut edge between the planes gray and the red. Going to get rid of that, using more red. Can you see just sticking up my red, blending that in blending that edge in, all right? There. Now that clear cut edge is gone, isn't it? It looks more reddish, isn't it? It's cadmium red. The more red you pick up and you add over the top, it's just going to turn lighter. Here, we've captured that gotous planet. Now let's finish off with some tiny tiny details and the chunky rocks in the sky. That's what we're going to capture here now today. That's pretty easy because you're going to start with paints gray and you're going to add in at various places. Let's start over here to the right. I'm just going to place a huge chunky rock there. Observe what I did take the paints gray on the entire length of your brush, and then use the whole length of your brush and create some random shape. You're going to do that in a lot of places. Just keep adding. Try and make it in different sizes. Do not make all of them the same size. Some small, some really huge like this one, a smaller one, small, we're going to do it in a cross manner. Do not cross over to the edges, and do not start there and go over to there. That does not look good in the painting. Like I said, do not create two symmetrical things. Symmetrical things are good for photographs, but not for paintings. Do not go over to the white area as well. I'll tell you why, so we need to capture different colors there because it's very light. Also, if you start to see that your paints gray that you just applied is starting to dry, then you need to stop and go over to the color that we want to add. Basically, we'll start with the red color, and we're going to try and add an edge to it because again, all of these got light. This is the ltose shining light and all of these objects. See where I apply the red is at the bottom because the light is from there. It's not red, but this whole theme is reddish, so it's going to depict that red as well. A little bit there, not too much. That's probably going to be masked off. I the asteroid underneath here, just blend it in where would the ltose be? It would be at the difference. Be that one below, the ones at the top, they needn't The thing is, what you're looking at right now? Is a flattened surface. You're looking at a two D image. These rocks, this one may not be right above it masking the light. This might be in different height levels, probably all of them is going to have that light source, casting light onto it. That's the thing because it's a three D thing. All of them is definitely going to have light source. Red and adding into all of them. This is why I said that if you start to feel that your paint spray has started to dry out, then you've got to go and add in the red before it dries out because you want to blend. That's what you did right now. See, I'm just adding a lot more, and I'm making them teeny tiny as I reach towards this bottom. We've got to add red onto those ones. Obviously, it's going to be over the top because the light is at the top for these ones, isn't it? Observe the light source always and work through that. You can ignore some of them because for some of them, another asteroid or this chunky stone might actually be hiding the light source. So it's okay. We've added the red, but this area is not going to be empty. It needs the asteroid, but this time the asteroid over there at the light source is going to be nice and glowing red. You see that? Do not add too much. Just a little to depict that yes it is there and it's actually glowing red. But again, it's not entirely red. You've got to capture some light dark and the rock is not like a steady thing where it's got the perfect round shape. It's going to be having chunkiness and uneven edges, and those uneven edges in itself might have some shadow. Instead of adding red over to the paints gray, this time we're adding paints gray over to the red. You can see those two are much different than the other ones. It's more red than anything else. Taking that white paint, we're going to be adding white to some of the edges. It's absolutely necessary because some of them will indeed be glowing white from the light source, So taking that white paint, I guess this one and I want to give it this one. Just adding to the edge. Let me see I'll make the top of this one as well. No that, maybe a little one over here. Not too much on that one. I think that's it. Pretty much. You can go and this is y therapeutic, so you can actually go and do as many as you want. But I don't want to waste the time, but it's all up to you in order to make this completely unique. You don't have to follow the exact same way that I have done. You could probably switch the planet somewhere and then do the rocks in some other manner or create some other shape in the sky. Just just imagine all the possibilities you could achieve with this. That's what I want to tell you. It's going to become something that's so unique to yours that you could even go ahead and sell it or do anything with it. That's completely fine. Let's add in the stars. I'm going to stop right here, but let me tell you about so many additional things that you can actually do with this painting. You could do those colored stars. It's actually not colored stars. It's actually the real stars. These are not real stars. These are just stars that we artists do. If you want it to be more realistic, give it a slight dint of color. For red, the best combinations would be try and add in yellow tint to those stars or probably a lavender tint, and your stars are going to look more beautiful. Okay? So you could add those realistic stars in. You could add some comts. You could add those stars, which are like in a glowing or you could add the stars, which I taught in the previous lesson, which were to, like, you know, choose wet on wet one and then draw in the center so that it glows at 12. Lots of things that you could do. You could even have added wet on wet splatters with a different color, the best color to go along with this would be either green or yellow. Green needs to be vibrant. But then I would prefer more yellow because that's more pleasing. Although there's no cool colors in this painting, so that's why I would have preferred yellow, but you could just add or Cadm Orange or dam yellow splatters in the background. That would have been looking amazing as well. Just telling you all the suggestions that you could have done with this painting. There you go, guys. I hope you enjoyed painting this one. You can see the planet is still wet, but that's okay. That's our final painting. I hope you like it. Thank you for joining me today. Okay. 12. Day 08 Project - The Hourglass Galaxy: Welcome to day eight, and this is the painting that we're going to be doing today. Look at that. It's a lot of stars. Yes, but these strokes are, you know, completely the play of water colors. You don't even have to do a lot because it's just the way the paint and the pigment moves on the paper. So I know you're excited to paint this. So let's go ahead and have a look at the colors that have used for this painting. The colors that we need for this painting are mum orange, mum yellow, transparent yellow, Queen acridon rose, violet. Paints gray. You can either use black or paints gray, and then last but not the least white quash as well. If you're ready, let's get started. There's no pencil skate, let's just get started straight away. I'm going to be applying water onto both sides of my paper. You do the same as well. You know the drill by now, right? All right. I have applied a nice amount of water onto the whole of my paper on both sides, obviously. Just make sure that there is only a sheet of water, you do not want it to be watery or too much flowing water. That's something that you have to be really careful about. The first color that I'm going to be using is can be Morge. It's usually strange, isn't it? We always start with transparent colors. But today, we're going to be using transparent orange. I'm picking up in a creamy creamy consistency. That is because I do not want it to spread, but I want this to stay at the place where I'm going to be applying. If you do not want it to be spreading, then remember the water color 101. Just going to pick up a center point, maybe somewhere there. See, it stays where I apply it. Now what we're going to do is we're going to create some nice shapes in our cosmic space. Here, going to apply sometimes use my entire brush, sometimes use the pointed tip, which is creating some random shapes. All these shapes, we want it to be in the hourglass shape. That's what we're trying to mimic here. Something like that. Then a lot more in the center. If you apply nice consistency, then let's go all the way to the top. Now we'll create the other side of the R glass. That's going to be something like that, and towards this side. Just adding some random strokes and going on. This is what we've added initially. Now let's continue. I'm going to be using a nice yellow color. What's my yellow here. Has got some Alizarin overt from the previous painting, one of the previous paintings that we've done in this class itself. I'm just going to clean it up. Here, yellow now and I'm going to just stuff in yellow in between. This is a transparent yellow. It's not going to spread much, but rather it's also not going to displace the orange much, but then it just stays there and gives our painting, a nice glowy look some nice yellow stroke k. Here, I think I'll lie somewhere there, some more here, just randomly. The main thing is to create that gloss shape on our painting. All right. There you go. Let's move on to the next color, shall we. The next color, I want is quinacridone rose. We want it to be in a violet touch to it. What we're going to do is we're going to pick up our quinacridone rose and we're going to mix up a tiny, tiny amount of violet to it. That becomes a red purple shade and a little bit of violet. Then Using that color, we're going to fill in some of the areas and drop in, but try to keep as much as you can away from the yellow. That's very important because it would turn to brown. But it's okay. It's totally random things that is going to come into the sky, isn't it? If there's even some yellow, it's chill absolutely fine, but let's just refrain from it. Picking up those two colors, adding them, see how it mixes up with the yellowish area to get a brownish tone, and it's fine, but don't add too much. That's what I want to say. Some along there. Let's see. I think I want to drop in just a little bit of pink shade. Maybe. But the thing with Alizarin crimson or the quinacon roses, the moment it mixes with orange or yellow, it starts to turn into a red shade. Try to keep away and put it into those areas where you want to see the pink, put it into those white areas. That's very important. There, I've stuffed them some of the quin rose there. Then I think the rest of the areas, I'll start adding the violet, so we get some nice strokes, mixing it up. Then I guess you can go towards the inside as well. It's going to turn a little bit muddy where you mix it with the Admum orange because the cadmium orange is an opaque color. I would eventually turn into a muddy color. But that's okay. Now, for the rest of the areas in our painting, we're going to first add in our violet shade. Reason why I'm adding it violet shade, even though it's black is, we've covered this in lots of previous lessons. It's because you want an underlying color before you add in the black because when the black lightens up, you actually see the white of the paper, which you do not want. You want it to still have some underlying tone. In this case, even if the black lightens up, it's going to have the underlying tone of the violet and not the black. Keep adding the violet everywhere. Okay. If you see a difference in my painting, that's literally because I had to stop at that point because my son woke up and I had to run away. Obviously, this technique one works a lot because my paper is literally still wet. Here I am going to apply the violet into all those areas. The only thing I observe is that some of the edges of the strokes that I had already applied is a little bit dry, but that's for my case, but in your paper it's still going to be wet. So what I'm just doing is just I'm reinforcing those orange strokes back onto my paper. So you don't have to do this step because I'm sure yours are still dry. Mine unfortunately, because I'm back after a long 15 minutes, it's dried up a little bit, okay? That's all. And because we know how to fix those things, it's absolutely fine, isn't it? S here, adding in the violet and blending into all the areas. Okay, then I'll take my violet and I'll start over to the other side as well. All right. I see that that part has tried up a bit. Obviously, it's a combination of the red purple, isn't it? If I apply it over to the top and then take it over to the center, then a bit of orange in those areas, and orange there towards the end as well. That works. Then going back and adding the purple into all the other areas. See here, purple towards the edge. Remember what I said about mixing yellow with the purple, but that's okay because here we're going to be adding another color over the top. That it will work. Here, purple over the edge here again, you can literally see how my hay paper has dried a little bit. But then as soon as I start applying it comes back to life, and that's all because it's wet underneath. Taking up the nice nice nice beautiful consistency of my violet paint and adding. Here, we're going to go over to that center of that hourglass shape and added there. You can see the harsh edge that's formed there, which means obviously, I need to add in those orange strokes again. I will it's absolutely fine. Back to adding some more fresh orange paint, and then it'll all be fine. Here as well, some fresh orange paint. Then I obviously need a little bit of that red purple shade and that would be here. I can see that I need a little bit at the yellow. All of this is just for me because I had to leave and I'm coming back after a while, for you, I'm pretty sure that it's still wet, so don't bother about these. More violet. Now I'm just looking at the paper and seeing where it is too light or to violet. I've got to go and add, haven't I? Then going to take up some more violet and I'm going to fill in some of the center areas here. We only want it to be only some areas, not all. As you can see, when I'm adding that violet over to that region, it turns into a black already, which actually helps us because what want to add over the top is indeed black. Here at the edge to add in the color again as it started to fade. I love how the ts formed. Maybe I'll just reinforce into some of these regions. Then I know that there's a tiny, tiny amount of violet there. Love that. Now let's go ahead and add in the darker color over the top. You can either use black or you can even use paints gray. I think today, I'm going to use that black over here, which I've just recently filled, so I know it's slam black for sure now and I'm going to add it over on top of the violet. So that, even if there are areas which has literally stays white and starts to show off the layer underneath. It would be violet underneath and not the white of the pupil. Which is why we add it, the black at first, isn't it and see how this is going to be helpful. Because remember I said that it's already turned into a almost black color over there. You just blend it together now. Even if there are areas that you miss to add the black, it's still going to be a blend of violet. Isn't that gorgeous? Always not try to end in between, you can add some strokes Inside of your outclass shape as well. Don't try to make anything into a perfect blend or a perfect mix. We don't want that. All right. Now for this very edge, I like how these hairs are forming in, you know, it's making it look so pretty, isn't it? Now I'm noticing some other things as well. So you see this area here, how it's got a dark edge. That's, like I said, it had dried up and my violet was not sufficient enough, so here. I've just picked up a little bit of my cadmium orange and applied, and I'm just going to go over with my yellow as well and make sure that I even out the strokes and re wet any of those regions. Now, I'm just letting it into a watercolor play because you can see the glass that I actually painted is almost gone and it's creeping in and creating these unique shapes in the sky. Okay. Do not try to fight these strokes and the blends that your watercolor makes. That's because those strokes that it actually makes is what is going to make your painting unique and stand out. It would not be exactly the same as mine. It would be completely different, but it's still going to be a unique piece. Let let it flow, let it create those unique marks on the sky. Did I say sky in space? Well, it is the sky isn't it. When you look up, you see the sky, but it's actually you're looking up at endless spaces in it. Although I know I don't want to go into the science of it. There's atmosphere and everything, but let's not going into that. I've just literally made it black. I know that there are lots of areas where the paint is actually shining through and showing off the violet. Now, I'm just going to reinforce into some of the areas and try to get back whatever I can, but not too much. Here I'm going with a cleamy consistency of my orange. I'm just going to drop it there. It is going to lighten up because what you have in the background is very, very, very dark, and it's fine, here. You see how those paint like bleeds and blends. Let me show that to closely because I really love it. See what's happened over here. This is actually the favorite part in this painting for me. I mean, look at that. Isn't that gorgeous love that part. I know that this light is too overpowering, let me traffic fix that. Well, I tried, but the light is still overpowering. It's actually because there's a lot of water and water reflects light. You obviously know that. Here taking that orange stroke and adding it again into those areas and trying to get that glass shape. You don't want it to be too much to just try and do whatever you can. Here, you can see how this is spread into that region. Here, I'm just applying a nice amount of my orange and letting it blend. We've got some nice flowy bits there. What you can do is if you want, you can pick up a little amount of cadmium yellow and drop that in as well. That will create some gorgeous yellow strokes in between those orange ones that you're adding. But do not add too much because there's a tendency that the yellow is going to mix with the paints gray or the black that you added and form green. It will form green because the blue in the black colors are usually very, very dominant, so you don't want that. Pick it up and add it. All right. That's really good enough. Now what we can do is we can go ahead and add in some wet on wet splatter stars. Here, I've got my white, just adding some nice splatters, but I'm trying to stay away from our beautiful region there, also, today, I'm going to do those realistic the background color star types. Here, I'm going to pick up a little bit of my pink. Let me try and mix it in one corner here because I don't want to my white. I've taken a little bit of pink, and I'll take a nice stunky amount of my white, mix that in, and I'm going to add those splatters. It'll have that background pink in some of the areas. Now that you've added the stars, go ahead and dry up your painting. All right. There you go. Here's how it looks after it's completely dried up. I have a lot of things to tell you now. See how the color has lighted up so much. It's literally not black. Only some of these areas here some areas here and some areas here are black. That's because if you want it to be that black, then you need to literally apply straight from the tube a lot of paint and make it rich and creamy. I did not do that much, which is why it's lightened up a lot. But you see what I talked about having that underlying color of violet rather than the white of the paper showing. If you hadn't applied that violet, when it lightens up, it's literally going to look like You didn't use enough pigment in your black and that's going to be evident in your paper and it's not going to look good. Next thing, I love this pink. This goes pink shining here. Remember I applied just the quinace rose over here, and then I like the bleeds that's formed into the sky. It's just like letting go of control and letting the watercolors do the magic on its own. But another thing that actually happened is where my white spread. You see how the whites spread. This is because I was using a hair dryer. And in the direction that I point it to the paint and the water kind of spread like that. But I like it because it's given this sky a unique look. Some of them are still there, which are not gone too far. Those could be our stars, and these could be just random details on the cosmic. The cosmos is just endless and there's lots of colors, lots of variations. Anything that it creates is literally just going to make your painting interesting. So now, We can end this by going and adding a lot of stars. That's it. Here's my white man, and we're going to splatter, splatter splatter. First, I like to splatter with my hand because those are going to create larger ones. Then as soon as you start splattering with your brush, it tends to make smaller ones. See? Let's make all the stars most of it towards the outside, rather than the inside. Only some of them in the inside, rest all of them towards the outside. I want some ones with color now. What I'm going to do is I'm going to pick up that pink shade, then I'm going to take up some more of that white, max it into my pink so that I get some nice light pink splatters. See that. Let's add those now. It'll be a mixture and blend of those light pink shades as well. Some of them will be light, some of them will be white. All right. There you go. It's complete. Isn't it gorgeous. So you can go ahead and add in a lot of the things that we've covered in the previous projects, such as those comt or those stars which has the glow or the stars, which has those lines and glowing in a different manner. So all of these things, you can go ahead and add. You can even add stars with cadmium yellow or acdmum orange or you can add wet on wet splatters. So you see the endless possibilities as to how you can change this picture. Isn't it gorgeous? So just look at that. So it's not try yet. There you go. That's the final meeting, and I hope you enjoyed it. And thank you so much for joining me today. 13. Day 09 Project - The Fiery Planet: Hey, welcome to day nine, and this here is the painting that we're going to be doing today. As you can see, it looks very, very complex, isn't it? But I've broken down the steps and trust me it's literally easy because we just have a ton wet and a ton layer, nothing else. It's not rocket science, and you definitely can do this. Trust me. So let's have a look at the colors that we have used for this one. So we basically need halo blue and Thalo green, but you can use turquis green if you have that cause what I have used is a Ty blue and the Thalo green mixed together to make a turquis green. So you can use that. Then we need cadmium orange, transparent yellow, quinacridone gold. We've already discussed how we can mix the quinacridone gold, but I'll say it again. You can mix yellow and Alizarin crimson together or a yellow orange and a slight amount of brown together to create that golden color. Quin, then we need Alizarin crimson indigo, then transparent brown and paints gray. Those are the colors we need. Oops I forgot dum yellow. After that, obviously, white wash. Here you go. Those are the colors that we need for today's painting. If you're ready, let's get started. All right. Let's start today, we will need to sketch out that planet. I'm going to use my compass again. What we're going to do is we're going to choose somewhere around the midpoint of the paper and draw a planet such that it crosses over two by thirds from the horizontal. If you split the horizontal line into two by third, that would be somewhere here. You need the planet to be crossing that line over there. Stretch out your compass as much as you can. And then go ahead and sketch it out. That's our planet. It's looking amazing, isn't it? Let me just finish it off on the side, wrong circle. There. That is our planet. Let me just make sure that I draw that carefully because once we lay down all the strokes, there are chances that we lose out the pencil sketch, which we do not want. I'm just adding it nicely. There you go. Now, that's our pencil sketch. Let's go ahead and apply water to both sides of the paper. You go ahead and do it on yours and I'll do on mine. All right. I have applied water running a damn brush to make sure that I have even consistency of water. Always remember, in this case, we do not want the paper to be running around with water. What we actually need is just a she of water on the surface, and there's also water at the backside acting onto the paper, making it stay wet longer. Let's get started. The first color that we're going to be using is a Turquois green shade. If you have Turquois green, go ahead and use that Turquois green. But what I am going to do is I'm going to make up by turkisGreen. I do have this aquoGreen color from Windsor and Newton, which is literally amazing. But you can go ahead and make your own Turko green. I'm going to be using thalo blue. This is already a mixture of tuk green that I have here. That's why I'm mixing on top of that. Halo blue, and then a little bit of halo green, and mixing both of them together makes a perfect, perfect, perfect Ac green or TurkuisGreen shade. If you have turquis green, you can use that direct from your tube or palette. Trust me, that's going to be making it more vibrant because essentially this one, you're mixing it onto the palette, and remember what I always say mixing on the palette surface makes it actually less vibrant. So here, just going ahead with that go just beautiful Turks green shade. You can even mix that onto your paper. I think that might be actually easier on the mixing side. Because you can just mix the two colors onto the paper one over the top. That way, remember I talked about this in a previous lesson. That way, you would have varying colors. Because some areas might have the mixture of green more. Some areas might have the mixture of blue more, that'll make it even more interesting, isn't it? Note here, I'm going to leave some space right next to the planet. We do not want too much, but just a tiny, tiny amount of space, we'll come back. To the planet region and the blue as well later on after we've done with the planet, just laying down the initial strokes. Started with that. Now we're going to paint the planet region. I'm going to start with a nice transparent yellow, so you can use any kind of yellow. It doesn't matter it needs to be transparent or not. S. It's got traces of blue in my brush, it's turned out a little bit greenish. I see that a little bit greenish. I want it to be nice and yellow. That's much better. Now, can you see why I said this has got traces of green because this is more lighter, whereas this as opposed to being more orangish or yellowish, isn't it? So We're going to paint over the planet and have our yellow sticking out like that to the planet region like that. Just give it a go on the planet. That was just a base color that we were laying down. But onto the top of this is what we're going to add in the next main color, which is going to be dmuorane. We're going to lay down our cadmium orange onto it. That mixed with the blue is going to give a muddy appearance. But let me show you how we can make that better. Here adding that cadmium orange. You can see. Only some areas the yellow see through sticking my orange cadmium orange and adding through this way. It's just using the tip of my brush, I'm making some random strokes like that. Can you see this is a mess, isn't it? But now is the time where we're going to add more details. That's it with the cadmium orange for now. Let's get back to our blue now. And we'll go ahead and add it and cover up all the remaining white areas, and you can see the blue might slightly mix up with the yellow to form some kind of green. That's okay. It's almost going to be similar to the acco green, but make sure that it doesn't mix too much with the orange. That's what we need to prevent. Because it mixing it with orange can create some amount of mat colors, which we do not want. You can still see it only mixes up with the orange to form like a turquis green shade, which is exactly what we wanted. But if you mix too much, then it can turn mat Steer away, from mixing too much. There, you can see, just going in deeply in between and getting rid of all the white areas, and also do not have any line within the blue, keep adding until you get rid of all the white spaces. Now we've only added the blue, we need to make this into the turk with green shade, remember. Now I'm going to go over with my green. Picking up my green and adding over the top. As you can see, as I add it over the top, on random places. Some of the areas look greenish, some of it looks more bluish. What's this sorcery? It's basically we're just mixing up the beautiful turquois blue shade or turquois green shade. Taking up more of my hello green, you can see how I'm mixing it on my paper directly, which eventually helps us because if we were to mix it up on the palette, then it could slightly reduce the color or the vibrancy of it. This way, the vibrancy stays the same. You can see I'm alternating between the Tal blue and the alle green on my Aette. Now, that was a lot. Now, as you can see, we did not paint anything towards the center of our planet, which means that it might have possibly started to dry out. Let's go ahead and finish that up. I'm going to start with a nice amount of yellow. Then a large chunk here, I'm just going to leave white, leave some areas white just for the sake of it. Then as you move towards the left side, start using the quin gold color. Quinacdon gold, that's what we're using as we're moving towards the left side. Because we want it to be darker towards the left side and lighter towards the right, so you can leave some white spaces over to that side. All right. Here you go. We've covered up the planet. This looks like some kind of a glowing sun. We've got lots more to do. There's that brown added. Now I'm going to go with a more denser quin gold shade, and I'm going to place my quin gold, into some of the areas over to the right side. But on the right side, we're going to make light dots and dotted structures. You see that. That's going to give the effect of the planet. Don't bother about the edges. We're pain that beautifully later on. That's that part of the planet done. We have more to add to my quinacro gold, I'm going to mix alizarin. Here on my palette is sardine. I'm just going to use the same thing. You can see it turns into a bright orange shade. We're going to use that you see how it's turned darker. Here's my sarin. I mix that in going to use that now. We're layering up color by color over the top so that we get the plant tree surface over to the right side, go ahead and add more teeny tiny dots, but basically lesser than the previous one. Here dot, some dots over there. I've washed that off because now we're going to add an even more darker color. For that, here, I'm picking up my transparent brown and I'm going to mix it to the same mixture. That's Alizarin and my transparent brown. You can see how it turns into this vibrant darker color, somewhat darker than this color that we already have on our paper. Now that's what we're going to add. Again, go with the at random places. But again, lesser than what's there previously, Alizarin and the transparent brown. Now we're going to add that more over to a paper on the top. It's like laying by layer over the top. Now we're going to go with an even more darker color. For that, I pick up just my brown. You've seen how many shades of color we have picked up. Using this darker brown, just going to add the darker areas at completely random places. I'm going to go with a somewhat darker shade over there, then, nice bunch of darker areas. Yeah. Over towards the left, you've seen the final picture. What we've got there is like an asteroid or like a rocky belt. You can skip adding any darker color over the top over there because we'll be adding that with our wet dry method. You can skip that, go ahead with these areas here. Now that we've added our planet, what I'm going to do is I'm going to switch to a smaller size brush. This is like a cs two brush and we're going to get more of our orange. Because now we need to refine the thing that we added over here and we have darker strokes to add as well. Here, I'm going to take my orange and then I'm going to create some wavy structures and lines going outward. Choose some points, have the lines go outward like that. Make sure to wash the brush if you're picking up a lot of noise on the paper. I picked up a lot of noise. When I see noise, it means just start because when you go over to the blue site, you're picking up the blue paint. Then when you come back in, you're putting that blue paint back onto the paper. You need to keep washing your brush and do this process. You can see I keep saying that, but I don't do it myself and I'm. Okay. All right. I think we're good with that. We'll go with another layer of dark area over the top. For that, I am going to pick up my indigo paint. Here, I've got my indigo, and I'm going to add that indigo over the top. You can also add paints gray instead of the indigo if you want. But today, I'm just going to use indigo. And we're going to get rid of the areas over here on the left side. We don't want the planet complete area to be seen. Here, I'm just picking up my indigo. Just a second. What I'm going to do is I'm going to absorb the excess water from this side because this excess water is literally seeping back into the paper and taking off my pigment, which I do not want to happen. Now that's much. Beta. All right. So is me covering up until that point with my indigo paint? We'll be adding lots of wet on dry details and see how I touched my finger there, but it's okay because that area is meant to be added with indigo. Thank goodness. Here, picking up indigo and adding over the top, coming up until here. Then I think this region can be more of the bluish green. I want this top region to be more indigo, over here as well. Over here. I want it to be indigo, and leaving a light gap over there, I'll go over with my indigo over to the right like that. Now we've laid down the colors, but I do not want hash edges like that. What I'm going to do is I'm going to pick up the same mixture of the thalo blue and the Thalo green, making my turquois green shade. I'm just going to make sure that I blend the same blend that into my indigo paint. That way. I'll just make sure that my indigo is not having any lines. There is a hash edge over here. Don't want that. Getting rid of that. That's now over here. Now that's gone as well. Now same over on this side. I think now we're really good to go. It looks nice and I'm happy with the way the background has done that. Now, what we've got to do is like we've got to wait for this to completely dry out so that we can add in the details over the top. That's what's most exciting, isn't it? Let's get to that. All right. There you go. It's completely dried up now. What I'm going to do is I'm going to start painting the planet. Because it's convenient for me to paint the planet in that direction, I'm going to slightly turn my paper in that angle, that is more comfortable for me to draw. Then here, I'm going to start with my white paint. I've got a gorgeous beautiful amount of white paint here. And this region here is what we want to be the lightest. I'll start by applying my white paint right over there. So this is now wet on dry. We're not wetting our paper before we apply the white paint. I think we did something like this before in one of the class projects. Yes, we did start, I think, I'm sure we did over to the right side. Now, if you can clearly see your pencil sketch, you're going to get rid of the pencil sketch by using this white over the top. Okay. So that's what we're going to be doing. All right. I think up until this point is where I want my white paint to be. Then we'll start adding and making random strokes towards the inside. Random areas, let it blend in. We've covered up and added some nice white region. Now we had to go ahead and make the planet hole. Here I am going to use the next color, which is mum yellow. This cadmium yellow is what we're going to blend along with the white. Here, as you can see, I'm blending along with the white, and over to the left side here, as it gets lighter, it's going to be dmu yellow. I think up until the point where the asteroids are going to be the chunky rocks are going to be, that's leaving around 1 " of the planet. That's where it will be and the rest of it is going to be with the yellow paint. Here, go ahead and use your yellow paint nicely and start adding. Even here, now, go ahead and add in the yellow paint to the region where you added up the white. You're going to join it up there. So that that area stays lighter. It's it'll become like a gradual lightening up. First, it'll be yellowish region. Then it's going to be the white area. Now over to the right side where the white stopped. Again, we'll go with our white paint. Sorry, yellow paint. I'll be the cadmium yellow again and we'll go all around. I need to turn my paper again because that's what's comfortable for me, and we'll get around to adding up until somewhere there, then let me add in more of yellow. See that yellow needs to decrease at that point. Then we're going to continue on with mum orange. This time, when you're adding the dmum orange, it's going to be wet on dry method. It's going to be different and it's going to stand out over the top. Here, pick up the dmum orange and go over and see how we've got that orange shade, then we're going to pick up more of the cadmium orange. Now to that area where you actually added in the yellow, you're going to not blend it with the cadmum orange. There, blending in with the cadmium orange. That's nicely blended. Wave covered up until that point. Now, what we need to do is to make sure that we blend those areas onto our paper. For that, I think we can come back, all right. For that, I'm just going to use water, so we're going to use a softening method and make sure that those yellow paint does not have a harsh edge. Blend it in to the background. What I'm doing. I'm just using fresh water, nothing on my brush, no paint, and then just blend it and remove those harsh edges. It's okay. It doesn't need to be perfect. Some of it can still be there, and you're probably going to not blend it properly, but that's fine because at this point, we already have done so many details on our planet. Okay? So I'll definitely be just color blending into the background. Like here, I added a little bit more of my cadmium low because I wanted it to come down a bit further and add more details. What I'm going to do is, I'm just going to drop in some more of my cadmium Yellow, like that randomly over the top. So I think some of it can be again in a dry manner. See how that's a little bit nice and glowing. We'll come back to this side as well and do the same thing, soften out. The cadmium yellow strokes, more here. Any harsh edges that you see, soften all of them out. Even if it's like the harsh edges between the yellow and white, soften that. Make sure you wash your brush nicely in between. Otherwise, you're going to pull the color and over on this side as well, you have softened that. You can have orange come inward and create random details. Okay. So look at that guys. Look at how that planet is literally glowing. Isn't that beautiful? We're not done yet. We have just some more things to do. Let's go ahead and add that asteroid belt right now. What we're going to do is we're going to start with a mixture of Alizarin and transparent brown, which will give us a nice, lighter kind of brown, reddish brown shade to start with, all right? And start from the very top. And when you add it over that top region, it's probably going to be turning into a darker color over there. That's fine. Don't make it strictly one color. Taking like that, it goes over like that. Mix it up, mix it up, comes like that, and then comes over to the bottom there. And then it goes and blends in. Let's fill that up. Let's fill the go just beautiful thing. As you can see, it's wet on dry. You've got to mix up the paint in a nice something between the creamy and the milky consistency of the paint. Otherwise, you'd be just doing dry brush strokes. All right. We've added that. Now over the top of this one, we're going to go with a darker color and create the effect of rocks. That's basically paints gray here. Adding paints gray, but you're going to add only in random places so that all of those lighter areas with the brownish red is going to look like the light areas of the rocky region. Some areas. You can see how many gaps I'm leaving in between. As you come towards this bottom, you can make it more are denser and darker. You do not need to leave a lot of space here. The thing only towards this immediate right side is where you need to give the gaps. Otherwise, towards the back side, make sure it's darker. See, dark dark dark paint over to this right side. Now that we've added the rocky bits. We'll finish off by adding smaller chunks and everything. But before that, we need to go ahead and add in those background details that we talked about. For that, I'm going to grab my cadmium orange. What we're going to do is we're going to add these random lines over at the back at the outside space. This is where it's going to look like, it's like a burning planetary region. Create these branch structures. Let them cross over at places. This is with the cadmium orange. Any place where you think you might have screwed up with your orange and your blue mixture, that is also some place that you can add these ones again, make those hairy structures. This one here, I want to really add in a nice color over there. I think that's good. Let's go with some nice yellow as well. Some of the areas, it's good if you have a yellow stroke, but make it closer to the orange. Do not make them far off. I think I'll probably have one coming straight out of the planetary region there like that. It's as if the fiery thing is coming out of planet. More let's add. I think that should be enough. Okay. So we're almost done. The only thing left to do is now to add those teeny tiny bits of lots of chunky rocks. That's it. Here I am going to take that same blend of that red brown mixture and we're going to place our rocks in a lot of different places. Some of them can be large. Remember, we did the asteroids and we made a lot of rocks. We're going to do the same. Just using the entire length of my brush, I'm just going to place the rocks Lot of them in different places. Over on this side of the planet, I want to have a lot of them Let's see more over here, place a larger one there and maybe some smaller ones over there. Let's place another larger one there. We've got the ox covered in a lot of places. Now I'll tell you the trick to add tiny, tiny ones. You guessed it is just splattering. Just splatter in these areas, which will make it smaller ones. But make sure the splatters are large, which means you need to use large amount of water. When you use a large amount of water, the splatters become large and those become teeny tiny rocks. The only thing that you need to do now is those rocks that you just added, try and add in shadows to some of them. Not all of them, doesn't matter. You have to add to all of them. I'm just choosing the bigger ones, and I'm trying to add bits of shadow to it. Only to the bigger ones. The smaller ones, you can clearly ignore. Like this one is a big one, a bit bigger. Anything that's big, choose a point and just add in a dwell color. It really helps to make your painting stand out because everything's got shadow and light and all those colors. Here, I'm just going to pick up a little bit of cadmium yellow and a mixture of Cadmium orange, going to mix that together, and then I'm going to place it and add it to this rock over here. Why? Because it's right there next to that light source. So it's got a lot of light casting onto that one. It needs to have a really lighter color than the reddish brown that we mixed. Just think of all these scenarios as to light and shadow as always. Did you get that concept? It's got a lighter area even lighter than the reddish brown that we added because it's very, very close to that light source over here. It's not the light source, but as you can see this area is very bright, which means it's got light over there. That is why we're adding over there. So now just going to finish off with some dry brush strokes. Here I've taken my white paint and make sure that my brush is dry. We're going to just finish off with some dry brush strokes. Here, I'm just going to use my brush and add in some dry brush strokes. Dry brush is basically when your brush is just damp enough that it does not have too much water. And because you're using a paper that has texture on it, the surface creates these strokes. Your paper surface has grooves in which it's able to create this texture. That's because when your brush is dry, the water is unable to get because there's no water, literally, it's unable to get into the grooves in between. That's why the dry brush strokes are formed. I'm going to take a little bit of my brown as well. I'm going to make sure my brush is dry when using the brown cos. We're going to add dry brush strokes with the brown as well. Just in random places, you can see that you can even go ahead and add in the dry brush strokes with all the colors that we used earlier on the planet so that your planet has a bit more texture. Here, for example, I'm using the golden color, the quin acroon gold and adding over the top. S. Planet has more texture in that region. But this is strictly optional. You could have stopped even before that and you know how your painting would have done it. It was still beautiful. Now, lastly, just going to add some white splatters, but we need to make sure that it doesn't fall onto the planet at this point. Just here on the right side, I want some nice splatters. It's in the sky region there, and over to this side as well. You can see I'm using a smaller brush because I want the splatters to be smaller. De So I know this one was a very lengthy, right? Or can we say a bit lengthy? I hope you'll forgive me for that, but look at that. Isn't that gorgeous? So I'm sure you're so happy with the way your painting is done out. Trust me. This is just beautiful, isn't it? There you go. Thank you so much for joining me today. I hope you enjoyed this one. This here is the final painting. Thank you and see you on the next day's painting. 14. Day 10 Project - The Shower Sparkle Planet: Okay. Hey, hey, hey, welcome to day ten. And this here is the painting that we're going to be doing today. Trust me, it's very easy, so don't panic. As always, I've broken down the steps and explaining every single thing so you can do it. Now, let's have a look at the colors that we need for this painting. We basically need dmellw transparent yellow. Cadmium orange, cadenium red, Alizarin crimson, halo blue, transparent brown and paints gray or black. Of course, white guash for the stars around. You can see that and this white region here. There you go. Those are colors that we need, and let's get started. All right. Let's start. We'll have the quick pencil sketch of that tiny, tiny planet on that right side there. Okay. So use your compass. And sketch out a small planet. Make sure there are no tangent edges. That is, the edge of your planet does not go and touch the edge. Stay within the inside part. Leave a slide gap on the right side as well as the top and the bottom. I think I'll come down a little bit. Yeah, I think that's good position where I want my planet to be There you go. That's my pencil sketch, and that's where I want my planet to be. Now, I'll go ahead and apply water to both sides of the paper. All right. There you go. I have applied the water evenly on both sides. Now, let's get started. I'm going to start with a nice thalo blue color. The halo blue color, I'm going to apply onto my paper on the right side here. On the right side of that planetary surface, that's where we're going to apply the halo blue, so make sure it's nice and vibrant. Picking up the halo blue going over all the way to the left side and towards the tip over to the right side. Then apply such that you apply outside of the planet. Even if it seeeps inwards towards the planet, it's absolutely fine. Don't panic when it starts to spread inside. Because I know that you've seen the final picture and you might be wondering what you would do if actually the paint seeps out, but not to worry about that. Keep going around and applying the color, and I'll come up until here and until there is where I would apply my yellow blue. Just going to pick up more and apply to these edges here. Some more over there. Yeah, I think I'm good to go with my thalo blue. We've started with the thalo blue. Now let's get to the other colors. I think before we even add in the darker colors, let's go ahead and apply to the rest of the paper. Otherwise, the rest of the paper is going to start drying up the drill. Next here, I am going to pick up a nice amount of my transparent yellow, and I'm going to start applying here along the edges, but stay away from the blue and very careful that you also get rid of any blue color from your brush because if you do not do that, the color that you are going to be applying onto your paper is not going to be yellow, but rather a greenish yellow, which we do not want. Which is why I'm taking a little bit of my quin acrodone gold and mixing it with my yellow because that is definitely warmer and it'll make my yellow warmer as well. So here, just applying along the edges up until there. I want to have a large white space there. I mean, if at all it ends up having the white space after I finish with all the other details. Then here going to pick up Alizarin now and we're going to add Alizarin over to that blend. Let's get that going. It's going to be Alizarin that actually gets to blend with the blue over there. But then clear your brush out before you blend in with the alizarin because you brush just such that yellow and you do not want that yellow to go and mix with there. Then it would just desaturate and create really muddy brownish color. So Can you see how it's creating a very dark purple shade, that's fine because we're going to put darker colors over there. It's absolutely absolutely fine. You can see that I did not clear my brush after picking up the blue either on this side, be wary of where you're applying your strokes. If I was going to apply my stroke here after picking up color from there, then I would wash my brush. But since I was applying to this side, I did not wash my brush. Do you see how that works? Here, for example, I'm blending some of the bluish stroke there. I've got that purple shade. Now I'll not go and put my brush over there, but rather it's okay if you go and paint over there. So that's how those things work. You've got to be extra careful as to where you are applying your strokes. Just keep that in mind always and have a look at where you're applying your strokes, et cetera. Now, see fresh paint because I'm going over to the yellow region. Very less here because remember I said I want it to be white. Then back to more over here. It's okay that it's blending out. As soon as we finish laying down the Alizarin, that's the first pass of color over the entire area. T I need some more over there because I can see that those strokes are starting to dry. I need more watery strokes. See how I'm applying watery strokes over to that region. I'll apply over the top of the blue as well, and it's going to turn into a slightly darker darker shade, which is exactly what we want. It's fine. Go ahead and apply. Now I'll wash my brush, pick up the red again and go over here because this area, I needed to be more reddish rather than the purple shade. Now, let's get the other areas darker. Here I am going with paints gray. Picking up a nice consistency of the paints gray, I'll start over the top of the blue that we applied and make it darker. But we only need it to be at random, so you can have some of your blue showing. Then we'll take our black over to the left side as well, which is why I said it's okay that your red blends through because we're anyways going to make it into a darker shade. You see that. Note here, we have not painted the planet. The only colors that have bled into the planet is what there is, and it's absolutely fine. You don't want to blend it. Some of the colors seeped in. We want to apply some of the black over there, some over here. This region is going to be slightly more black or dark. Here, we've applied some nice strokes. Now we'll get back to our blue because you see on my paper how those hairs are forming. I'll just pick up my blue in some more quantity in my brush and blended. Now you see those hairs are gone and we've got a nice blend. We do the same on these areas picking up my blue and blending. There you go. We've got a nice blue there. I've managed to capture a tiny amount of white space there. Now we've got to create this background on this side, back to the black paint. I'm going to start here at this corner and I say black, I'm using paint gray, then back to this corner. And I'll paint this corner here, and then I'll go with an absolute dabbing method. Here, taking up the pigment and we start there. Then you go ahead and you're going to do some of a dabbing like that. Not in all the places, you only need it in some places, and we're going to follow that dabbing all the way to the right side. Some of the areas you can apply and some of the area, it's dabbing. Now we've put enough of the black, I guess. Now let's go ahead and add in some other colors. The other colors that we're going to apply are, we're going to use a nice amount of cadumange. It needs to be dmumorane because if it's not dmumange, then it will not be visible. For the reason that you've already got a darker paint underneath. At this point, if you do not have cadmium orange, then I urge you to mix up a white quash, a bit of yellow, and a red together. You orange will be lighter as opposed to what I'm applying, but then that's one solution that you can implement. Here. Taking up the orange. Can you see how it's come on the top, but it also means you're going to be picking up black paint back from the paper. I've got black paint. Let me get that off. Then going to use it again and we're going to create a fiery structure. That's what we're trying to do. Anywhere that you've applied that dark black color, you're going to go near to it and apply the orange. Make sure to clean your brush in intervals when you feel that you've picked up a lot of black from the paper. Can you see, I've got a lot of black. But if I pick up more orange, I think that should work out. But now I need to clean it up. I got some nice orange. Then next, I am going to add in brown. Now, this brown, we're going to be adding into the areas that's remaining. We don't want any red to see through. The red was just an underlying color. The rest of the areas will start go ahead and apply that nice brown shade. So no red to be visible below this arc. You see this arc that we've created below that arc, no red to be visible. Here here, then here there's a red area. Let's get that off. Another red area there, here. All of those red areas, I am going to be covering it with brown right now. The red was just an underlying color or the brown for the orange and black paint, I mean, the paints gray that we were just applying. All right. If you want, you can go ahead and pick up more black or the paint gray that you're using and add to create depth and darkness right there. I have got it nice and dark. I think I need a bit more of my paint gray over this side because I can see that the blend has started to create a hash edge, which I want to get rid of, so I'm just softening it out. See that. I saw it was a hardened edge, so I immediately softened it out. Now we've got a random orange. Can you see the paint bleeds? I love this. When the paper itself tries to do these random things with me, I didn't even intend that to happen. And then it just created on its own. So I'm just adjusting some strokes here because I saw a harsh edge, trying to get rid of harsh edges because I want the entire thing to be solved. Now the next color is yellow. Picking up yellow and as a cadmium orange. Here, cadmium yellow, and we're going to drop that in again. These are going to be some fury areas in our painting. Remember to clean your brush again at intervals so that you are able to capture the entire color of the cadmium yellow. Otherwise, you're picking up dark color from your paper and you won't be able to get it as vibrant of this. Here dum yellow there, some there, and I guess some there. Okay. We've got some nice light areas. We'll also go for a bit of cadmium red because this is like we're trying to create a fury region. If you ask me why get rid of the Alizarin crimson, that f is Alizarin crimson is cool red. What's wrong with cool red? The problem is when there's a fire or a fury structure, it's warm. The red that you're using needs to be warmer, not cooler. So here picking up little bits of red and you can apply it at random. You don't need to apply it at all the places. I think you should have more orange than the yellow or the red. So here, now you can see, it's just got some nice fury areas. I like how it stands out. We'll also apply a bit of white to some of the yellow regions just to depict a bit more glow over that region. Okay. So here, I'm taking up a white paint and you can see, I'm adding it over to where we had the yellow. I would look as if it's little amount of glow over that region. I think we're good to go. We've covered almost all of the places and I have applied paint everywhere, softened every region that I think had problems. Although I'm still seeing problems here, it's still showing harsh edges and We're trying to solve that. The problem is I've applied some nice black paint over there, which is going to now create harsh edge over to the blue, because the blue has already started to try out. How do I fix that? I apply more blue. Because we hadn't applied anything over to that planetary region, it's fine even if it goes and creates a harsh edge in there. I'll drop it in to the planet region, even if it's created like a hosage over there, it's absolutely fine, isn't it? Because inside it, we're going to be painting with some other color later on. I think that's it. Now we can completely dry this out and then go ahead and do the planet. All right. There you go. I've completely dried it up. Now we can go ahead and do the planet. We've done this many times before it's pretty easy, so we're going to go with a wet on dry method, not the wet on wet. We start with a white paint because we want to get the glow on that planet at the bottom side. At the bottom side. I think I'm going to have to turn my paper for my comfort because my strokes turn out better when I have that flow when I'm trying. I think this is the best direction for me like that. Or maybe this way. Here we go. This yellow region is our most glowing region. That area needs to be the most glowing region, which means from around here, you start with the white. That's where you're going to start with your beautiful gleamy white, and then you go over to the center and obviously you increase the white as you come towards that region, and you probably need to decrease as you go towards the edges again. See how we work that out. I think I need to make that edge over there creamier, because I can see it was very less. If you do not put it more in a more premier manner, it's going to get lighter and your underlying color is going to see through. It's not going to turn out white. You need to make that as vibrant as you can. Now, you've done the white. The next color that you need to do would be a nice nice vibrant cadmium yellow. So pick up that cadmium yellow and go ahead around. This time, just touching the white and pulling out the white. And because you just did the white, you'll get a nice blend, not wait too much to do this. Otherwise, you won't get that blend, right? See? Just lend along now with the cadmium yellow, you want to go all around. So that planet, we're going to do with academy mellow all around. Look for the edge of the planet. My pencil sketch is almost faded out, but I think I can still see it. I lost it here. Where is it? It's here. I need to turn my paper. Can you see where the stroke gets lighter? You can see through and have a little greenish touch to it. That's because of all the blue over there. But that's okay when you apply all these darker colors over the top. It'll be go. W is my plant? You're okay. I'm getting a hard time figuring out my stroke. Maybe what I'll do is I'll go and find that center point again and try and make a little circle back. I didn't get rid of the pencil. They're just Okay. Now I can say it. It's how you can save up is when you've done with your compass, not press your compass or change the shape of it, so that keeps the circle as it is. I did not. All I just did is to put it away on my table. So this was that radius of that circle, which really helps. You see that? Because I was able to do the little part of that planet. Again, the part that was not at all visible. Now we'll get back to the other side. Here going over there. That's the planet completed, but as you can see, the colors have gone lighter, so this is what I said that you've got to apply it in a creamy consistency. Here, I'll pick up some more white, and we're going to go over it. And you can create that go just edge The back to the yellow because I want the yellow to be vibrant as well. Now we've applied the yellow all around. Now we need to quickly get to adding the other colors. The next color over to the yellowish region would be the cadmium orange and make sure you try and blend it towards the edge. As long as your paper is still wet on that edge area, you'll be able to get them blend nicely. This is cadmium orange blending and see that. Now I'll take in some more cadmium orange. Move over to the center like that. More of the cadmium orange there. Don't worry. I'll show you how we can make things better on the other side. Then we'll go with cadmium red. This is why I said even if it's a little blue seeping in, it's absolutely fine because all of these colors that you're applying onto the planet are opaque colors. It doesn't affect much. Now, about the red as you go through the edge, make sure that you create a nice filling it up with the paint. You see now no blue is visible. The planet is on its own. But now, you only need a tiny tiny glow around the planet. Go ahead and make the glow around the planet with the yellow that you did. Make it as tiny as possible. You see that how the line gets thinner and thinner, you've got to do it all the way and then as it comes to this side, it gets. That's how you want to play it. Here, gets thicker and thicker and you can blend it as much as you can. We've got the nice splend now we need to create darker shadows and details. For that, I am going to be using my darker brown and we're going to apply that over our red shade. Here, over the red. Each time you would have to pick up fresh paint again and again. B, the red is very dominant because it's an opaque color, and this brown that I'm applying is a transparent brown. So it's okay. You don't need transparent brown itself. You can apply burnt umber or any kind of brown, but then it's still not going to be as powering as the ding red. So you've got to be careful and apply multiple times, wash your brush once or twice again, and then you pick up the color and do it. So here, more brown. Over to that center, and this region needs to be darker. Here I'm applying darker paint. Do not get rid of the yellow, careful about that. These strokes are really so powerful because you get a lot of hand control with the edge. Lot of people have that trouble to my hands used to shake when I used to paint like circles like these, but now it's completely fine. I think with practice, it just gets better and better. So there, we've applied some nice darker strokes. I'd like to make some more taker. Here I pick up a little bit of my black paint or the paints gray, and we apply that as well. That'll give darker strokes at random places. See how it's nice and dark. Done with that region, but we have some more yellow to apply. Need some more light yellow color over this region. Picking up my yellow and then adding over the top like that, and also to see those hairs forming. I want to get rid of that. Here, just pick up more yellow and add over the top. Just make sure to keep washing your brush and getting rid of that red that's coming. So see and try doing different strokes. It doesn't have to be straight. You can do random lines, anything works. Here, I'm just going to put a bit more yellow over there, or see how that planet is literally gluing. I love that. Created some lines. We'll go back with some more white as I want to be making it as white as you can over on this side. Because that is the glowing side of the planet. There you go. I think I'm happy with the way this has turned out. Now we need to add some nice stars into the sky. We did not add any wet on wet stars. We'll go ahead and add those dry ones now. I can see I'm getting some splatters onto my planet. It's okay because once you wash off your brush and You know, you do a little blending or that white spots will be gone away. It's not even going to stay. It's good when there's a variation in color because of the white spots. Now we've added that. We've added the glue around the planet. What's left? Let's go ahead and add in a lot of teeny tiny asteroid stuff. I mean, we've done this before. It's just basically smaller rocks in the sky. Here, just going to add a lot. Wait before we add there. I want to add on this side, some smaller bits. Another large chunk. The color that I'm using here is now transparent brown, a lot of smaller chunky pits there. Now, we're not done yet because remember light. We need to add a tiny tiny light source. Here to that yellow to the transparent brown. I add in a little bit of cadum orange in the direction where the light source is. Here is where the light is. For these ones, it would be at the bottom. This one doesn't need. Let's assume it's too far away and it's completely in a different direction. These ones need here, this one is big, so you need it to have a glowy edge. You can add further glow for the larger ones with a bit of yellow. Those have got a nice glow around it. Now the next thing that we're going to do is we're going to pick up a little amount of the cadmium yellow. Then we're going to take a little bit of white. And I'm going to mix it up with get me yellow so that I get a light stroke and look at my palette. It needs to be in a creamy creamy creamy consistency. It needs to be as less watery as possible. Possibly even if it's dry, I wouldn't mind. Then we are going to create remember we did some strokes on our planet. I can't remember the day now, it's probably day three, I think. We're going to do something similar, and we're going to create some arcs and sparks like that. It's basically some sparks. As you can see, as it goes away from the paper from the planet, it gets into a dry stroke. That's definitely a different technique, isn't it? Let me show that to a bit more. Let me show that too closely once more. Go ahead to the tip of that planet, there, and then use the entire length of your brush and see where I'm holding my brush as well and then pull out like that in a narc. You're not going to always get complete once, that's okay. Just go ahead and complete it after. See that? Honestly, if you want to end your painting there before adding these, then that's fine as well, but, you know, adding some details like these and still making it into a beautiful painting. It's a huge, what do you say, challenge, isn't it? And I like such challenges. Once you've added some strokes like that, then I am going to draw lines. So for the lines, obviously, I'll use the tip of my brush, and those lines are going to be vanish into this region over here, okay? See what I've done. So it's kind of like I don't know, fire coming off a planet or something. So this is definitely different, isn't it? So what do you think? Now, we're definitely done with this painting. This part here was actually the most trickiest part. Isn't it? There you go. That's the complete painting. The planet is still wet, but that's okay. You know how it's going to turn out when it tries out. So here. Thank you so much for joining me today. I hope you really enjoyed this and also push yourself to try this. All right. I'll see you on the next day. 15. Day 11 Project - The Sparkling Galaxy: Hey, hey, hey. Welcome to day 11. And this here is the painting that we're doing today. So can you see there's a lot of different techniques involved. Trust me, you're going to love it. Okay? So let's have a look at the colors that we need for this painting. The colors are cadmium yellow, transparent yellow, a bit of quinacrodon gold or transparent orange, Cadmium orange, cadmium red, Alizarin crimson, Indigo and paints gray. If you do not have indigo, you can also use yellow blue because what I've used the indigo is for the underlying color before I apply the paint gray. You can also go for a blue color instead. Obviously, white quash, I hope I don't have to say that anymore. Yes. Those are the colors. Now, let's get started. All right. Let us start. There's no pencil sketch, so we'll get straight into it. Go ahead and the fly water to both sides of your paper. We are going to start with a nice transparent yellow. As you can see, I have applied water to both sides of my paper. We need that yellow to be slightly warmer, so you can either mix a quin gold or a slightly orange stone to that yellow. Here's my transparent yellow mixed with the quin acrodone gold here and we're going to start right in the center. Try and It doesn't need to be a circle or anything, but I'm just like making a large blob of color there. Then we'll start to create some tails to it. You can see how I've done it. It's like a spiral, but also not entirely like a spiral. It's just some top shapes. Then we'll go with the next shade, which is basically Alizarin, and we're going to add that over the yellow. Okay. So that would make it into a nice reddish color. Alizarin is actually cooler shade. But then when you add it to the yellow color, it turns into a warm red, because the yellow is obviously more mb obviously, we also applied a very warm yellow onto our paper, so you can see, I'm just taking out that ale of that yellow and applying my Alizarin, more over the top. You can also add tails of Alizarin. If you want, just let little bits like that. We've got a nice tail. We've got a pair of yellow in the center, then we've got the Alizarin. Now we'll go with our main color for today. This is going to be the underlying color. We will add more color over the top. You can also add blue instead if you do not have indigo blue that tip we've been adding. But today, I'm just going to be adding this indigo color. So here I go. I'm going to blend in indigo to the whole of the rest of my paper. Here, I pick up indigo, and I've added it where my Alizarin stops, and we're going to be adding this to the whole of our paper. Don't worry about the rest of the region. Just go ahead and keep applying the indigo. This is like the base shade, like I said, we are going to be applying a darker shade over the top. I mean, you've seen how the final picture ends up. You obviously have the idea. If you want, you can also use other colors, a dark color. Such as maybe violet or darker blue or even a darker green. That would definitely make it even darker. We just need a nice darker color as an underlying color because even when you're applying the black or the paints gray over the top, you need it such that your color is going to you don't want it to show through, but you don't want the white of the paper to be showing, which is why we always apply an underlying color. So we've got something to do here. You can see how the Azarens created a gap. But we don't want that. We want the whole thing to be nice and blended together. Go ahead, pick up a little bit more of the Alizarin, blended together. As you can see, you might get rid of some of the Alizarin, and it starts to form into a purple shade, and that's okay. You only need the Alizarin right at the center and the yellow right at the center. The rest of the areas, you can just go ahead and keep adding your indigo, like I'm doing right now, I'm going to fill up the entire paper with the indigo. So I guess we should probably use a larger size brush and I'm still using by size ten brush for this purpose. I think that that's okay. Let's just keep going. We've almost done a similar painting in which we did a spiral on the ilet paper, if you remember. What am I saying it paper meaning the violet galaxy with the orange splatters and dots. Remember that one. This is almost going to be similar, but With a lot of difference. I'm going to tell you some tricks as to how you can enhance this further. I am not going to implement those tricks because many of you may not have those materials, but if you do have it, then try it out and see how your painting is going to stand out. Trust me on that. I will tell you when we reach that point. So here you go, applying, making sure that I fill the entire paper with that color. Filled the entire paper. I think I need a bit more of Alizarin to blend here and just going to blend my yellow like that or Alizarin to be blend there. That's fine. Now we'll get to adding our black paint. Now, go ahead and pick up the darkest darkest darkest paint that you have. It's even better if you can find it straight out of the tube and apply that. So this is paints gray that I am applying. So you're going to have to apply the paints gray. Follow along the line again. You don't want any color to be visible. It's always best if you can pre vet your palette if you're using pants especially. But if you're using paint from tubes, and try and use fresh paint from the tubes so that you get the color to be nice and fibrint and your sky turns out to be Why did I say sky? Your space turns out to be nice and vibrant. Keep adding the pigment nice and even. As you can see, see the amount of pigment that I'm picking up. Go ahead, make sure it's nice and vibrant and dark. Sometimes you might have to add it multiple times in order to ensure that you get the dark dark effect that we want. We want the rest of the areas to be nice and black, which is why we are applying such a dense pigment. Here, the lengthy process is going to be basically to make your paper get as dark as possible. I think the rest of the process is actually easy. It's just this part here, which is the toughest because you've got to get it to look black. Can you still see some of the underlying indigo coming through? Trust me when this dries out, it's going to be even lighter, which is why I applied a darker color such as indigo, but I'm pretty sure that this is still going to be very light when it dries out. Remember always this point about water colors, which is your paper is going to be always at least one or two shapes than what you see when it's wet. When watercolors, they tend to be a than the color that you put on your paper. In order to avoid that, the only thing that you can do is like to keep applying a lot more pigment. You can see I've just literally taken a lot of pigment and I'm applying that onto the paper. I can see how some of the Alizarin here has started to dry out. What I'm trying to do is I'm bringing more of the Alizarin again, just adding more Alizarin onto my paper, and towards the inside. Just try to keep your paper wet always. That's what we're trying to do. Now that you've apply the Alizarin, you can see the clear distinct line where the yellow is. That's because the yellow has started to dry out. So you just basically pick up more of the yellow. Go ahead and apply it. But just try and stay away from the black region that you've applied. But even then, if you get tiny, tiny amount here and there, that's absolutely fine. That is not going to affect your painting. Trust me. You can see I'm still applying a little bit of color into my Alizarin as well, the black paint. I know I say black, but the color that I actually am using H paints gray. Okay, there. I think we're good enough or maybe not. But here, we've covered a nice amount of the paper with the paint grace now we'll get to the other details. It's going to be fun. I am going to switch to a smaller size brush. Smaller size for brush. You can even switch to an even smaller one, maybe like a size two. I think size two. Let's do that. Let's do the size two. Then we are going to do some Dots. This is going to be tricky. Observe here, I am taking my cadmium yellow on my palette, going to take my cadmium yellow. But I want it to be slightly a golden color. Here I will take my cadmium orange and I will mix it into that. Mix your cadmium yellow and cadmium orange together. The color, I deeply like and love is the cadmium yellow deep from cellular. If you actually have that color, the cadmium ellow deep from enliar, you can just use that one. Now we are going to add dots on our paper. Like that, literal dots. I can see that it's not that clearly visible because of the light, but then you'll see it when we add more. The dots, you're going to follow in a spiral shape. Something like that. Here, going to add, now you can see that line. I can see that. Okay? As you reach here, you're going to have a lot more. I'm going to have a lot more somewhere over to the top there, those lines. Don't worry. This will look better. Then along the same lines that you added, go ahead, pick up the cadmium orange and add it. This is just wet on wet at the moment. We will add more wet on dry one. This painting is going to be completely different from what you have learned. Here's the trick that I was going to tell you about. We are applying cad yellow and du moorge here at this moment. But you know what you can do if you have gold paint, like literal metallic gold shimmering paint, try adding that and see the magic on your paper. Trust me because it's going to turn out into you're going to have these golden areas in between, and it's just going to be gorgeous guys. Here at the bottom. I'm just going to add some splatters. I've done that with my yellow paint. Then I'm also going to add the splatters with my orange paint. Then I will also add splatters with cadmium red. You can also add some cadmium red toss here at the base. That's where we're going to be adding. Dots like that. Wash your brush if you're picking up a lot of those paints gray. Then I'm going to put in some gating red again there, some over there, some here. We are trying to make it into a fiery structure. I guess I'm just going to sidetrack a bit here and create some gorgeous shapes there, over here. As soon as I've picked up any color back from the paper, then I wash my brush. You can see it's like a lighter tone over there. Then I'm going to go back with a bit more of my yellow. Try that on the areas with the cadmium red. That will give us nice deep yellow color as well. What I'm going to do is, I'm going to pick up the cadmium yellow, and I'm going to mix up a little bit of cadmium red as well into it. We're going to throw some lines. See how we've done some nice lines. Next is a little bit of white paint. My white paint is literally contaminated with some yellow from the previous days painting, or maybe it was a painting that I made for a real. I can't remember now. But anyways, if I just run across it, I will get back my white there. And then I am going to apply that white slightly over there. Can you see? Just apply a bit of white there. What I'm going to do is I am going to blend that blend that in to the black region, so that it just means that that region is going to be a nice lighter region. You can even apply more white. Towards that center point. Just be careful that you do not blend it too much because then it'll be like a huge blob of gray there, nothing white. Obviously, now that you've almost marked the spiral, you can go ahead and add in some fresh white splatters, which will be like the usual stars that we do, the ones that are blended in, of course. When I'm done yet, we will add more details. This was the underlying details for our galaxy. Let me just quickly add some or strokes. Over here. I can see that my galaxy like literally looks like a dot over there. Do you see that? I don't want it to be like a dot. Let's just create some more spiral structure coming out. You can see here. Probably I'll take a little bit of red at some places, maybe a little bit of red here. This is what I'm saying you don't have to paint exactly like me as well. You can literally change a lot of things in your painting. I think that's the underlying layer. Now we have a lot to do once we have dried this completely. Let's go ahead and dry this up. All right. There you go. It's completely dry now. Now we'll go ahead to the wet on dry details. As you can see how lighter it is as opposed to the dark black that we're seeing. This is very, very light. It's not that black. We've got the white spot nicely, and we've also got all of those background details, but now we need to really add in the foreground one. So for that, we are basically going to start with a nice amount of yellow cor. Yellow occur is obviously a semi opaque, not completely opaque, but because we're doing the wet on dry, it will come on the top. What we need our pain to be is semi dry. We are going to do a lot of dry brushes. Pick up the yellow chor nicely. Make sure you dry it up. Make sure you get rid of excess water from your brush, and we're going to do it. First of all, obviously, you can try it out on an external surface, and I can see that See, I'm starting to get very dry strokes and that's what we need. We're going to apply dry strokes onto our paper. See that? Using the yellow occur at first, and at random. The dry stroke means, it happens because I know that I said it's wet on dry, but this is supposed to be dry on dry, isn't it? It happens because of the texture of the paper. This obviously is only going to work on a paper that has texture, either rough or medium texture paper. Here, picking up and we are going to add those yellow occ strokes over the top. This is why I said try with gold paint. Now if you are a person using gold paint, you would be doing this dry brush with gold paint. It is literally going to be amazing, with the good paint. That was too much water. You saw that. I've got to try my brush and I'm doing this, that's much better. This is why I'm using yellow cer because I'm trying to mimic the gold effect here. But if you have gold paint, then go ahead and use that one because that's the best ppe method. Using the dry technique. Obviously, then your galaxy is going to have that underlying colors that we actually applied. I can see what I'm trying to do here. Anytime that I pick up and I see that there's too much water I try out because I want it to be in a very light manner, y? You can see that it's not gold, but it still works. But what I am going to do is I'm going to create that slightly golden effect. How are we going to create the golden effect? Watch out. If you're using gold paint, then you don't have to create the golden effect, but then if you're not using the gold paint, then here's how we can create the gold effect. Pick up a nice amount of white paint. Mix it up with the yellow ocher. Now you have a slightly lighter yellow cer, and you're going to apply that, again, only in random over the top of that yellow ocher that you've already applied. Not all the areas, just in some of the areas. Can you see some of the areas? You will apply that paint. There, I've applied some nice amount. I think I need a bit of a yellow cor over there. Now, can you see how it's actually looking much better than it was before, right? Going with more of my white and more of my yellow occur mixture. Need to make sure it's. I need strokes Here. Here, I'm going to try and reduce it up a little hold your brush a little further away so that your strokes are more loose and try and follow that teeny tiny shape that we have on our paper. Then come over to the center, see? That's where the spiral goes spiraling in the center and let it go on inside to the center. Have a nice chunk of white in the center. See how that's turned up. Now we will also add some more. The more colors you add, the more beautiful it's going to look. Here, I'm going to pick up a bit of my cadmium yellow. But again, now it's a very, very dry consistency and I'm also extra drying my brush. You can also try it outside on a paper or somewhere. Just make sure that you brush is nice and dry and then use that cadmium yellow as well in random places. That should get a nice amount of color. Little over here and some nice try spots towards the outside here, and you remember those lines that we added, go ahead and apply, you know, the dry cadmium yellow over there. It's not going to be visible much, but just some lighter strokes onto the paper. All right. There you go. I like how that's turned out. You can also add if you want, white. But I wouldn't add it at a lot of places. I'm just going to be adding it just some of the right spot. Here I want it to be nice and right. All right. There you go. So Now, let's go ahead and put in some very bright stars. Here, I am taking my white paint, and I'm just going to add huge bright stars at random places. As a bright star. Then we have some nice white areas here. There's a bright star, some bright stars. Wherever you want, you can put up a large bright star. I am going to have center portion of that one very bright. Here are some bright areas. I think that's good enough. Now we can go ahead and add in the splatters everywhere like we used to do before and get all the stars in the sky. But before I do with more white. What I'm going to do is I'm going to put in some splatters with my cadmium yellow. I want some of the stars to be with my cadmium yellow. Here, especially in the center here. Here, I've taken my cadmium yellow and I'm going to add those splatters here in the center. Obviously, it's going to go outside as well, but mostly I want it centered in the center. The stars are mostly yellow. All right. Now we'll complete with all the nice white splatters. But again, try to keep most of your stars towards the center. We'll try and keep the outside a little bit more less dense. As you can see, I'm putting all my stars towards the center. Lesser towards your side. All right. There you go. You see how that one turned out. This is quite different from the ones that we did earlier. The more dry brush that we applied, the more it became better. Imagine if you were to add gold and literally shimmering golden dry brush strokes, then this would have been literally amazing. There you go. That's our paint for today. I hope you enjoyed it. Here. Look at that closely. I'm just. I actually feel like redoing this with gold paint. I hope you enjoyed this. Thank you so much for joining me today. 16. Day 12 Project - Fire in the Sky: Hey, hey, hey. Welcome to day 12 and this here is the painting that we're going to be doing today. Isn't that gorgeous? I mean, look at that glow. So if you're ready, let's have a look at the colors that we have used for this painting. It's basically transparent yellow, transparent orange, Alizarin crimson, thalo blue, and paint gray. Only those colors. Plus white quash, you know it. So if you're ready. Let's get started on this one. All right. Let us start. So we're going to apply water to both sides of the paper, because there is literally no pencil sketch. So let's get started. So as you can see, I've applied water to both sides of my paper. I am going to start with a very warm transparent. Here I am taking my transparent yellow and I'm going to start. I'm just going to basically we're going to create an arc shape like that. I need the middle portion of it somewhat white. What I will do is I will start applying and leave a large chunk of area in the middle white. Obviously, it might spread out later on and I might lose the white. But I got a try. The, that is the chunk of for that I've got. Now I'll create that arc towards the side, and now the same towards this side. It's like a fiery arc. I needed to be an arc, something like that. Yeah, that looks much better. Then we'll go with the next color. Which is basically transparent orange. You can also use any other orange that you have. It doesn't have to be transparent. But it's just it will enhance the fiery region. Now we're going to add more of the fiery area, but then keeping some of the yellow intact. C, no more white spaces there. That is going to extend a little bit outside of there, going to extend outside like that. Got that much in some more here. Leaving some yellow gaps there, then some over here. That is the center. I guess. First try to get that shape in. Then over to this side. Leaving some yellow regions doesn't have to be a lot, get going and some fury regions there. First of all, try and get the shape that you intend to put it into the sky. Then the next color obviously that I am going to be using is Alizarin, but I want my Alizarin to be in a warmer shade. What I'm going to do is I'm going to pick up my Alizarin, and I'm going to mix in a little amount of yellow to it. That will make it warmer. Alizarin is predominantly cool color, but also because you already have this orange on your paper, you can use that to your advantage because when you apply it over the top, the Alizarin, it's going to turn warmer because the colors underlying to that are anyways warmer. See, adding those strokes. Now this time, leaving a little of the orange. Anytime you're going outside, make sure to make it into a. See how my paper has already started to dry out in some areas, but as soon as we apply more paint over it, it'll be remoistened. Not to be stressed about that part. As you can see you see here, that area is almost dry, but I am not bothered because we will restore it, right? I just love the way actually always how this Alizarin spreads. It's just magical and beautiful is what I feel. We've done with applying the color. Now let's go and fill up the rest of the regions. The rest of the regions, we actually need it to be black, but I'm going to start with Telo blue at first because that's going to be my underlying color. So don't worry about your tail blue mixing and creating black green at this point, as you can see here. For example, it's created into a green and here it's going to go for purple. That's okay because when we add in the black over the top, that will go off and see more green over that side, not to worry. Leaving chunks of red. Remember, to check the consistency on your paper, always, the consistency of the water. Because if there is two less water, then you'll create harsh headgeF example here, can you see a hash hedge? I'm just going to show you how we can fix that up. Let me just apply the color first. Just going to quickly apply color to all the areas where we will then cover up with the black. This is just going to be the underlying layer. As you can see, I'm going towards the inside as well. T can deal with the base later because it's wet in the underside anyways. How we fix that is pick up more of your Azarin. Go ahead, add it, see, get rid of harsh lines. All you've got to do is apply your paint again such that you get rid of harsh lines. See that harsh line is gone. Now we repeat the same process, for example, here, getting rid of the harsh lines. Going to go with blue back onto my paper everywhere else. Like I said, over to the bottom as well. The paint has spread out a lot and it's gotten rid of the shape that we did. Which is why you don't have to worry, you can get back the shape again. Hash edge here, we've got to get rid of that and take care of that. Let's go ahead and apply the paint all over. I keep adding. I must have used I mean, I should have used a larger size brush. This is too small. We've already covered all the areas. Now I've got to do damage control, which is basically picking up more red over to this area. Can you see how the white space that we added has literally reduced. But like I said, that's okay there. You can see we've got more fiery areas. Now let's get to adding the darker region. So here I am going to start with my paint gray obviously and going to apply over the top. It will have an underlying color of blue, but you can't help it, and we didn't want it to be the white of the paper, which is why we applied the dark blue. Honestly speaking, if you'd rather prefer to have the blue there instead of the black, then go ahead and skip the paints gray, you know, because look at that. It's already looking coaches, isn't it? So these space paintings. Trust me, you can do so much with it. Anything that you do will still literally look like some element in space. It's that amazing. I think I dropped a little bit of pigment there, but I think that's okay. I'll just look like some spot. I don't know. Bringing the paint down. Can you see how it fades into the underlying region because it's got that red there. Now it's got a paint gray over the top, so we'll do the same for the other regions. Goh and apply the pigment. Let's get started over here. Honestly speaking, I think towards the bottom, you can even a of it. As the lighter blue shade. We can see I'm not applying a lot of dark paint but just little amount and just blending it altogether. See how that turned out. Just picking up some amount of the paints gray and blending it so that more of the blue shows through and going to create more of the fiery region here. And some lines, try and get that arc in the sky. Oh, my God, I love this arc. Just trying to get a bit more depth and darker in this edge over here. It's not getting dark enough. Probably you should use a really, really black color, if you want to get that darkness, keep adding darker paint, if you need to squeeze out fresh pigment, if you need to. Because that will make it more darker. I've got some fresh pigment here on my palette, and I'm using that to make it even darker. You can see that. It's a out of the tube, just going to use that. It's okay, like I said, if you don't have such a dark amount of pigment and your start out to be lighter because like I said, the aim is not to make exactly like mine, but to create a beautiful gorgeous painting that has your unique touch to it, and that's all that matters. Here, taking up that darker paint, going to create a arc or something effect over to this side. I see. I've created a arc, but then let's not stop it there. Let's take it all the way down. I think I love the way that stand out and look at that little tiny, tiny drop that I did. That's actually looking really nice and I love the arc in the sky. Isn't that gorgeous. We're almost done with the background. I'm just going to splatter some of the white stars in the background, which we always do, making sure that I have some, nice, white background stars going to add. That into the sky and look at that. Now, we'll wait for this to completely dry out so that we can add the details over the top. There you go. It's completely dry now. Now what we are going to do is it's quite different from what we had done in some of the previous lessons, but I think the day before one where we did the dry strokes, remember, we're going to do something like that. Because today's sky has some dry effects which we need to capture. Here, I picked up some dry paints gray strokes. I pinsray paint. Make sure it's dry. Use clothes or a tissue to make sure that your brush is nice and dry. Here, I've made sure that it's nice and dry. I am going to start at the very top on the left side here. You are going to create some dry strokes. See how they are dry and those dry strokes. Needed to be more dry. Going to go over some of your fiery region there starts at the left there. Then continues over to this region where we add it? See that and just add randomly over the top. As you approach here, you'll start to see how the dry strokes are coming in because the strokes are nice and dry, plus it's really visible over the lightened background, and can you see how the watercolors have literally lightened up. That's because what I always say, isn't it, your watercolors dry one shade lighter, just go on many of these dry strokes. All right, I've added enough. Now, all I need to do is add in a few planets and we're done. For this one, I didn't do the sketch of the planet because we were making the background really darker, so that would have gone off. But you could actually do it at the beginning if you think that you will be able to see it. So we just need teeny tiny planet. Here is my compass. I've made it into a smaller one. We only need very small planets and one of them is going to be here in the blue area, not the red area. Just quickly trace out a planet. Here, using my pencil over the top. It's going to be difficult when your paper is wet because it's still wet underneath. You can see that. Then I can see my circle there, which is more than enough for me to go on. I guess I need to make some more planets, but that is going to be smaller, so I'm not going to use a compass, I'm going to use a circle maker. If you do not have a circle maker not to worry, you can use things like if you have a small tape, use the inside part of the tape or find smaller objects which you can use to make those circles. For me here, I am going to be using this one. This is a circle maker. And I need another one of my planets over there. Add to that, it's very tough to pick up from a wet paper. All right. I've got a planet there. I've got one there. It's two aligned in the same direction. Maybe I'll put one over there, and that one's going to be a smaller one. Add to that. That's basically, we're just going to paint these planets and dm. Here, we're going to paint that. Let's start from the left side. That one is dark planet. Just go ahead, pick up some nice dark paints gray and start adding over the top. Just go ahead and apply over that, make sure that you cover it up and make a nice nice circle, such that it is visible. You need your paint to be wet on dry. That's what you're applying. If you do not apply the wet on dry, then the planet would not be visible. So if you make it nice and follow your sketch right there. I know that the light is really troubling and doesn't actually show how beautiful it is over the top. Can't help it, sorry. The the smaller planet. Added that one. Now we only have the larger one left, which is easier because it's larger. The smaller ones are difficult ones because you've got to stay within the inside part. Just trying. As I always say, it's very difficult for me in that direction. I have to turn my paper in order to get the best results. That's always the case. Be my hands have coordination that way. Yeah. That works. That's much better, isn't it? We've got three planets in the sky. But can you guess what we are missing right now? Can anybody guess it? The highlights the light on the planet. Because there is a huge light source and the planet is there and you've got to have a light source. Here, I am going to be using my white paint. Let's take this one, for example, one facing that side, that's the light source. Over to where it's facing the light source, that's where it's going to be lighter. Along the edge, apply the white paint, and that's it for that one. Now, this one, it's a bit tricky because you've got a little bit of lights there and a little bit lights there. But this one is the main one. You're going to apply the major chunk of the light over to the bottom. Like that, and then it's got to fade out that side, but it'll have some more over to this side. I know that that's not at all visible because of the light. Let me show that too clearly. Yeah, that's much better, isn't it? You can actually see what's going on. Here, I took the white paint, applied an arc over the planet, see that? It almost turns into a gray color. Just one more planet left, picking up the white and going to apply for this one. Again, facing that is a light source source. Come straight down and where the light source comes straight down is where we're going to be having the maximum light, which is here. That is the area of the maximum light. Then it goes outward, and papers to the other side. See that? It's difficult to get the white paint because the black is actually still wet. Just make sure that you try up the black and then you apply the white again and then it'll work out. You can do it multiple times and then you will have enough flight on the planet. I've tried up that planet a little bit, and then I've taken fresh white again and we're going to apply that over the top. You can see that's better and visible, isn't it? The government. Washing off my paint because I don't want a harsh edge, just going to soften it out and blend it into my black. Ah, there. I love that. T I ought to do the same blending for this one because I can see it's a bit lost. The most done. Now we can go ahead and finish off with a lot of stars in the sky. Any of the stars that falls onto a planet, we can fix them on later. I'm just going to take up a little bit more paint gray and add to the areas where I got some white spots over the planet, getting rid of those stars. We're done. I love the glow of that arc. It's just looking so gorgeous, isn't it? I hope you enjoyed painting this along with me. And thank you so much for joining me today. Here you go. 17. Day 13 Project - The Violet Giant: Welcome to day 13, and this here is the painting that we're going to do today. It's quite tricky, isn't it? And trust me, it's not that easy either. This one is going to go way over your head, but I am here to simplify it, right? So let's have a look at the colors I've used in this one because there are a lot of colors. So we've basically used cadmium yellow, transparent yellow, and a bit of quinacon gold as well to make the yellow warmer. And I've also suggested that you could use the tenumorange instead of the transparent orange when you're applying orange on top of black areas. So there's tum orange, transparent orange, then there's Alizarin crimson. Then there's thalo blue. Then we've used vilet transparent brown and paints gray or black. Okay? And lastly, white quash, of course. So those are the colors that I have used in this painting. So there you go, guys. Let's go ahead and paint this one. All right. Here you go. So we've completely applied water on both sides of the paper. But today's painting is going to be slightly different from what we have done earlier. And let's see how is that. So we're going to start with a nice warm yellow. So here's my warm transparent yellow, and I'm going to start right here in this corner. So I need it to be warm, so I'm just mixing a little bit of inacroon gold into it. You can also mix in a tiny amount of Alizarin, don't make it orange, but just one, two eighth ratio, maybe, that would make the yellow more warmer as opposed to cooler. They're applying some nice yellow in to the planet. So we're painting inside the planet right now. Then let's go ahead with the next color. We're just basically going to be a little bit of transparent orange. And just going to apply that right there along the edge here and more transparent orange done with the transparent orange. Then I'm going to pick up a little bit of burned Ciena. Some nice different colors today. I guess the burn ciena didn't actually work. I'm going to skip that. If you did that, then forget it because it's not coming over the top, but I know what we should do. Basically we're going to mix up my favorite gold color, which is basically using the transparent orange. And brown together. So burnt umber or transparent any brown shade plus your orange that would give that beautiful golden color that I usually make. That is what will come over there. See, that's much better. If you do have the burn cena from Mjo mission, that's actually a very beautiful color because that will work. You can use that as well, all right. Pick up a little bit of violet and mix that into your mixture as well. So that'll turn your paint your brown into a slightly darker tone. Can you see slightly darker tone, your violet, and some nice orange. You can also use like that, and then just applying the nice shades, see, painting the inside of the planet right now. Let's get back to adding some more orange. Here I'll pick up some more orange and I'm just going to put it there in the center. Something like that towards the center, happy with that. The planet is just going to be a whole lot of colorful then you can imagine. Let me just clean up my violet because we applied orange and brown over it. I'm just going to clear that up. Yeah, basically cleared it. And then I'm going to pick up my violet, and I'm going to mix it up with my Alizarin, so that we get a red purple shade. See that red purple shade. That's basically violet and Zarin mixed together, and then we're going to apply that onto the paper. Wherever it's going to mix up with the brown, that's going to create a darker brown shade, but that's okay. Remember, we already applied a mixture of brown and violet there, isn't it? It's going to be fine. So here more violet. Don't worry about your pains going outside right now. We're not bothered about that. Picking up nice amount of violet. Now we're going to go over with the violet on our planet. He even at the base here, let's bring in some nice violet. Washing that off. Now I'm going to take up some Alizarin, and I'm going to use that Alizarin over here, right where it joins the yellow. Some more Alizarin here towards the base. I think that's enough of the Alizarin, going back with the violet. Oh, my God, look at that gorgeous violet shade. And filling that up on the planet region. See that? Then as I approach towards that top region, I'm going to give it another color guise. That's going to be our beautiful thalo blue color. It's a nice thalo blue shade right there towards the top of the planet. As you can see the outside of our paper has now started to almost dry off because we're not applying paint there. We're just going on painting the planet. Isn't that going to ruin everything? No. It's fine. Let it dry. Okay. This is why I said, today's painting is slightly different. Here, more violet and I'm going to mix that violet to the part where we were blending the orange and the blue. That's where it gets blended. Now I want to add in darker strokes, so I'm going with a densit amount of violet at this moment. I'm going to go apply over to this side. Where we have the edge of the planet. The edge of the planet, I want to be having this color and some more than some random brown strokes. Wherever we apply the dense violet, we'll have dark brown strokes over there. Can you see how we get dark brown strokes because the underlying color is adding on top of this violet, giving it a nice denser look. Do you see that? Don't worry, go ahead and keep adding those denser denser colors. Now we're going to go back with some of the colors that we added earlier. Basically going to start with the yellow warm yellow again, go over the top of whatever you did earlier, then what back to the orange, isn't it? That we'll make sure that we have a nice blend on our planet because we just applied a whole lot of other colors again and you can see how it's spreading and creating hairs on our paper. I'm not saying hairs are bad, but then if you apply more orange and all the colors that you did earlier, then you'll get an even much better blend. Like for example, here, it looks as though there's a harsh edge. But if I go ahead, pick up some more orange, apply that over the top. So you can see, I got a nice orange in the middle and some darker brown at the edges. Then we've got the place where we've applied our blue and you can see how we've captured that planet in the center. It's a really colorful planet, isn't it? What is going on? Why is it this colorful? Well, let's see. Here a bit more Alizarin because I want Alizarin over here. And there Alizarin going into the mixture, blending that. We're only focusing on blending our catary region right now. Lest all of the areas, forget about it. I guess I am happy with the way things have blended I just picked up a color from here and I applied it over there. That's okay. That's absolutely okay. We're done with our painting. I'm just kidding. And you can see how this is stand up. We've done with the planet right now. That's how the planet is going to be. Although I just realized that I want to put in some darker strokes in one area over here, which I really missed, and I'm going to use a paint scray for that because I want it to be darker. So you remember we have this plet here, but then I want part of this plet to be nice and dark, over to some of the Alizarin as well. And here, so now the rest of the area is violet and that part is essentially really dark. Some of the area here as well because it's kind of like the shadow applying on the planet. Okay. Yeah, that's enough. Now we have our beautiful orange already. We have the yellow, we have the red, all of these colors on the planet, and there. So now the planet's done. Now, what we're going to do is it's something that we've never done before. We're going to try this up. Yes, you help me. Without painting the outside areas of our painting, we're going to dry this up. But let me be clear on how you're going to dry this up. You're only going to dry the top region. If you're someone that's not using a hair dryer and you're waiting around for it to dry, then make sure that the underside of the paper is still wet. So if, for example, your usual process is to wait for a whole period of time to let the paper completely dry, then let it completely dry. Then when you've returned, you got to have to apply water at the backside of the paper again and stick it. In order to stick it, what you can do is once you've applied water at the backside of the paper, then just go ahead with a brush or something and apply water to the edges. So if you go edge to edge like that, that sticks the paper. And just make sure you press nicely, but do not disturb your planet. Those are ways in which you can make sure that your planet is nice and secure. So we're going with the opposite process of what we usually used to do where we used to paint the background fest and then the planet over the top. Today, we're doing the opposite way. All right. There you go. I've dried it up. While Love is using the hair dryer, some of the edges started to pop up. So I've just run my brush around the edges, you know, making sure to stick the paper to the board that we're using. Okay? So now the next process is we're going to paint. The easiest way would be to cover as much as the paper with water, but only the areas surrounding the planet. Do not go inside of the planet and it's okay if you disturb the water colors there, but this is where your pencil sketch is going to come handy. Look at where your pencil sketch is. I think mine, I can see where it is the yellow, but the other areas have faded. I'm just going to use my compass again and I'm just going to draw that so that it goes over the top. And I can clearly see the pencil sketch. Here now I can clearly see the pencil sketch on all the areas. Yeah, I can see now on all the edges and all the areas. Then I will use my brush and I will start to apply my water all around. It's okay that you disturb the pain that's flown out, but do not go inside of the planet. And this is why you have to make sure that it's dry because if it's not dry, then your water will seep in towards the planet as well, which we do not want to happen. Now that we're done, we're going to start. We're going to start with a nice warm yellow, so you can mix up cadmium yellow and transparent yellow together or just any yellow in general and look at where we applied the yellow. That's where we apply the yellow. But this time, we're going to stick outside of the planet and apply that yellow shade and you can see, apply some fiery yellow towards the outside. There you go. Then my next color would be orange and I'm going to apply that orange over to where the zain was. See that? Some orange coming over to this side. Then we've got to have more orange. I'm going to go over with orange over to the right side. Over the paint that you've already applied, that's where you're going to apply this orange. It's going to mix up and create a darker shade there more orange. So it's going to mix up with the violet, and it's going to create that brown shade that we actually mixed up on the planet itself, but that's okay. So nice orange over there. Then I want a lighter yellow over there. So because we have an underlying darker color, what I'm going to use is a nice cadmium yellow paint, and that cadmium yellow paint is going to blend with the orange and the underlying violet. So make sure that it's nice and warm enough. So go ahead, apply that cadmium yellow. The cadmium yellow over to the area where there is the violet so that we cover it up. Okay? You can apply it multiple times and going to go back with some more of the orange paint. It'll blend in a different way than the transparent colors. The orange actually blends in a different way with the cadmium yellow, because of the texture of opaque pigments. Opaque pigments are more heavier as opposed to transparent pigments. They tend to blend in a different way. We've covered that. We've covered this side. Now we've got to cover this side. Again, orange over to this side. The fiery yellow part, the other areas here will be more orange side. Some yellow and more orange and coming over to this side. Again, blend in the orange over to where the yellow was. Follow along the line of the planet. So it's okay. As you can see, it's going to create darker brown color there and that's fine, okay. All right. All the left region is going to be orange as the base underlying color, and I'm going to follow along the line. Okay. So, you know, by now, I need to turn the paper if I need to get that correctly. All right. Here, I've done it upside down so that I can paint this edge in a perfect manner. You can see it's a darker brown color because of the underlying violet. But like I said, that's completely okay there. That's the base part done over there and let the orange stop somewhere there. We will go with the next layer of color which is over here. So I'm going to apply blue itself right now, but what I actually want is a paints gray. As you know by now, I do not apply paints gray or the black directly, but I always give it an underlying color. Here, for this one, my underlying color, as always for the paints gray is either going to be violet or blue, and I'm choosing blue for this part. That's blue. Let's come over to this part as well. We definitely need to make sure that you do not make too much of the green because we will need to cover it up with paints gray later on. Are here, sorry, bluhalblue here. In fact, any blue foot work. This is thalo blue that I am using and it's creating a green shade on the paper. You can see that, but we will get rid of that. That's not to worry. All right. Added the blue over there. Let's go back, tilt my paper back to how it was, and there's this side to cover again. Hello blue, which will serve as the base color before I add in the black or the paints gray. Now let's go in with the further further darker colors, but always make sure that your paper stays wet. I can see that some of the yellow over here has started to lighten up, so here, I'm just going with another tiny amount of yellow. Okay. You can in fact take up your yellow from here and create the glow surrounding the planet with that yellow, but that's optional because you just need to pick up the orange and mix up. It's going to be orange in this side, but because there was this darker edge to it, that's why we're applying this. But otherwise, just make sure that you have a nice blend of orange in that region. Now we'll come over to the left side. Here, I'm going to pick up the darker brown and we're going to add that on top of our orange. It's that golden color that we want to create. I think I'll take in a little bit of Alizarin as well, so that'll create a reddish brown color. Here, let me explain red brown and yellow together. Orange together, orange. That'll create a reddish brown glow. You see that guys, and here, we're going to apply this like an arc over here. I know that this is somewhat tough, so this is why I kept it for one of the last last lessons because obviously it's not easy, but it's doable once you've completed all of the other lessons. See more red there, the same mixture, applying more over to this side. Anywhere that you see that you're getting a harsh edge, go back with the underlying color here. I'm just going back with my orange and I blended it. See now there's that smooth blend between those colors. Now we need to quickly get in our paints gray on the paper. Here, I'm going to start and apply my paints gray. The edges, anywhere that you see green, cover it up with paints gray. Here, I see some green, I'm covering it up with paints gray, all the greens going away on my paper. There no more green business. Now, as you apply the paints gray over the top of this, it's okay that it's not perfectly black. You can have some areas of the blue showing through just to show an underlying color. Just try to get rid of the green from the paper. Here, for example, I am applying a whole lot more because I can see there's a lot of green there and also can you see that hash line because of the underlying color, we'll apply more of the paints gray and get rid of that harsh line as well. Once you apply a darker paint over that top, then that harsh line is gone, No, we need to do the same at the bottom. While you're adding, you can add large dots like that, which will eventually look like some kind of rocky texture. And like I said, some of the blue showing at those places are absolutely fine. We are at the moment, only trying to get rid of all the green from the paper and applying a darker to. But you can see some amounts of blue showing through. All right. That was, right? So now we're going to create some more shapes within our background, shapes like some asteroid things, okay. More than enough for now. Now, I'm going to take up a little bit of Alizarin because I can still see here the edge has not covered nicely. We're going to blend Alizarin along with the darker pines gray here so that we get that dark brown that we applied inside of the planet. See that? And blend that Okay. Now, that looks really nice. I got to take some more of the orange and make sure to get rid of that hairs that's forming here. Always look at your paper at what's happening in different areas. If you say too many of those hairs forming that go ahead and apply again, but see how things have changed on our paper, how after drawing the background, it looks good, and we have the inside of the planet as well here, just going back with a bit more of that yellow because I'd like to have some more of that fury yellow. That fury yellow is basically here and basically here on this side. That's cadmium yellow that I'm using on top of the orange that's already there. Taking dense pigment each time, you can see that. This cadmium yellow that I'm using is from sli, if you're wondering, All right. I love that fury yellow. And now I will also add some fury yellow over to this side because the yellow that we applied is kind of light, but cadmium yellow is even lighter than the transparent yellow. Okay? I think that's good enough. We can add more stuff in there as in. Go ahead, pick in a little amount of extra white paint. If you want to add a bit more glow to the area that we've just been adding. Get rid of excess water. This has got too much water because I was trying to activate the squash back. So that means there was too much water on my brush. The, put that into the glue region, which will make it even more gluing because it's got that even lighter yellow. The more contrast there is in places, the more beautiful it will look. Can you see how that ball. I mean, the underside of it is kind of like glowing guys. I think that's good enough. So now, I think because we're confident enough about all of the sides, let us go ahead and try this thing up. So now we can dry up everything, and then we can complete with the tiny tiny details here and there. All right. There you go. Our painting has now completely dried. But can you see what's happened? Everything is like a two D image. And your planet is stuck in that two D world. We need to bring it into focus, here's what we're going to do. We're going to now paint the planet along the inside of it, listen to me when I say the reason why we did not do it the other way around is observe the colors on the outside. Do you see how dark those colors are when you're painting wet on wet with those colors, they'll all obviously flow towards the inside, and it'll be really hard for you to get this kind of flow. For example, the pens gray firm here is going to flow towards the inside and you wouldn't get that blue there. Then All of the yellow from here would flow into the inside and you wouldn't be able to get that vilet there. You see these problems would have existed, which is why we had to paint it this way. Obviously, you could go with a drier method, but this way, your painting gets even more glowing. That's why. Here, nothing much to do just adding wet on dry strokes itself. Here, I'm just going with a nice amount of cadmium yellow over the top. Then back to some orange. Again, over the top, just blend it together. You don't even have to blend all the colors you just need to create and add in some more of those colors just so that your painting appears as if the planet appears as if it's on the top. See here, I'm adding that orange back. Let's add that orange into the places where it's supposed to be orange. I was orange in those places. Then if I go back and pick up Alizarin, This would be quick. You don't need to take a lot of time in doing this process. Just go back with the same underlying colors. That's it. Just here capturing that yellow in to the Alizarin. Then lastly, here the violet. See the violet just over the top. So look at your underlying color and go with the same color tone. Okay? All right. I need to turn my paper to make it better careful. Do not touch your yellow. We're trying to keep that glow over there and at the same time, have a contrasting violet. Need orange over this area. Remember, we actually applied a lot of brown to that area. At the second pass, you do not need to apply the brown. That is because all of the colors underlying will still be there and this time, you're just trying to make it pop into the foreground. That's it. You don't need to apply those colors again. Trust me when I say that, you really don't need to do that. Just go with the colors that you see mainly underneath and add in then the blue for this part. Just picking up my orange and making sure I get rid of all of these hairs in between and we have some nice orange shades. We have a blend of red there. We have that yellow blend. The cadmium yellow. Let's make that nice and brand. I think that's pretty much it. Now we've got to do is to add in some darker asteroids in the background. Basically, what we're going to do is we're going to pick up our brush and add those random shapes into the sky. Did I see sky into the space region. But this time, these are going to be with the wet on try method. Can you see, adding some random asteroid shapes. Some of them bigger. I think towards the edge there, you can make it really, really bigger. S here, some nice bigger ones. Those ones in the background where we added previously, those will always be there as well. Here, I only add part of asteroid there because that has to capture the light. In order to capture the light, going with Alizarin, then next we'll go with an orange one because that one definitely needs to be glowing. Even this one, closer to the glow needs to have an orange glow towards the side. All of it, in fact, needs to have an orange glowing side to it. This one, look at that one, it's near to the yellow, so we'll have a glowing orange side. Just mix up with an amount of orange and create that glow. See how that's glowing. I love when things glow like that. Se needs to have that glow. This one will have the orange glow over to this side. Always think about light. Light is something that you cannot ignore in your paintings. Now we've got a dull color because I just took some orange, blended it into that dark color that I've been using and created a glow. This one, again, that's good. Oso brush if you're picking up too much of the black. That's gluing. I think that's pretty much it. If you want to create some dense dark background ones, you can add some black. I think we've not done this before, so I'm just going to do that. Actually going to take some nice black, going to add this area to be nice and rocky. That needs to be random remember, and then painting the whole side there. That side is covered, but let me try and create a teeny, tiny amount of glow over there. Go with my orange, going to add a glowing edge. Not in all the areas, but if you do it in some of the areas and try to put that orange in, I will pop up. It'll have that slight glow. I think you can skip this side because it doesn't need to have that glow. You can also use cadmium orange instead, if you feel that you're not able to get that glow nicely, Cadmium orange is opaque, so you'll be able to get a nice orange in. That's what I'm trying to do here. Just adding some cadmium orange, so that different surface of that rocky edge will have a glowing edge. I think that's more than enough. And we can finish off by adding some splatters into the sky but not here in this region. Okay? So I'm just going to add those white splatters. Don't get it on your planet. If you do you know what to do to get rid of it, push back the pigment, move your brush around. Now you can see our planet is glowing over the top as well. We've got all of these background details. And it's looking amazing, isn't it? Yes. But there is one tiny little detail that I want to do. There's always something, isn't it? So just want to add white to the edge where it was supposed to be glowing. Okay. So we already did that for the outside, but now we'll add a little bit of glow there, washing my, picking up some more white. So this top portion of the planet needs to be glowing. Here, I am going to pick up my white paint, and we're going to go over the edge. Let me tilt my paper so that I get comfortable in doing that. Created that glow, but obviously, you know what to do. You've got to blend that so that the glow appears to be at the top. Now it's looking nice because it's got that three D effect, right? So if you want, you can pick up some more and apply over the top, so that it doesn't fade and the white is prominent enough. Yeah. It is prominent enough for me, so I will leave it at that. There you go. Now, officially our painting is complete. I kept keep saying more and more and more isn't So sorry about that, but you see how things are done, isn't it. You've always got to do more and more and more to get that perfection that you want. So there you go. That is the final painting, and I hope you enjoyed painting this with me, although it's a really difficult one, I would say, and a lot of new techniques, but I hope you really enjoyed it. And thank you so much for joining me today. 18. Day 14 Project - The Lava Planet: Hey, hey, hey, welcome today 14, and this beautiful planet here is what we're going to be painting today. Let's have a look at the colors that we're going to be needing for this one. We basically need. Et me yellow, transparent yellow, Alizarin crimson, transparent orange, transparent brown, and paint gray. Obviously, some white paint, that is the white uh for the stars and this tricky edge around here for the planet. That's basically it. So if you're ready, let's get started. All right. Let us start. We're going to start with our quick pencil sketch of the planet. That's going to be around somewhere at the top side. You can make it centralized or not. I'm just trying to roughly mark the center and a bit more down. I should do, and that's where my planet is going to be. It's just a simple round shape that by now. There is my round planet. But make sure to make the sketch a bit more prominent because by now you know how the sketch could go out when you are applying too much paint. Now that we have our sketch ready, let's go ahead and apply water to both sides of the paper. Let's start. I am going to start with a beautiful transparent yellow at first. Going to create a path in my paper like that. I know it's not easy because it might look weird, but you don't have to follow the exact same path. Don't worry. You just try and create something of that sort. Then we go around the planet. We need a glow there, a little bit inside, come over to the outside as well, we even apply yellow to the whole of the paper so that it acts like an underpainting color. But that initial line we added, that is where we want the yellow to be. So you might even ask why follow the line if we're doing it in the first place. There's two four reasons for that for me, actually. One is it establishes that flow in my mind as to how it needs to go and how I need it on my paper. And secondly, it's for reals. That's because I also post these as reels to my Instagram. So I like to have, you know, the first stroke some kind of in a tricky manner like that. So that's why I do that. The first reason is also very important. That is to get you know that flow of paint or the way it needs to be in your mind. So now you know in your mind, it's something like that, see. I'm still tracing the same thing that I did earlier. It's because I have it in my mind. So that's really helpful that way as well. So right now, okay, I know. I should have used a larger brush. I don't even know why I started with a smaller brush on this one. Okay. So go ahead, cover up the entire surface with a nice amount of yellow. Okay? It's just a base layer, so you know that by now added the whole thing. Not the whole thing. I've just left a little bit on the center of the planet, but that's okay. And now we'll go with the next color. So what do you think the next color is going to be? That's basically a little bit of orange, okay? So we're going to go with a nice amount of orange and we're going to start start along the edges because that's where we needed to be darker and come towards the inside. Taking up my orange, coming towards the inside. Keep coming towards the inside. But remember to keep the glow of the yellow as it is. Now remember. Now the next thing that you need to focus in your mind is where was those area that we traced out? We traced a line like that and coming around like that. You're going to follow the exact same thing, but leaving a lot of gap for that yellow. The more of that orange paint. But then remember, so then that wind like that, isn't it? More area for the yellow, you'd understand when I make the other side. Again, that line was here in the center. Here again, I will go with my paint. But do you see that large gap of yellow that we left? Now over to the right side, you can fill it up with the orange. The fill it up the whole thing with a nice amount of orange. Okay. All right. That's good enough. Now we can move on to the next color, which is going to be our Alizarin, or you can use quinacridone rose, anything. But those are cool yellows, but that's okay. Sorry, I said cool yellows. I mean cool red. That's okay. But because you've got the orange over the top, it'll turn into a warm red. So it's absolutely fine. Again, now go ahead and add in the red. But you can see what's happening. The orange is still there shining through, so let it. Go ahead and start adding in the red over the top. Coming over to the edges, same here, leaving some orange areas and covering the rest of the area with red paint, okay? Covered up that much, and you can see how some of the orange areas are still shining through. Now we'll add the next color over the top, which is going to be the brown shade. Again, leaving large gap for the red. You go ahead and add in the brown shade. But remember to leave the gap for that red over to the right, so you can see how much of the pigment is going over at the top. We had a yellow, we had orange and then red, and then how brown going over the top. You can see that when you apply this brown over the top, you're getting a reddish brown shade because it's got underlying red. You see that over to the edges. But remember, leave some space for the red now. A nice amount of my brown shade and adding this. It's one over the other on the top, making sure to cover it up nicely. We've covered that up nicely. You can see how that nice glowy thing is building up. Next, we need paints gray. We'll give it a further glow but only in some places, and that would be with paints gray. Here I take my paints gray and obviously, I'll give it over to this area here at the bottom and you can see how dense my pigment is. Go ahead and pick up a nice dense amount. You can also use black. Now, start to make gaps and you can take your paints gray along to some areas of the red, leave some gaps. Let the brown shine through, so not cover up the entire surface. This time we're trying to make it only some of the areas with the paints gray. Here, a little bit of paints gray there. Then the top, let's add more paints gray. The top, I wanted to have more paints gray there. Then I'm going to leave a slight gap for that brown there and then continue along over to the left side. You can see it's like an L shape, but don't create that L shape, go ahead, blend it and come over to the inside. In here, teeny tiny amount here, and some along the edge here. Taking that upward. I think that so do, but now what I'm going to do is I'm going to pick up a little bit more brown and add into areas that I feel it needs to be a little bit more brown. For example, here, I'd like it to be a little bit more brown. The Oops, I think I picked up paints gray. That was the wrong color, taking a brown again and mixing along with the paints gray. I think some of that brown over here is going over to the planet on the top. You can see that. That's okay. And somewhere here. Coming outward now. I think that's good enough. Now I'm going to go with even more red. Some more of the red, and I'm going to apply into the areas in the gap. Some of the areas because I needed to be red. You can see some of the redish regions are missing. I'll go and add it to be more red over the yellowish as well as some of the brown regions. Here, I'd like it to be more red. It's also at the pace here, so the yellow starts to decrease. Now, now that you've got all the areas covered, we're going to do something, and this is the crazy part in this painting, and this is probably the toughest part as well. Make sure that you've got a very, very creamy consistency of the paint. Or you could even say buttery consistency. So that's even thicker than cream, right? Yeah, just imagine those consistencies. What's cream? Cream is a little bit more liquidity. But if you think of it as a buttery consistency, it's literally even more thicker. That's what we're going to use. Here, I've got a very nice thick consistency of the red paint. What we're going to do is we're going to place it inside R yellow, and it's going to be A on wet itself because the yellow is still wet. Do some with red then do some of it with orange. Make sure you can even just pick up dry dry paint as I dried my brush completely and then taking the orange because the water on the paper is sufficient for you to add this. They are kind of like, creating a pathway like that. Some more there. Can you see the whole thing is covered. I want a larger one there. We'll do add smaller ones in between. I kind of like this effect here. I don't know how that turned up. It's actually was because the yellow and the brown was kind of like spreading. But it really looks nice there. So just now adding more. So that was orange. So I think now I'll pick up a little bit more red and try and give some of these oranges that I added. A little edge and a little bit of something with the red and the glow. I think I like that. Can you see now, it's like a weird thing going on there. This looks really difficult, but that's okay. I'm pretty sure that you can do it. Now, before we let this dry out, what we're going to do is we're going to pick up brush and take a little bit of cadmium yellow. This time, the cadmium yellow, remember these lines that we added for I think it was day four five when we made that yellow wonder planet. Something similar, we're going to do. So we're going to add some nice strokes coming from the outside towards the inside. But of course, I'd like it to be a little bit warm. I'm just mixing a little bit of orange to it. You can obviously use can yellow deep from enliar. I love that color, as I've said before, I'm not just using it because I'm refraining from using anything other than the colors in this palette for those of you who do not have it. So there just a little amount of yellow in between. Not too much, tiny, tiny amounts. That's it. All right. I think that's good enough. I love the way it's turned out. Now what we can do is we can wait for this to completely dry out, and then we can finish off by adding that planet and a few stars. That's it. All right. There you go. It's completely dried up, so now we can go ahead and paint the planet. For painting the planet, what we're going to do is we're going to start with a nice yellow color, and I'm just going to start at that base right there, and we're applying the yellow. I know that we already have that nice gorgeous yellow over there, applying a little bit more The Yellow, then we'll go with somewhat same colors before applying the darker colors. So the next would be orange, and I'm just going to apply it over the top. So that center portion where it was white earlier, we'll apply orange at first. The nice amount of orange coming off to the edge. Then before adding red, we'll just dive straight in to paints gray. This time there, paints gray, but I'm going to leave a gap for that yellow. And I will tell you why that gap is there because we're going to add some white at the end. So we do not want it to be black underneath because it's going to be hard to add in the white as opposed to adding on top of a yellow, right? So that is the reason. The taking up to there and coming over there. So here, I've added the nice gogus gremy paints gray over the top. That's where the planet is going to be darker. Now we'll get back to adding red over the top. Here, taking what did I do? I went outside a little bit. I'm just going to quickly clean that up. That's good. Here, taking that red inwards from the paints gray. That's how it's going to mix through and slowly. The same thing that you added outside. We'll try and add some nice structure inside, but not too much. Bring the red outward. The red and the paints gray is going to somewhat turn into a brownish color, more of the yellow on that side. Now, let's get to adding that. Here, I am going to pick up my white paint. It's fresh white paint. And I'm going to use that, and we're going to start at the top. Remember, I said at the top, we left some gap for the white. Now, is the time that we're going to look at the edge of our planet and make sure that we make the perfect shape. At first, try to stay away from the paints gray as well so that you do not contaminate white, which is why I shifted to a smaller size brush at first. This is just for the sake, we're outlining it. Along the edge. See how we're outlining it. I am touching some edge, which is accidental, of course. Oops wind alel outside. I'm just cleaning that bit up. That does not look pretty because I went outside. Let me try and grab that out. Okay, that's much. Now, once you've done that, you can go ahead and do the magic of spreading things around. We definitely need to create the best shape and blend, so just taking some more of my paints gray to make sure that I blend it nicely, okay? As you can see the top shape is much better, but then it looks so weird along the other edges of the planet, right? Because we're not done yet. Now the next thing what we will do is we're going to pick up cadmium yellow, and we're going to add that along the continuity of that white that we added. You can also pick up some more white and just, you know, add it like a continuation. But the majority of it needs to be in a mix of white and tumulu. So you know what you can do. You can actually go ahead and add in the white at first. Okay. But for example, see this edge here. It's got a brown edge. So because it's got a brown edge, you can't add white over it. You need to add in mull. So here, I'll pick up mu Milo and I'll continue over on this side, it'll be more of the Cadmium yellow this side. Continuing on from the white over there. We will use Cadmium yellow. As always, if I don't turn the paper, my planet is going to look very, very weird. Just because my hands are accustomed to painting that way. That's why done. Now, you can see how the planet's actually glowing on top of that surface, and it's white. I mean, sorry, it's what was I going to say? It's Oh yes, that's what I was going to say. I don't know. Something got stuck in my mind. So just making sure that I get rid of any unwed or, you know, weird looking areas. Like for example, I feel like it's too much gray and not looking great. So just got rid of that. And here, there's a problem with the shape. That's because the white doesn't continue over. It's got it comes off thick and then goes off thin. That's the reason. But if I Yeah. Now it's much better. We've got our cadmium yellow going inward at some places, creating the glow areas. I think I need more of the cadmium yellow here. Here I'm picking up dmu yellow, then creating these random shapes, taking up Cadmium yellow and create the random shapes towards the inside. All right. Yeah, I think that's more than enough, and we're literally done. We just need to add in the stars, and that's it. This painting is complete. The tricky part was adding the white and the cad yellow around and the background, these ones. That was the literal tricky part in this painting. Be we're done with that. Just going to add in the splatters and insh Just making sure that I do not put the splatters onto my planet, but rather only towards the outside areas. You can go ahead and do the p splatters. I mean the multiple splatters, not the big ones. And we're literally done. That's it. See how simple was that. Isn't that amazing. There you go. The planet is still wet, but you can see how the painting is stand out. Oh, my God, I literally love this. I kept this for one of the last few days because I know how tough it was going to be doing this. I wanted to make sure that you're with all of the techniques and you're able to do this yourself. That's here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 19. Day 15 Project - The Olive Space: Hey, hey, hey. Welcome to day 15. This here is the painting that we're going to do today. Can you believe it's already been 15 days? I mean, it's the end. It's the last painting, isn't it? So let's have a look at the colors that I have used for this one. Basically, we need cadmium yellow, a tiny, tiny amount of cadmium red, Olive green, green, transparent and paints gray. Those are the colors that we need of white quash. If you're ready, let's get started. All right. Let's start. I'm just going to turn my paper and apply water to the whole backside. There's no pencil sketch. We're going to dive into this directly. Let's get to it. Here, I have applied water to both sides of my paper. Now we'll start. What I'm going to do is I'm going to start with a nice olive green color. Here's my olive green, and I'm going to load up my brush with a nice amount of olive green, and I'm going to start. We're just going to create nice background. Here loading up my olive green and we'll have olive green over here as well, but then I want to have a light source in that region. Here's what I'm going to do. Just going to have this region is where it is going to be my light source. Anything surrounding that, I will apply my olive green color. You can actually mix olive green color. It's worth mentioning that, I guess. All you need is if you use a bit of green, teeny tiny amount of brown and yellow together, you'll be able to approximately get a nice olive green color or another best way is to actually desaturate the green. If you use sap green and add in a little amount of the opposite color, that is a complimentary color, which would be either red or Alizarin crimson and then mix in a little bit of yellow into that, you should be able to get a nice nice olive green shade. You can see how I've made a nice glow of light there. We need to capture the light more effectively. What I'm going to do is I am going to create some nice lines. Can you see just use your brush to lift off paint and create light source like that. We've done this before. I'm not sure if it was in this class, but anyways, it's basically called lifting. You're going to lift off paint from the center. Towards the outside of that region. That basically creates lines like that and effectively creates a light source. Make sure to start from the center of that white region and to expand outside. Not expand, but like to pull off towards the outside and use the entire length of your brush. Each time you're lifting, make sure to wash off the brush because what you're doing is when you do this, you're taking paint, and there is paint in your brush. See that? Wash that paint off if you want to be doing that again and again. How we'll create a nice light source. There, I'm just going on. Repeatedly doing that process. But before you do that, make sure that you do apply enough olive green over that region. Otherwise, you won't be able to go back and add more and more olive green. There, I've got a nice light source. Let me go back and add more details. Here, going with more olive green. I think around up until the halfway point, I'd like it to be olive green there somewhere up until there, want it to be the nice olive green shade. We're going to use multiple shades now. The next color I'd like to pick up is a little amount of cadmium yellow. That will not be that visible over the olive green, but it will be there and that region will be lighter as opposed to the other regions in your painting. That's why we're adding this cadmemulo ver the top. Can you see it's not even really visible, but that will be because it's got that cadmemal over there. I've washed that off. Now let's go with the next shade, which is basically a sap green shade, and I'm going to put that over to the other areas. The remaining areas. That's how we'll cover up our paper. I'm happy with that. Now you can see if we've got a nice green base, but now we'll start to add in the darker shade. The darker shade, obviously, that's going to be paints gray. Here, I've just loaded up my brush with a nice amount of dark paint gray, and we're going to add that over the top. That will give us a nice dark ground. You can add that over the green and you can add that over the olive green as well, but stay away from the light. You don't want it to go towards the light source at all at any cost. That all of those dark lines or darkness would be here. On the left side. Let's fill up the left side, and then I'll show you how we can bring it forward and create that beautiful milky way kind of thing. It's just a cosmic space and it's going to create a beautiful effect on a paper lighter as you go towards the right side. I'm not going to add any more paint over there. Most of the paint towards the left side. And lighter and lighter blending towards the right side. See that. More each time you pick up paint, put it towards the left side, as you go over to the right, try and lighter and lighter. See that. You can also see how that's, I love the weight spread. Sometimes, the watercolor acts on its own accord and I love it. D love when it turns out like that. Picking up more dark paint for some of the regions, I think I'm going to keep that region as it is, and just add line over there. Now, let's get going. We need to add a lot more details. The next thing I'm going to add over the top is basically a nice brown shade. Go ahead, pick up transparent brown. In my case, you can use burnt umber or an Dike brown or any brown color, and we're going to start. There goes. Can you see that's the place where it was a little bit yellow, and you can see how that spreads along with the brown. These are things creates unique shapes. Okay, that's a unique shape. Got to add more things. Now I'm going to pick up my pinsra and along in the center of that. Then I guess you can pick up a teeny tiny amount of green, add it over the top there on top of the brown. Just a teeny tiny amount of screen, some over there, maybe. A lot of colors are going in there. Next, I think a little amount of red as well, but do not take too much. We only one very subtle. Am of over there. I think a little over there. I love the way that's turned out. We have some more work to do. I'm going to just pick up my olive green again and make sure I blend nicely. Here, very careful because you've got that glow that you've added. Just try and blend it in a small way and do not introduce a lot of water because if you introduce a lot of water, that's going to create a harsh edge over there. Here drying my brush on my towel, and I'm just running through like that. Which will make sure that you know I don't have too many harsh edges and that I blend nicely. So you don't need to apply more paint over there. Let that globe be as it is. You can actually refresh the globe because the center is actually just white, isn't it? If you go from there, pull out again, you should be able to create nice glow again, if something's gone off, and that should be it. You don't want these ones to be as big as they are right now. I'm just going to, you know, reduce the length of the glue because I do not want it to be that big. Yeah I think that's good enough. Then now we've got so much work to do. I can see that some of my brown has faded away over there, so I'm just going to pick up a little bit more of my brown, go over it again. It will be needed because your paper is wet. So there is high chances that a lot of these are just going to spread out and blend out. You will need to apply multiple times at at some point. We are going to use our white paint. Make sure you squeeze up some nice fresh white paint. That will be really important because we need to capture some nice white areas. Here, you see that. I'm literally taking fresh white paint and that do in a very primi or direct baste consistency. You see how thick that is. I just took out the thick paint. If using pants, make sure to wet that pan really nicely and pick up nice thick amount that thick amount, I'm going to place on the paper. That's a white source. Just going to create some more white source like that. We're going to put a lot of these white sources. This is something that we have not done before. Just introducing a new technique to you where you want to create additional white on your paper and to make sure that it does not go off when it dries because you're using very thick paint. Let's have some over here. You see, that's really thick and I'm just making sure to create all of these random strokes in the sky. I know why I say sky in on the cosmic space, see a lot of details, but make sure to take up extra paint when you do that. These ones are going to be lighter because as you can see, I'm spreading around with my same white stroke. These will be lighter. Only when you take ten paint, would it be really visible? Now let's go ahead and add in some background stars. Those background stars, obviously, we've been doing a lot of it, so you know by now, it's just we or my splatters. Here, I've switched to a smaller size brush. So that's my size brush, and we're going to splatter. No en Yeah, I think that's good enough. And also, while splattering, I did splatter a tiny, tiny amount of water there, and that's creating a bloom. I'm just going to go with my black paint and cover that. There. That's it. Now all we've got to do is to wait for this to completely dry out so that we can add some more strokes on the top for this weird looking galaxy. Okay. All right. There you go. It's completely dried up now, and you can see how it turned out. Those white spots that we added, it's literally white. And see the one I told you about where it's going to get lighter, it's lighter and see the background stars. Those are lighter as well as opposed to the thick paints that we applied on the paper. See that? Okay. So if you go thicker, obviously, I mean, that's a default understanding, isn't it? If you go thicker, it's going to turn out. Vibrant. Now let's go ahead and add in more details, which would be the one over the top. Here, I'm loading up my brush with transparent brown, but notice the consistency. I literally do not have any water. We're going to go for dry dry strokes. Here, load it up my brush with brown paint, and we're going to do over the top. You do not need too much water and just using brown, we're adding th strokes. Okay? So some of the tri brush you can do outside. So for example here, I think I'm going to extend some of my try brush. Let's do that with another color as well. Here, I'm going to use my yellow occur. But again, yellow occur needs to be dry. Making sure I take enough of the yellow occur and then adding. It's not going to be a lot. It's just some amount of lighter strokes. Now, remember the cadmium yellow. We're going to do that with the cadmium yellow as well. So lighter gluing areas. Here, some gluing areas there, some gluing areas over there. Always closer to the lighter regions because it's lighter, so you need to have more yellow on it. That's why I applied. I think there's a little amount of white region there. Yeah. I think that's enough. Now we can finish off this whole thing with a whole load of stars. We literally need a lot of stars. Let's do that. Checking the consistency of the paint, we're good enough, so I'm just going to go ahead and splatter everywhere. Make sure that there are more stars in that center region. How do we do that? Point your in those angles and direction, more stars there. I'm holding it to that center line so that I get more stars there. Look at my hands as always. There, that's literally it. It's just this beautiful thing, isn't it? I want to show you the image of this one so that you understand what we've created. Also because this is the last one, and I promised you a bonus lesson where you could transform the images and create your own galaxy and cosmic themed paintings. There you go. This is what we created. I think this is a better angle. We have that light source there. Try and exaggerate and change things as tine fit. It's like a snake like object there in the sky. We created something that's similar. See how similar it is. I tried to exaggerate the color scheme and create a great contrast by utilizing olive green there as opposed to the dark green over here on the reference. You can see already how You can change so much. There you go. That's basically our painting for today. I hope you enjoyed this and thank you so much for joining me today. Don't forget to check out the bonus lesson. 20. Thank you and Bonus Lesson!: Hey, so welcome to this bonus lesson where I promised you, I'll tell you hacks or, you know, solutions as to how you can create your own galaxy paintings from different images. So that's what I'm going to show you in this lesson. So for example, this is fun painting that we did. And as you can see, it's just very basic, isn't it? But imagine if you were to change up the colors in this. So for the galaxy paintings, the best thing is the colors. You can literally go with any color scheme. So instead of this blue pink and violet, you could have gone with another color scheme like orange, yellow, and let, maybe. I mean, you know, any other color scheme, and if you do the same painting, then it's a completely different one. It's not this, right? Then see this planet. So what if you were to do a blue planet? So let me show you something like that. Okay? So, have a look at this one. So this is just literally almost the same as this one, but it's a blue planet. So I don't think I was doing this image, but I found this one, and I thought I could really show you how different it is. So, have a look at this. So what if you were to change the entire color scheme of this blue planet, for example, you decide to paint all of this in orange. So that would be you would have because it's orange, lighter shade here, which would be ideally yellow somewhere there. Then orange on all of the other areas, then getting darker towards this side it's a darker orange, getting darker would mean like dark brown shade all towards the end, and then the planet. So you see, you could have this image and then still paint something else. Isn't it beautiful? So let us keep going and I'll look at these paintings that we did. I literally love this one. So for this one, again, you could have changed the color scheme, and then remember these fury lines that we added. But imagine if you were to add the fury lines all around, then it's suddenly different painting, maybe something similar to this one that we did. There. So see this. We did a lot of fury lines on this one. But imagine if you were to do the fury lines, I mean, these lines are not in these two directions, but all around. Then it would have been a completely different thing, isn't it? Then we have this, which was just again another magical galaxy painting. Then this one is actually one of my favorites as well, because I've never literally painted spiral galaxies like this one. So you have other options to do spiral galaxies as well. So there is a lot of variety in w the ways that you can do spiral. So this one was like flat from the top. But imagine if you were to do it from the side. So this is like a circle. So you know that a circle, as you start looking at it from the side, it looks like an ellipse. So then your spiral galaxy would more be like an elliptical shape. So you could actually adapt the same color scheme from a reference that you have, but instead of painting it in a circle, you could change it into an elptcal shape and under spirals, entirely different. This one, honestly speaking, I made this out of my head. The only thing I wanted was to draw some asteroids and things like that. So I decided a color scheme, which I thought, Okay, let's take red because we've been doing a lot of colors, and we haven't done something that's just red. So I decided we'll have a planet, and then we'll have some asteroids. Okay. So basically, that's just it. See? It's something that you can easily make out of your head. So imagine if you were to, like, move this planet somewhere around here and then have the asteroid belt in a different way. You could literally imagine a lot of other things as well. Like, create cosmic themed romantic paintings, maybe. Like, for example, if you were to shape all of these asteroids in the shape of a heart, but then they are still asteroid rocks or these different rocks and then have a light source in some direction. So only this part would be lit up. Just go and, you know, freeze out with the creativity as to what you can do with all of these things. Then this was the funnel galaxy that we did, but imagine if you were to add more shapes into it or more colors into this, I love the bleeds here of that paint. See how that's turned out. And this one, again, it's like the sun, and this one, actually, you could even look at this painting like this, see if you were to frame it. You could do it this way as well. And this planet, again, spark sparky elements coming out of it. And this was like a background rock formation. But you could make that in the foreground like this one, and it's entirely different, right? This is again another spiral galaxy, but it's again from the top view. But what I wanted to show was kind of like how you can create a gold accent without using the gold. But like I said, try it with the gold paint. And with regards to the gold, it applies to all of these. You could literally do more if you have mixed media like gold in your hand. Then this one is kind of like a moon shape, but a fiery thing in the sky, which I wanted to capture, and we also did a lot of dry brush strokes. So imagine instead of this shape, what if you were to create some other shape, like maybe, you know, like a fire shape in the sky. So just Vary your imagination and think of all the ways that you can achieve different things. And this one, this was a very, very colorful planet, indeed, but maybe you could create a rainbow planet. Isn't that beautiful? So this is kind of like a lot of red fury rocks in the background. But instead of it going this way, you could change the path and maybe like, you know, have it split from the top, start as one, and then split in one direction or something. So a lot of different things that you could do. And instead of this red fiery thing, if you were to change the entire color scheme of this one into something like green or blue, then suddenly, These fiery things that you added, they would change into icy things. It would change into icy rocks instead. For example, if you were to do this in blue, have a light blue and adding these shapes with a darker blue would result in it looking like an icy structure going instead of this fiery structure. Isn't that going to be gorgeous? I've already shown you the image for this one. This was just a random galaxy. I wanted to make it simple for the last stay, which is why I chose this one. So there, so that's all the paintings that we did in this one. If I were to choose one of my favorites, it would be this and the yellow ones. So the other yellow planet and these ones. Somehow, I just love yellow colors. That is why. So now I want to show you some additional images that I have of galaxies, so you wouldn't believe I created this using AI. So I just used this AI app called Under. And I just asked it to create a glow coming out of a fairy planet. Just describe what you need, and it makes it with its own thing. And then it again, it's unique because it's not out there anywhere in the world. And then if you were to change this again and make something out of it, then that's your whole unique paint thing. So this as well was made using the same AI. Even T one, T is literally AI. I did not use any of these images. This one as well. So this was AI. Oh, this one, this is the green plant that we actually did. This was an AI image, but you can see how I changed it. We did not change the paint. That small planet over there will not add those light source as in that sparkle there. There are two planets there. So many things that we escaped. But this image is uniquely mine because I created it out of AI. I've given you lots of ideas and suggestions as to how you can paint your own galaxies and even create and invent things. I really love that romantic asteroid hears thing. Maybe I should try it out as well. I just really loved it. So there you go. I now really do need to thank you all for joining me for this class and painting along with me if you have. And even if you haven't, that's completely okay, but you being here mean so much to me. So thank you so much for joining this class, and I will see you in the next one. I've got to go wash my hands. I've just done the day 15 painting, and then I'm shooting this outro video, and you can see I still got all of these. So I'll get going, and I will see you in the next class.