Galaxy Travel Through Watercolor

1. Welcome!: Hi. Welcome to these galaxy Travels through water color. My name is Laura. And let me tell the a little bit of on my journey I started learning calligraphy and littering. But for some brace on water cooler was a natural step to jump at. And after a year and 1/2 doing those three arts, I came to a point that I needed to put all my efforts and energy into only one form. And yes, you guessed I choose water called. I mean painting Galaxies for three years. Because three years ago I wanted to create something very, very special to give to my daughter for her new home. And I found myself struggled and finding a good tutorial or a step step on my class. And this is the race. And I decided to great the scores and hopefully more to calm and with the hopes that you will learn through my past struggles during this class. And you will witness how I create my Galaxies. And if you follow me on instagram and replay all my videos to learn from them and steal, you end up wondering what techniques are used. How many layers in colors I use. Then you came to the right place Through this class. I'm going to show you my love using watercolors and introduce you to my entire process. And we will talk about how to swat you. A lot of colors. How to prepare your paper, how I lent in layer the water callers. And at the end, I'm going to show you what I do to my final layer. To create a smoother galaxy and to crown your galaxy. I'm going to show you how to create the stars. By the end of this class, you will have the perfect foundation to start creating your own universe. Cools off. Call it for Galaxies. My name is Laura, and I love commute to base galaxy travel through water color. 2. Materials : 3. Swatches and Tips: If you're new to this, don't miss the step when you start creating a galaxy, or never means that the sport with any other classes that you have planned to take with other amazing teachers such it is very important when painting Galaxies because there is a lot of layers involved, and you need to know how your paper is going to react with your water in your water. Caller. You need to know if the colors blend beautifully together. What color are you going to create by blend in the ones you're using because you're going to great for sure. 1/3 or fourth caller, depending on how many colors you use Right now, I'm using the brand. Could a ducky gunsight, Tom B. And I'm mixing only to callers. Can you see how transparent they are, How we need to use more call or to get to the third? See that blue and red? I hardly can see a purple or from the red and yellow. It's a soft orange. When I swatch my paints, the first thing I noticed is that again transparency of the callers that will give me an idea if I'm going to need more layers than usual. Then I noticed if the paper can hold the water and I don't start creating some damage on it , comparing your so righteous you will be able to spot the difference between them. One is mutt, and they are the restaurants parent and why I am not talking about the cooler wheel. It's because I want you to grab your brush and start mixing the colors. Are you already have in See what combinations You can come up. Let me show you what I mean. I have a sketchbook that I use for all my experiments, and the only reason I grabbed these three callers is because they just look pretty Onley watercolor set. So what are my first impressions? The cooler is not absorbed into the paper the way I want the green. It's almost gone during the landing in the greening, ello is giving me a Mahdi Orange Samos a pink, and, uh, the school or combination really was a bad idea. See, they're blending pretty bad. Next, I'm trying another combination. That way you will see the difference. I'm not having any issues at all with the scholars, and I will add more colors to know what are my limits and make Usman layers as you can to check if you water caller tunes chunky or shiny. I noticed that some brands do this, and because I saw me pieces that will be a pass for me or I will use list layers. But I will know my limit again and that it's another important race on on sweating. Include the black color on old yours launches. Remember, you're going to use it a lot in C. It doesn't like has another plans for you because sometimes it does. I'm going to show you later. Now let's take a little break from Sochi. When you're painting is dry, you will notice those patches of goal or separating from each other or dry spots around them. And you can see very defined lines of bright core, too. Those are the cauliflowers boats, but do you want a smoother surface off caller? Right. This is why you need to do clean your brush and start painting your nebula with clean water . Go all over it. Do I wash with clean water, cleaning your brush on every one or two brushstrokes. A few moments ago, I am in tuned to include the black Kohler into your swatches, and I hope this doesn't need much explanation. The first row. It's a Blackwater caller in the other two are black liquid water caller, different brands. And I'm experimenting with a yellow. Can you see my concentrated Lee? Could watercolors turn the yellow into green? And this is another big reason off you keep on switch. Don't forget to see if your paper can stand well. The blend in without damaging it. This is not your traditional watercolor painting. You're going to blend at a lot. You're Baker is going to get very abuse from your brush in water. These steps will give you the basics on how I start great in my Galaxies and making sure your paper is the right match for your watercolors, that you have the right black cooler or know how it's going to behave to encourage you to swatch before starting your own navy life. And now you know how to remove most of those cauliflower feels to you 4. How to Prepare your Paper: you're going to need a clipboard painter Statement. Washi tape. I'm taping the washi tape all around the water cooler paper. I'm just in this type of Japanese state because I know I will have less leaks with it. - And this is the reason why I am using another street of why she tape in covering the area where I left untouched by the washy it just in your paper. I will show you later on how to fix that. Now is the turn of the painter state I'm using Ah, wide one because some surfaces are not sticky enough to hold the paper in place. And when the paper gets wet, that is when it starts to lived in distort your paper more than usual. In my case, the clipboard that holds better are the plastic ones they won. Amusing is not plastic, but has a layer off paint that makes the tape stick better than the ones that are not treated with anything like your typical round, high density fiber ward. I'm not taping exactly where they washi tape is. I'm taping a little bit farther away from the age I have shake hands and for me to take both exactly on top of each other. Waas and still is very frustrating if you can go ahead and do it. I noticed that the water leaks through the blue tape. Another washing tape. This is why you see me pressing a lot to remove any bubbles. Look at the ages of both of your tapes from different angles to make sure everything is well taped down. The reason I don't use any other tools to press both tapes down is because I did try them like the back of my C Sirs or a bone folder, and I ended scratching my paper. A credit card works too pretty well. This segment was very simple, but it's an important one in order to get clean ages in a flat painting. 5. Let the Galaxy Travel Begin : This is not going to be a fast galaxy where you used to three layers and you're done. But I promise you that you will be able to create a very I catch nebula that has lots of that. I want you to see my process first, then start painting with me. Usually it takes me between 2 to 3 hours to finish this ice. The bigger the size, the longer it takes. This time, I did not have any shape prepare, but I usually paint big nebulous that covers most of the paper with little black caller around it. When you start painting is going to look scary and ugly. Just trust the process. Most of the time I start with dry paper and with lightest color. Just paint any shape. If you have in mind to start with more than one nebula, go ahead and start dropping the color where you think it fits. I'm working with oranges and reds because for me, it's one of the easiest color combinations. I'm starting to what from the lightest to the darkest color to a different areas of the nebula. Just be minded to distribute to those callers in a balance way. If I have color on the top, I added to the water in the middle. Or if I You have a color on the right. I added to the left. Create areas on top of your yellow or your light. A scholar. This is what I call my luncheon base by using three callers from light to dark to the fine you're sounds. You're going to create some death on your nebula once I placed the colors. What? I want it now. I need to unify them with a clean brush with clean water. I'm going to linked the three sounds. Can you see how I am carrying the outside color? In between the zones, there isn't a rule to this. You can always add more darker colors if you want more darker areas. That way you can start visualizing word light comes from and where you want to block it at any point. Your navy land can change a lot at any stage of your painting. Remember, this is your initial sketch of your galaxy. Now I'm going to be quiet and let you watch the process less. Lead your first layer to dry to the point where you cannot live any color from your fingers . Otherwise, the second layer is going to remove your first layer. I hardly use a he dryer because I want to wait to get to the damp point and not to be completely dry on a damn surface. Your color. Kim Lan easily with minimum strokes that can damage your paper. This sickle mayor is the same process Now. This time you're going to have less water on your brush in more pigment. Keep dropping that coal or whatever you feel. Pay attention where your light is going to be and where your darker areas you want to be, too at different colors, darker oranges or light oranges, etcetera. The point of my brush is the only thing touching the water. From this point on, the more pigment you have is going to be the better. - Now see there. The paper has bean wet long enough that I activated the first layer so me adding more caller is not going to work on that area. By doing this, you're going to be playing an endless game off putting and removing the collar, so a good choice will be more getting to the dry areas. I am using my base Koehler, which is the lightest color yellow to blend old the ages, and usually I blend either with Onley water or with the lightest color off the ones I choose to create my painting. - And yep, I'm not happy with the form. So I'm changing it, and I will keep adding Kohler to dry areas in blending the edges. If you don't do it, it will be hard to picture the end product. At least it helps me. Let me summarize what you're doing. The basic concept. Drop the color blend. It led a dry repeat. You cannot layers of gold or until you achieve the vibrancy you want and blend the black into your navy. Elin. Together, I'm trying to change the form of the nebula a little bit more, but in case that you are not happy, they see way will be adding the black on some areas of your nebula to change the form. I'm telling you, every step is very forgiven. Just try to blend as much as you can before moving to the next layer, and this is when the magic happens. When you have two or three layers and their dry. Start with your black. What time I noticed that it's more practical for me to use liquid concentrated watercolors . I haven't noticed if the pigments are stronger or weaker than your normal dry pan from your watercolor set. I just the same amount of layers when I put him down my black older. I try to avoid the ages as much as possible. The more wider you apply, the more chances you will have leak through your tapes. So at the end, when I don't have that much water in my broach, it's when I work into the ages. Notice how I'm living a very small white space in between the nebula in the black. I avoid touching the outer age. Don't forget this, and here I'm no like and hurt. This is going, and I'm thinking how to change it. And I had to leave and come back with fresh eyes, continuing with my second layer of lack. - I want to stop here to show you why I need to wait longer at this point with the black, and you can use a heating to to speed up the process of layering. Now, if I add annoy layer black. I'm going to leave that corner that you see that and it's going to be a white spot. I know I know, guys, but you need to keep adding, your black is going to be several layers for you to get to that blackest of black. It has to be done in order for you to get a uniform layer. I will cover first my corners or the father areas from the nebula because they're going to be in touch during the landing. And this is where I get into the zone and I can overwork it, destroying all my previous work. Now let's start with your brush field with clean water, water pain, the area with left on touch because both h is are going to touch the water and they will meet. Start landing. It's okay for the black to invade your navel. Er, the black will give you more death. I yet more color to the ages to break the straight lines of the nebula. Remember, nebulous these up close haven't organic flowy feeling and helps to blend the color better, too. This is why it is very important to Swatch your black with the callers were going to use. They can change Golar and not in a good away. The blacks. Magical. Because it will help you to change the form of your nebula, the size and the brightness. Remember that. I was not happy with it at the beginning. I'm still not happy. It looks that weird, but let's keep working on it now. See here. This is how you might lack is to break into the nebula is to change the form. And this is what I'm doing right now. Yeah, and because I added the black, it created straight lines. So I need to break that with more caller and worship the form to see there. I'm working with a clean brush and lifted the color on that area. Unlike some of the ages to be lighter than the rest, pick a side of your nebula or the light Keats. And that is where you're going to leave to the color. Lifting the cooler means of removing a corner from the paper. Clean your brush, get rid of the extra water in your grocery and with light strokes, touch the paper. You need to clean your brush When you notice instead of lifting, you're putting the color back on the paper and you don't want that. I lived where I want grade more off an organic form, more off flowy. Be sure to create movement, and I continue to add cooler trying to leave the center lighter. See how I'm working around it and to unify everything. I use only clean water, and I'm working back and forth between the black and the nebula. Once my nebula has the cooler that I want, I heard you guess it's more black, and I start once again with a small brush to work on those ages. Remember that. Why do we left between Navy Line Black? It will give me an opportunity to have more lighter areas because the lack of cooler on it creating that flow fitness around your nebula. The first caller we put down is now creating a V show off another nebula behind it or a halo around it. You can skip this part because at this point I know it's a very repetitive task. I moved the goal or I lift it, I add it. I even overwork some areas and had to drop more caller. At this stage, you can see how you're finished Piece is going to be, and this is where I play a lot, and you should, too. Just be gentle with your brush strokes. Tow. Avoid lifting all the cooler you can, even not a darker red, darker orange, even a brown color. You will look beautiful, and the scholars will add more drama. No. What is the point of this eternal blending and adding the color? One is because I don't want to see where one color starts in the other ends. I tried to look at individual sports of the nebula, where one color meets another one. If you see a very visible mark or line between them, then yes, it's time to blame. Number two is to remove any straight lines as possible as you can for the outer ages. Leave the Kohler's as many times you want to create the visual of movement in the visual that your nebula, it's in front of the vast universe, creating a softness between them. I always do this with all of them because it creates a nice transition between your harsh black and your colorful nebula. - I want you to observe the clouds and pinpoint where the lighter in the darker areas are. That is going to be your only life reference that is available well. Besides the best collection that the Internet has for you, you will be happy to know that. Why now I'm on the last layer of black. I'm happy with the vibrancy of the nebula. I'm happy with those light and darker areas. Remember, Every time you add black, you're going to need to blend it with the nebula. And I changed the size of the brush from bigger to smaller to work on those ages. I'm working with a brochure that has almost no water, and I'm using it to blend for the last time and to lift for the last time. I'm lifting most of the time. I'm not adding any caller. I wanted to add more caller, and you will see the brush floating around my weather. Kohler's now a view paper allows this type of of use, the blending the water you can keep on noon and on. Just. I wanted to mention that is rare, that I work on one painting at a time. Usually I work on two I can work on one while the second is drained and I'm going to stop talking for you to watch the last details of this step. It's on Lee. One more to go and east. Oh, personal. At this point, you can consider yourself done with this nebula. You just need to have the stars and this is the last step, and it's an optional land. I'm one the painting to look a bit softer. Remember in the swatches section, I did a quick demonstration. This is how I finished most of the times. Now, by now, you already used three sizes of mock brushes, and I'm using the biggest one with clean water to do more blending and remove the cauliflower sports. I have one. I use it to leave the caller on. So spots, too. Moore. Yes, I know. On your less layer, you should be using Onley clean water. If by now you see many uniforms spots, I recommend you send your biggest brush and give to your entire painting and washing water . Used a very light hand, otherwise you're going to move all the callers out of place. So after his dry, completely dry once again, I go over the painting using Onley clean water over land Hard nebula. Sometimes they will do it over the entire piece, but you need to be quick. Otherwise you're going to create more spots than you expected. If that happens at another layer of cooler after you let it dry. And I'm really happy that he turned out better than anticipated. And remember these, no matter what, there is a part of the process. Were my internal. Oh my God shouts at me. But keep at it at the end. It's a very rewarding experience to see the full transformation beginning to the end. So are you ready for the starts? Let's go. 6. How to Create Stars: In the past, I tried different brands of white water coolers, which all of them were not bright enough for me. I used acrylics, which are difficult to remove if you make a mistake. I've been using bleed proof because you can add a water and remove the starts right away, and they become permanent with time or hard to remove my water. Right now it's Grady Dry, which like because I can control the amount of pain to by adding water to it when his fresh is wait more liquidy and you can remove the excess from your brush the size of the stars. That depends on the size of your brush in the amount of water you use. The bigger size, the bigger the starts in the same with the water. The more water you use you are going to create. Big are stars. I tried to use a tooth broach in the past to splatter the paint, but it was hard to control the pressure and I was making a lot of very harsh lines of starts and by you seem right now in here two brushes and taps one into another at the same time, moving my arms or hands gave me a more uniform inorganic effect. Wait a minute or two to see if you need a gnarly your or round of stars, or have you need to add more water to make bigger stars or smaller stars? Limit yourself with the stars. I seen lots of Galaxies, which the stars are the focal point. They shall be a very elegant accessory for your painting. And yes, the stars are going to reveal the fact that the colorful clouded you just created. It's in the middle of the space, turning it into a nebula. But do not go crazy in here. Next, let's create the halo around the stars, which is so simple. Let the stars dry completely. Grab a Q tip and scrape that Q tip into the shock or Pasto, depending on where you're using and use a dot or dab emotion on top of the stars. First of all, I start with white what Shock and III David in different places, and you can use the same callers you use on your nebula. It creates a more interesting racial. If you observe photos of stars you confined. They have different colors in here, you can make stars with small halos or bigger hails. Always practice this when creating the halos and your stars, it will create the feeling of that. Small stars are far away, and leaguer stars are closer to you. After that, I grab a brush in a use circular motions on top of the chalk to get rid of the excess In this action will press the powder into the paper, which will not be noticeable. If we by mistake grown our fingers or hand on top of it. It would disappear. You can always see a trace of it, and by doing this you will have a soft and gentle version off a glowing star. If you have a white jail pen or and acrylic ban, you can use them to. If the chalks takes away the vibrancy of the stars, that is when I use the white Geltman or when I needs a spot and want grade more stars on that specific area. 7. Bonus 1: A Fast Way to Finish your Nebula and Adding Details: least pretend you are on your final layer, but you notice that your navy alert it's a picture one or it's not vibrant enough. I always finish with the last layer, just dropping the colors, placing them where you see them in the painting red with red orange with orange and so on. Blend as you go. You need to work fast to keep the paper damp at all times. Otherwise, while other areas are drained, you're going to bring that patch in, is back, but now is going to be a buyer and patchy or uneven painting because at this time to unit to add as much pigment as you can or as I show you on this such a section, you can grab the biggest brush you have. Change your water deep that rush into the water, trying to get rid of the excess and lightly paint all over your painting to remove the patch. Innis or cauliflower spots work as fast as you can go over one's, and during that process, see if the cooler is moving a lot and changing your nebula drastically. If this happens, you need to stop and use a smaller brush and go over small areas at a time, cleaning your brush when you see it's moving the coloring to another caller, I'm going to break down this chapter into two sections where you can stop and you can show off your galaxy in a 2nd 1 If you're like me, you will continue to work on endless details to create more cooler in some areas, more light and shade on others. I truly want you to have more options. You can always finish it when you get the vibrancy you want the movement you want. The death in some degree off smoothness to this course is just on example on how to do it. You can stop at any time. Do you see me dropping the black? I know I feel my brush only ones with a black, because I have the goal, or to the level of darkness that I want. Remember, at this point, everything is still wet or damp. Then I proceed to blend with a clean brush in Mary both ages, the colorful one in the black. While you planned you are going to lyft some caller leave it a situs. Those are your lighter areas and you're going to drag the black into the caller. It's OK. Bland bit and leave it as it is. Those are your darker areas. Two. Great, that flowing nous of Clough Penis. You're going to see me lift in the cooler with brush strokes, and I apply some pressure onto the brush because remember, you have lots of layers underneath. But and this is the second part, it's me adding the details over details, and it's going to be a silent demonstration in for you to observe in detail how I do it if you're not interested jumping to how we make the stars. But if you want to be more extra, you are very welcome to stay. 8. Bonus Fixing two common mistakes: 9. Final Thoughts: I hope that from this clients that you learned the importance to have a sketchbook by your side to explore old your choices into test your new in old water collars and for you to explain men with the blacks and say, How is going to react with the colors of your choice? Test your water coolers on your paper to absurd. How is going to react without a specific of Brandt? Because each one has their own mind, And that way you will know which going water coolers and paper greats The perfect marriage and place. Don't forget to keep the stars on the shy side. Keep it classy. Don't overpower your nebula with lots and lots and lots of stars. And I hope that the Vonna section will answer any of your questions that you're my half on how I create my Galaxies. Otherwise, I will answer them any of your questions on the common section when you post your project, which it can be a nebula off any shape or form using your favorite cars, and I can't wait to see them to enjoy them. And if this was handful for you, please them. Forget to leave me a review in order for me to keep doing what I'm doing or change it completely. Based on your suggestions, it will mean the world to me in for more ideas and inspiration. You can always go to my instagram account where I have lots of Galaxies in process varias thank you for traveling with me today. Hope all this was very helpful. Thank you.