Green Galaxies and Globules : A space journey with watercolors

1. Introduction: Are you a watercolor artist who wants to try painting different subjects. Are you someone who is looking for an easy but still captivating projects. Space is one such subject for me. It is huge, memzing, in, and at the same time, it lets my imagination flow. Hello, everyone. It, a watercolor artist, an engineer, and a skill share teacher from India, currently living in Europe. In this class, green galaxies and globules, there are seven beautiful projects, you know, I do have a special love for the green color. So I came up with this class where in every project, one of the main colors we use is green. In this class, I talk about the materials required, and there is a technique section which explains the splattering technique that has been used. To make it easier to follow, I have added the practice session followed by the main project. I'm very excited to start this class. So let's not wait and begin our journey together. 2. Materials Required: Let's talk about all the materials that are required for this class. I'm using R 100% cotton watercolor paper. It is 300 GSM, cold pressed. For the class project, I'll be using A five size paper. I recommend using 100% cotton paper because in our class projects, we'll be using different techniques such as layering, blending, et cetera, and 100% cotton paper is really useful in that case. I'm using four different brushes here. This one, Brust size four, I'm using it for initial washes, and I'm using silver black velvet brush of size eight for all class projects. This one, silver black velvet brush of size four. I'm using it for detailing. And this one rigger brush from Princeton of size one. This I'm using it to paint twinkling stars, for example. These are the brushes that I'm using in this class. I'm using colors from different brands such as Winsor and Newton, White knights, and also from Daniel Smith. I'll be talking about all the colors that are required in the beginning of each project. Then we need a palette to mix the colors and a jar of water for the initial washes to rinse the brush and also to mix the colors. We will need a paper towel or a cloth towel to wipe off the excess water. I'm using a masking tape to stick my paper and using the scissors to cut the tape. I'm using a pencil and an eraser in the class to sketch. I'm using an acrylic board to stick my paper. In our class projects, while adding stars, we might need to cover some areas. For that, I'm using the sheet. That's all we need for this class. Let's get our stuffs ready and then start with our paintings. 3. Technique - Splattering: Okay. Welcome, everyone. Let's talk about this technique called splattering technique. We use this splattering technique to add starts in our paintings. So let's just dive into it. I'm preparing the paper by vetting it. Applying good amount of water evenly throughout the paper. But I'm not spending too much time on this, as our focus here is not the background layer, but the details on the foreground. I have some colors left on my palette. I'm going to take Prussian green from it because it is dark and the stars we're going to add would be clearly visible. Let's apply the Prussian green throughout the paper. From the top, I'm going down and making horizontal strokes. I think I'll go multiple times to get a darker background. Here, we are just preparing our paper before doing the splattering. We need to have a background right. I'm keeping the lower part lighter because I'm going to add another color there just to make it more colorful. Now, let me take the second color that is permanent brown. And starting from the bottom, I'm going upwards where the green and brown meat. Let's blend these two colors. One last time, I'm applying the same colors, starting with a Prussian green and making horizontal strokes and going all the way down picking up some brown and applying it horizontally at the bottom and moving towards the top. I'm blending these two colors again to get a smoother transition. Okay. Now let's wait for it to dry and then add some stars. For spluttering the stars, I'm taking the white quash, and I'm using the stray to squeeze the paint. I'm taking my silver black velvet brush of size four, and then adding a bit of water to the paint and activating it. Observe the consistency of this It's not too watery, not too dry but kind of milky consistency, I would say. For adding the stars, I keep my finger as support, and then I tap the brush on top of my finger like this, and I move my hands all over the paper. You see? Shall we do that one more time. So again, I keep my finger a support and just tap the brush all around. Look at those platters. Now we have a lot of stars. I can add one or two picker stars like this. This is just random. Add few big stars that are scattered around the sky. Now I'm going to show you how to add a twinkling star. For that, I'm washing my brush and I'm removing the excess water, for example, we can take this one as our star. So what I'm going to do is, I'm just softening the edges. I'll wash my brush again and then I'll lighten the edges. This is like the glow around the star. Observe my brush is clean and damp. It doesn't have any paint in it. I'm keeping it around. Now, I'll take the white gash again, and I'm putting a.in the middle, which is like the center of the star with an aura around. Now I'm taking my rigger brush. It has thin pointy edge. I'm washing my brush, and let's take some gah now I have to add some lines around the star. I'll start with the first line going down, something like this. And then from the center, I'm adding a line towards the right. Make it quick so that it's nice and thin. And then a third one from the center towards the top. And the fourth line towards the left. In between these four lines, I'm adding smaller lines like this one, two, three, and four. Like watercolor, guash also dries lighter and hence I'm making the lines. By the way, if you don't have the white quash, you can also go for the white watercolor, but take the thicker consistency of white watercolor for the better visibility. I have added the second star in the same way. Now let's add a shooting star. How do we do that again for the shooting star? We can take one here, and then quickly draw a line. Let's make this line bit longer. I'm dragging it a bit. That's a shooting star. When you're adding multiple stars, make sure that the lines are in the same direction. We don't want to have lines that are in different directions. This is one way of adding the stars. There are many other ways. Sometimes I just skip to add the glow around that's up to you. We'll be following the splattering method in all our class projects to add the stars. And that's it for slaughtering. In the next section, let's start with our first project. 4. Project 1 : Green galaxy from earth - Practice session: Hello, again, let's start with our first class project. We shall see all the colors that are required for this project. I'll be using Hansa Yellow Light. It's a cool yellow from Daniel Smith. Then it is Russian blue. It's another beautiful blue from Daniel Smith. Then we would need Indigo. The color I'm using here is from White Knight. And for detailing, I'll be using ivory black, which is from Winsor and Newton. We also need some white quash here for adding starts. I have a small container which I usually use for the white quash. I'll squeeze the color into it. These are the colors that we need for our first class project. Now, before moving to actual painting, let's do a practice session. We need to prepare our sketchbook. For that, I'm using a masking tape to have a proper border. The sketchbook I'm using here is quite small. It is just ten into 15 centimeter. So now I'm using my masking tape to have the borders. Now, I'm cutting the tape with the scissors. I'm leaving a bit of a space on the right. This we can use to swatch the colors. And one more on the top. Yes. Now, let's watch the colors. I'll start with Hansa yellow. It's a cool yellow. If you don't have Hansa yellow, you can use either lemon yellow or transparent yellow. Next, let's take the Prussian blue. It's also a cool color. Instead of Prussian blue, you can go for Thalo blue as well or choose any cool blue that you have. Next is indigo. Again, if you don't have indigo mix a blue with gray or black, that should give you a shade which is similar to Indigo. Let's take the black. I'm using ivory black here, but you can go for mass black black or even gray color. These are the colors that we need for this class. But see, we don't have any green in it. As the title of this class says we should have green in our paintings, right? So how does this work? To get the green color, we will mix the Hansa yellow with Prussian blue. I have the Hansa yellow here and Prussian blue here. Let's mix them. As they have already dried, we need to activate them. Do you see the green shade it is creating as both the Hansa yellow and Prussian blue are biased towards green. They do create a beautiful green, so that is what we want. Now, let's do a small practice sketch. I'm taking my morash and applying water to the paper. Here we are using ton wet technique. As the name says, we need to wet the paper f before adding the colors. Here, I'm making sure that the paper is wet enough, but it doesn't have too much water in it. I'm taking the yellow now and then I'm creating a cone shape here from the top towards the bottom. I'm applying the yellow color. When it comes to the bottom, I'm making it wider, so it is creating a cone shape. Now, let's take the Prussian blue as our second color. We want to create this green color, we should blend blue and yellow to get this green. I'm applying the Prussian blue on both sides of the yellow now, but see I'm not covering the yellow region completely. I would like some yellow to be visible. Now I have applied blue on both sides. We need to blend these colors. For blending, I have cleaned my brush and removed the excess water, and with the help of the clean damp brush, I'm moving these colors. Picking some more yellow to get more green shade. Do you see the green it is creating? I feel the blue color is more prominent here, so I'm adding the yellow to get more green shade. I would like to keep some yellow intact, so I'm not covering the yellow completely. Now, in the next step, I'm adding indigo on the site. As well as on the top, to get darker tone. Now, I'm washing my brush and I'm blending these colors. My paper is still wet, so I'm still be able to blend these colors. Remember, for blending, the paper needs to be wet. Otherwise, the colors won't blend. Let's add some more yellow to get more vibrant green shade. I really love this yellowish green here. We need to blend all these colors. Otherwise, they look separated. So we shall keep blending. Now, we have painted our galaxy. I've used the Prussian blue and Hansa yellow to create this beautiful green, and we have indigo at the edges to get this darker region of the sky. Let's wait for it to dry, and then we can add some small trees and bushes here. The painting has dried now. For adding the details, I'm taking and painting small bush like structures. I'm not going to go for any details here. I'm just showing you how this painting would look. Making quick strokes with the tip of my brush. And I will not add any stars in this practice session. We can do that in our actual painting. We'll be using the splattering technique for stars, which I explained in the technique section. That's all. Once this tries, I will remove the masking tape. Now it's time to remove the masking tape. This sketchbook is bit sensitive. I should be careful here not to tear the paper. We're done. In the next section, let's get into our actual painting. 5. Project 1 : Green galaxy from earth - First layer: I have my watercolor paper of size A five and stick it into the board by using the masking tape. To start with, we need to wet the paper. I'm using brutro size four brush for this. This is one of the round brushes I have. You can use any brush here, but with a bigger brush, it'll be easy to cover the larger surface. So take the biggest brush you have. Here, in all of our class projects, we'll be using this wet on wet technique. So we would start each painting by wetting the paper. This is an important step. Take your time with the step. We want our paper to be wet for longer time. If you want to know more about ton were technique, I recommend taking my class, paint the magical milky way, where I have explained ton were technique in detail. It includes examples as well, which helps the beginners to understand easily. Cotton paper needs some time to absorb the water. So I'm slowly moving my brush up and down throughout the paper. I'm going over it again and again and I'm making sure that the water is uniformly distributed without leaving any puddles. When the paper is wet for longer time, we get more time to work on our painting. It is easy to blend, lift or move the colors. This is the reason why wetting of the paper for good amount of time is important. We are done with the wetting of the paper. I'm taking the first color that is Hansa yellow light and applying it like a cone like we discussed in our practice session. This part we are painting now is the sky region. I'm making quick and loose brush strokes here. This looks lighter right, so I'm applying another layer of yellow here. Let's take some more color. This yellow should mix with blue and create a nice blend of green. Absorb the cone shape that I'm painting here. The top part is narrow, and as it comes down, it gets wider, right? Now, I'm washing my brush, removing the excess water, and I'm taking my next color that is Prussian blue. Let's apply it on both the sides of the yellow. Both the yellow and the blue we have are bias towards the green. So we get a nice green shade here. Do you see the green that is forming due to the mixing of Hansa yellow and the Prussian blue? Now, I'm washing my brush again, wiping the excess water and just blending these colors. Every time when I blend the colors, I wash my brush, remove the excess water, and then blend these colors again with the help of a clean damp brush. Remember the brush should be damp and we shouldn't add more water to the paper. If you want to understand more about blending, check out my class, paint a magical milky way. I've talked about blending technique, the difference between blending the colors and not blending them along with the examples. I'm going to keep blending them for some more time to avoid a clear separation between the colors. Here, I'm moving the colors down to keep this part wet for some more time. You see it is already drying. When we are applying the colors, we are in turn adding water as well. So it helps the paper to stay wet for a little longer. We want some saturated look to our painting. So let's add the same colors again to keep it nice and bright. I'm taking my hansa yellow and applying it to the same place like before. I'm picking some more yellow. Now, if you see it's not yellow anymore, it feels more green, right? That's the color we actually want. Now, I wash my brush, clean the excess water and pick the Prussian blue. I'm applying the Prussian blue on the right side of the yellow. And applying the blue on the left side of the yellow. The next step is to blend all these colors. Let's blend them with the help of a clean damp brush. I'm washing my brush and blending the colors. 100% cotton paper really helps here to get a smooer blend. I accidentally dropped some water on the paper. This happens to me all the time, but that's okay as my paper is still wet. I can fix it by moving the colors around. We can add some more blue color as well to cover that. Next step, I have to apply indigo before my paper rise. So I'm picking indigo and applying it on the sides. I'm not covering the Prussian blue color completely. The blue color should be visible as well. Let's make this part a bit more darker. In that way, it gives a nice gradient. This is the top part of the sky region, which is further away. I have to be quick here. We need to get a nice blend of these colors. Our sky is standing out quite nice. So we have a darker indigo on the top, which gets lighter towards the Prussian blue, and then we have bluish green followed by the green color. I'm going to add a little bit of yellow to get some green shade here. I'm adding more colors when I feel my painting is missing them. You can also add some more blue or yellow, depending on how you want your painting to be. I'm adding Prussian blue as it felt a bit dull. But we should do it before the paper dries. Otherwise, this will create hard edge. In my case, the paper is almost dry. See this lower right corner has already dried, but that's okay. We'll be adding some details there later so we can cover that part. Now, I'm moving the colors slightly wherever possible. The top region is still slightly wet. I will try to blend indigo and blue. Okay, it's not that bad as it looks, I'm able to move some colors. I wanted to blend these colors a bit more here, but my paper is drying. I don't want to touch it now. I think it looks good enough. Once it dries completely, let's add some details in the next section. 6. Project 1 : Green galaxy from earth - Adding details: The paper has completely dried. Let's add some details here. We need some black color now. For adding the details, I'm activating the color with water and picking nice amount of black and with the help of silver black velvet brush of size eight here at the bottom, I'm adding bush like structures. I'm holding my brush almost at the middle so that my brush strokes are loose and not very controlled. I'm adding little leaves here on the top. I want to add details, but let me finish adding these bushes first, and then we can go for adding more details. I'm going to pick more black and add the bushes. I want this part to look really dark. Now, time to add some details towards the edges. With a tip of my brush, I'm making tiny strokes around the edge. Those strokes suggest small leaves popping up. Let's repeat this all the way. You know, my brush has pointed tip, which helps me to add little details. If your brush doesn't have a pointed tip, and if you struggle to get the thinner strokes, go with a smaller brush. Now, I don't have enough black on my palette. Let's squeeze some more black. I think I'll also shift to a smaller size for brush for adding more details. To add small leaves, just touch with the tip of your brush, like I'm doing, which makes little dot and lines. Then nothing but are leaves and twiggs. I'm defining the shapes as well. It looks interesting to have bushes of different sizes and shapes. Now, again, observe the way I'm holding my brush. It's almost like towards the tip right. That's because while adding the details, I need to have a controlled movement of the brush. I don't want to have loose brush strokes. Moving the black color evenly along the bushes. That's because I don't want to have some parts lighter compared to other parts. As we have no light falling on these bushes, all should be dark. Adding small twigs and leaves. You know, this also looks a bit flat. Let's add few more leaves here for this bush. Now, I'll pick some more black and add a small bare tree here, like a small tree popping out of this row of bushes. I'm keeping it simple. You don't need to add much details to the tree. Few twigs here and there should be good enough. Keep it small and thin. We don't want our focus to be on this tree. Sky should be the highlight of our painting. You know, I was trying to add a thin branch and I was holding the brush close to the tip that had blocked the view completely. But don't worry. I'm just adding some tin lines in different directions. Nothing else. Now we're done with one big tree. We can continue with few small trees as well. If you want, you can skip this step of adding small trees. I'll add another small tree here at the left corner. Don't need to spend too much time on this. You can add a few small twigs, one more tree at the right corner. This is enough. Now, this part is done. The last thing is we have to add some stars. The details we added just now is still drying, but let's cover that part and add some stars. I'm taking white wash. Now with a smaller brush size four brush, I'm picking white quash. Look at the consistency. As we have talked in our technique section, this shouldn't be too watery. It's thick enough, but not too dry. Before splattering, we need to cover the bushes that we added. Otherwise, it would look like a snowfall on the trees. We don't want that right, so let's cover this. Then to splatter. I'm using my finger a support, and then I'm tapping the brush like this. Look at those white dots on the blue green sky. They suggest the presence of stars. I'm going to take some more white and do this plattering again. I'm doing it all over the sky. While adding stars to the sky, I added stars to my plant as well. I can see white dots on the leaves. Now our sky has a lot of stars. We can add few big stars here. I'm just making this dot bit picker. One more here, maybe. Before finishing, I'd like to add some small details. For that, I'm taking my rigger brush. It has a thin point edge. It helps a lot to get thin lines. How about adding a shooting star? For the shooting star, I will add a small dart and quickly drag a line. That's it. We can add one twinkling star here. Quickly add the lines around like a cross in all four directions. Adding a second line. Third line and the fourth one. Then add small lines in between these longer lines. I want to be very careful here not to make these lines thick. Even then, sometimes it doesn't come so well. Don't worry. If you don't get it right for the first time, it gets better with little more practice. That's all. I think this looks good enough. I don't want to add any more details now. Let it try completely, and then we can remove the masking tape. Okay. Our painting has dried. I'm removing the masking tape. Be careful while doing this. Remove the tape with an angle so that it won't tear off the paper. Nice. This is how our painting has stand out. Those blue and green colors look so lovely right. Now, let's meet in the next section and start with our second painting. 7. Project 2 : Spiral Galaxy - Practice session: Welcome again. We shall start with our second project now. Let's see what colors do we need for this class. Still have some colors left from the previous class project. I did not clean it. For this class, we will need indigo. Here I have it already, so I'm using the same place. We need burn tumber. I think I'll use this place to squeeze the color. Next color is sap green. Brown and green are the two main colors for this project, and we also need the white quash for painting the stars. So now let's do this watching. I'm starting with a burn tuber. It's a nice brown color from Winsor and Newton. Brown tuber is made from a brown clay, which is naturally available. Now, I'm washing my brush and taking the next color, which is sap green. I'm using the green I have. You can go with any green instead of sap green. This green goes quite well with the burn tumber. Let's watch the indigo. But here in our class project, we don't use the indigo directly. Basically, we mix the sap green and indigo to get a darker green color. I'm mixing the sap green and indigo to make the green darker. Do you see the difference? This we are going to use in our class. Now, you see the design goes like this. I'll do a small pencil sketch. I'd be painting something like this, like a spiral with one color, right? And by using the second color, I'm painting another spiral in between like this. Basically, this is it. I guess this will be more clear when we do the practice session. For our practice lesson, I'm wetting the paper. I'm wetting the paper evenly, giving some time for the paper to absorb the water. As this is also 100% cotton paper, it will absorb the water. So we have to apply more and more water to keep it wet. Let's start with a brown. This is our first color. I'm taking darker consistency of brown and like a show with a pencil sketch, I'm starting from the center and moving like a spiral towards the edge. This is our first round. I'm going all the way towards the edge. I'm making circular uneven strokes. We don't want these spirals to be of uniform thickness. Now, we have to fill that white gap in between. For that, I'm taking the second color, which is nothing but the sap green. Again, starting from the center in between the brown, we shall add the sap green. And consider now this arm comes down towards here, like it starts from here, comes down, and then it continues to here as well. It's like a spiral. Now to get a darker green, we will mix this green with the indigo, and I will add this darker green color, which is a mixture of sap green and indigo on top of the sap green to get some color variation. This is all for our practice session. Actually, we have to blend these colors, but I don't want to spend too much time in the practice session. This is just to understand the technique. We shall do the detailed work in our actual painting. Yes, this is how our painting would look. In the next section, let's paint this pig. 8. Project 2 : Spiral Galaxy - First layer: We shall start our second project by wetting the whole paper. I have used a masking tape to stick the paper to the board. Starting with our first step that is wetting the paper thoroughly. If you have a bigger brush, choose that to apply the water. The brush I'm using is a bit small. So for me, it takes longer time to wet the whole paper. As you already know, when we use the wet on wet technique, we expect our paper to be wet for longer time as this gives more time to work on the painting. So this preparation step is very important. This is going to take some time for me, as I mentioned, I'll keep applying water so that the paper can absorb more water and stay wet for longer time. The paper around the edges is starting to dry here. So let me apply some more water. I'm slowly and carefully applying the water, especially at the edges. If you have water around the edges of the paper, wipe it off. Otherwise, it can flow back and spoil the painting. I'm almost done here, but feel free to add some more water to the paper if your paper is drying faster. Now I'm taking the first color, which is burned tuber. Picking nice and thick consistency of burn tuber. And then let's start here from the center. From the center, I'm moving outwards in the same way that we discussed in our practice session. I'm holding my brush loosely and making circular strokes. In that way, the arm, the spiral we are adding, it doesn't look so flat. Now, you see, it is taking some shape. Consider this arm comes here, right. Then it goes up like this. Probably it will come here. So we have defined the shape of our spiral galaxy. Let's go over it again and add some more brown color. The water color when it rise looks much lighter. So in that case, our painting would also look dull if we don't add enough colors. Also, it is always good to work from lighter colors to the darker colors as it gives depth to our painting. So now, before our paper dries, we should quickly apply our second color. Our second color is sap green. So I have washed my brush, have cleaned the excess water, and picking the green now. It's too much green here on my brush. I add some water to adjust a consistency. Let's apply the second color in the white space between the brown. Basically, it's like filling the gaps here between the brown. I feel this pattern that we are trying to achieve resembles the pattern on the snails shell, isn't it. Apply the colors loosely and let it flow. That way we can achieve this fluffy look. Applying the green color here at the bottom, as well as on the top, which is like a continuation of the arm. So I have filled all the white spaces now. These two colors brown and green. They go quite well with each other. I'm taking some more sap green now and adding it to the painting to have a saturated look. I will go through the same colors again, starting with a nice and dark brown and following the same path like before, starting from the center moving outwards. I want our background to be darker. With a darker background. The stars which we will be adding at the end of this project would be clearly visible. This arm your painting need not be uniformly thick all the way. It can be thick at some places and tin in some other places, and also the edges need not be smooth. So we don't have much restrictions here. It's up to you to decide how you want your painting to be. Okay, we made the brown area darker, and let's make this green darker as well. I'm picking some amount of indigo and mixing it to the sap green. And then following the same path as before, applying the green between the brown. See how adding the indigo made this green to look so dark. Now my paper is trying. I can feel that. I should be faster. Otherwise, we wouldn't be able to blend the colors. I'm trying to be quick, applying the darker green which we got by adding the indigo to the soap green to all the green areas. Let's blend these colors now. We use a clean brash for blending. We want to move the existing colors and not to add more. So I'm washing my brush and cleaning it and moving the colors on the paper. Every time I'm washing the brush, cleaning it, and not picking any extra color, I'm just blending them. Just a little bit of brown in the center because I feel the shape has been lost here, so I'm adding a bit more of brown and maybe some green color as well. Now this looks better. I feel these colors need bit more blending. I'll move these colors with a clean damp brush. If you already have too much color in your brush, you won't be able to move the colors on the paper. So wipe off the color from the brush every now and then that helps in blending. We are done with everything with a first layer. But I observed that around the edges of the paper, I see extra water. If I don't remove it now, when the paper dries, that extra water will flow back to the paper and we'll create blooms. I'm removing the water, which is on the masking tape with the help of a tissue paper. But be careful here not to spoil the painting. So we are done with this. In the next section, we shall add some stars. 9. Project 2 : Spiral Galaxy - Adding details: For adding the stars, we need white quash. If you don't have the white quash, go for the white watercolor. It's just that the gage has better visibility. You can apply it on the darker background as well. I had the paint already squeezed into the container, but it all dried up and then I'm activating it. So now, it's again the same way like before, I use my finger as support, and then I taped a brush on my finger. Letting the paint to splatter on the paper. So let's take some more gage and repeat the process. Again, by keeping my finger as support and tapping the brush on my finger and I'm spreading the splatters all over the painting. We have good amount of splatters now. To make it more interesting, we can add some big stars. I'm randomly choosing some stars and making them big. I really like this color combination, the green and the brown. They look so well together. Also, the fluffy look of the spiral, I think it makes the painting quite interesting. Okay, I have added enough big stars now. Let's add one or two twinkling stars. I can add one here with the help of a clean damp rush, I'm softening the edges around the star. So when I use the clean damp rush to spread the colors, the color, whichever color it is, we can make it lighter. So here, I soften this dot so that it gets lighter. Also, I'm keeping it round as well. Now, let's take some paint and add a.in the middle with the tip of my brush. Okay. Now with the rigger brush, I'm adding the lines around the star. They're like the light rays coming from the star. Add the four main lines like across. Adding the first line towards the bottom, second line towards the right, and the third one to the left. And the fourth one towards the top, and then add smaller lines in between one, two, three and four. I want to make all these lines slightly thicker, painting over the same lines. You know, it is always tricky to add thin lines. It can easily go wrong. If you feel it is difficult to add these twinkling stars, add only splatters and some big stars that would still look good. Same like before, let's add one more star towards the bottom. Again, I'm choosing one smaller star and I'm making it bigger. And then I'm softening the edge to spread the colors. And then adding a white.in the middle to show the center of the star. Now with the help of the rigger brush, I'm quickly adding the four main lines. I want these lines to be thin. That's why I don't wait. I quickly add these lines. Here we should follow the same direction as before. So when we have two stars, all the lines which we add should be uniform. I'm aligning these lines towards the first star, and I'm quickly adding the small lines in between. Okay, now we're done with the details. Let me remove the masking tape. While removing the masking tape, always be careful not to spoil the painting, remove the tape with an angle. Okay. This is how our painting has turned out. This is an easy project to attempt. Hope you enjoyed painting this. See you in the next section to paint our next project. 10. Project 3 : Green globule - Practice session: For our third project, we would be using most of the colors that are already in our palette. We will need indigo, which I have right here. I think it is enough. We will need ivory black. Again, I have it here from one of our previous projects. We need sap green. The sap green in the palette is not enough. So I'm squeezing some more green. Next is Hansa yellow light. Just a small amount of yellow is enough, and as always, we will need white quash for painting the stars. Let's watch these colors. Starting with Hansa yellow. This is a cool yellow from Daniel Smith. All the cool yellows are bias towards green, so they can make a good pair with green. Second color is sap green mixed with indigo. We will go for a darker green by mixing the sap green with indigo. This is much darker than the Sap green and gives a nice contrast with yellow. Third color we are using is black. This we will add around the edges to get a darker tone. If you don't prefer to use the black, you can go for gray color. These are the three colors that we would need for our project. Now I'm applying water to ta paper. This sketchbook I'm using is quite right. It doesn't buckle so much when I apply water. It's a good sketchbook, if not the best. Our project is an easy one. Basically, we are applying colors in layers. Now I will start with the Hansa yellow light. I'm picking good amount of yellow, and I'm applying it in the middle. This is the center of our painting, which is lighter. The next color we will take is the darker green, which is a mixture of sap green and the indigo. Then I'm adding it like this around the yellow region, starting around the edges of the yellow and then all over the white region. Now, our painting shows two layers, central yellow layer and the green layer outside. Then I'm directly going with black, taking nice and thicker consistency of black, and I'll apply it towards the edge. It mixes with the underlying green and makes it greenish black. I'm taking more black and adding it around. This creates depth. It feels like yellow is inside, then the green layer, and then the black. Do you see the pattern created by the green color on top of yellow? I really like it. Similarly, let's pull this black color inwards to create some shapes. Like I said before, so we shall make some lines, making these black region bit darker, especially around the edges. And that is all. I have removed the masking tape, and this is how it would look in our class project. So to paint this, let's meet in the next section. 11. Project 3 : Green globule - First layer: Okay. I have all set here with the help of the masking tape. I have stick the paper to the board. Let's start with wetting the paper. I'm using my big brush to apply the water. It requires multiple layers of water to keep the paper wet. Especially 100% cotton watercolor paper can absorb a lot of water, and it can get very fast if we don't add enough water. So add plenty of water. After adding water a few times, you can give it a break of one or 2 minutes and let the paper to absorb the water. Then again, add more water. This way, we are giving some time for the water to sink in. You see, I'm moving my brush up and down all over the paper to distribute the water uniformly so that there won't be any blocks of water on the paper. Now, let's take our first color, that is Hansa yellow light. I squeezed a color into my palette and kept it open for quite some time now. Water colors tend to dry when they're exposed to air. But we can activate them just with water, so no big deal. I activated my dried yellow color by adding water and applying it at the middle. Like we discussed before in the practiceon, we will go from lighter color to the darker color. This is our lighter color. I'm taking some more yellow and applying it again. Okay, this looks good. Now we shall go to our second color that is darker green. I'm picking the sap green and mixing it with indigo to make it darker. This darker green goes well with a lighter yellow color. I'm mixing some more indigo and green, and I apply it almost at the edge of the yellow region because you know this green can spread too fast and cover the yellow region completely, then we will lose our layers, right. So to avoid that, I'm adding the green outside. Now, when we apply the green towards the edge, even if it spreads, we would still have some yellow region intact. I'm applying the green all around the paper by leaving the yellow region as it is. But if you observe the green is spreading towards the center as well, that is okay as long as it doesn't completely cover the yellow region. The green which we added before is of lighter consistency. So I'm picking the dark green again and applying it all over the place, starting from the edge of the yellow region and outside as well. When we apply the color to the paper, in turn, it helps the paper to stay wet for longer time. I can see the green color is moving towards the center forming thin lines. We can come back to that a little later. First, let's apply our next color. Otherwise, I think the paper would dry. I'm washing my brush, picking up the black, which is our next color. It got dried up as well. So when the color has dried, it takes time to activate the color. Meanwhile, our paper would be drying, right? That means we'll get less time to work on our painting. To avoid that, you can add little water a drop or two to the dried paint. If it's some time to absorb the water, if you prepare your colors before you start working on your painting, that saves a lot of time. Now I'm applying the black around the edges, leaving some part of green as it is. Okay, we need some more black. Let me squeeze the black into my palette. And now I'm taking the black again, adding it around. See the black is mixing with the underlying green and creating a nice blackish green. Now we have to blend these colors. We need to give some shape to our ba. I'm washing my brush and removing the excess water. With the help of the clean damp brush, I'm just dragging the darker color to the lighter region. But you know, let's not try to get a smooth blend. If we go for a smoother transition, then we would lose the depth. Now, if you see some colors have moved towards the center. There is a blob of water. We shall fix it by lifting the extra color to lift the color, I'm using a damp brush and picking the color from the paper. Do it a few times until you remove all the extra water or color from the paper. Okay, this looks better. Now, let's drag this green inside. I'm moving the black as well. You see our nebula is taking some shape. When I do this pushing these colors towards the center, you see those lines created, right? They are pointing towards the center. So when we look at our painting, the focus will be on the center. We should keep moving the colors. But while doing this, we should be careful enough not to add extra water. I wipe off the excess water from the brush every now and then. Also, this works only when the paper is not dry. If it is dry, then the colors won't move at all. At the same time, if the paper has quite a lot of water, then the colors and we won't get these lines. So the paper should be in between. Now, I'm thinking to make the center part b lighter by lifting some colors from the middle. My brush is clean here, with that, I lift some yellow color. Do you see the whitter region at the center? My paper is almost dry. Now if I move the colors, they won't blend well, but that also works for us, you know, because now when we drag the colors, they won't blend. Instead, they create these lines. These brush strokes would be clearly visible even after our painting rise. Those lines they define the shape of our nebula. I'm going through the darker region and dragging colors towards the center. Here, I don't follow any pattern or anything. We just have to get the layer of colors like we have now whitish followed by Hans yellow, followed by the darker green and then followed by the b. I'm lifting some more yellow from the middle region, as the white region is not that prominent. Picking some more color from the center. That's it to our painting. Once it dries, let's add some stars in the next section. 12. Project 3 : Green globule - Adding details: He. To add the stars, I'm taking the white quash, with the help of my small brush. I'm picking the white, and same like before, by having my index finger as a port I'm tapping the brush on the index finger. This gives us nice platters. I'm repeating it to have splatters all over our painting. You can decide how much of splatters you want. Stop when you have enough stars. Now I will add some big stars. Maybe one here, one to the left one at the bottom. We shall add few on the top part as well. Spread them across the painting. In that way, it looks much nicer. I'm making this bigger. One more at the top, maybe. I have to be careful here not to touch those platters that we just added. This is enough. Now let's go for adding twinkling stars. I think I choose this one here. Now with the damp rush, I'm softening the edge and also trying to keep it round. Maybe I'll take another one on the top. I'm making the circle bigger and softening the edge. This is like the glow around the star. Now let's take the rigger brush and add those thin lines around. Quickly, one towards the bottom, one to the top, and the next one towards the right, one to the left. I'm quickly adding the four smaller lines as well. As it is not that bright, the lines look dull. Let's make these lines a little bit thicker. While doing this, we can define the size and the length of those lines. Now for the second star, we shall add the lines around I'm making some space here. Okay, drawing a line towards the bottom, one to the top, one to the right and one to the left. Keep them as thin as possible, and also you can make these lines longer, if you wish. Adding those four small lines in between. Adjusting the shape here. Making them thicker and longer. You know, the splatters that we added are still drying. They haven't dried yet. So I'm not disturbing them. That's all. I'm removing the masking tape. Don't rush here slowly with an angle, remove the masking tape. Okay, this has turned out good. Let's meet in the next section to start with our next project. 13. Project 4 : Elliptical galaxy - Practice session: Welcome again. I'll go through all the colors needed for this project. I have some old colors left in the pallete. We will be using some of them. We would need Hansa yellow light. I already have it here. We need indigo. It's here in the middle. Next is Sap green. I think this is not enough, so let's just squeeze some green. Prussian blue is the next color. We have it here that is sufficient. Next one is ivory black, which I have it right here, and we need white gas for adding the stars. Let's watch the colors. Starting with the yellow I have, which is Hansa yellow light. You are already familiar with most of these colors. Next is Sap green. This would be our main color in this project. Next, I'm going to take Indigo. Indigo, we will use to mix with green to get a darker green. Next color is Prussian blue. I know you don't see the colors that I'm picking. Here in this practice session, let's focus mainly on the techniques that we use for our painting. We would anyway see the color mixing during our actual painting. And at last, I swatch the black. Now, let's start by wetting the paper. I'm using the big brush and applying water to the paper. Let's repeat this process of adding the water until our paper is wet enough. I'm trying to distribute the water evenly throughout the paper. If there is more water on the paper, than it is required, you can remove the extra water by lifting with a damp brush. This is okay. Let's move on and start with our painting. Here, we want to keep our center lighter. I'll start with the lighter yellow color. I'm picking thicker consistency of the yellow and then painting an elliptical shape. You see? I'm keeping it as slant as well. Let's make this ellipse wider so that when we add our next color, that wouldn't cover our yellow region completely. Now, I'm taking the second color, which is sap green and adding it outside of the yellow. We should add our colors in the elliptical form. This green we're adding would cover most part of our painting. Don't cover the whole white region, leave some white space at the top, as well as at the bottom. Consider this ellipse that we created has an arm coming out at the end, like it is going out like this. Now we added an arm on the top. Let's say, on the other side, there is another arm coming out. This is the basic shape that we want to achieve. Now let's add some color variation. To do that, I'm using the indigo and mixing it with the sap green. As I said before, I'm concentrating on the techniques and the essence of the painting. We can see the color mixing in the actual painting itself. Now with a darker green. I'm adding some elliptical strokes, but I wouldn't cover the lighter green fully. You know, I'm trying to make only some part darker. Now I take the Prussian blue and I mix it with the sap green, applying it in the same way like elliptical strokes. Don't entirely cover the lighter region. We can use this bluish green to highlight some areas. At the center, we can add some thinner strokes by the tip of the brush. Observe the angle in which I'm moving my brush. I'm keeping my brush loose and making these angular curvy lines. Okay, we haven't added the black yet. We should use that as well, taking the black color and using it only at the edges. You see? We painted an arm coming out, right? So this would be dark to show the separation. Adding black to the edges. And also around the upper arm, let's add the black color. So when we add this black, it shows the separation of the arm from the main elliptical shape. That is all for our project. Just to summarize, we started with Hansa yellow, and we have used the sap green outside. We mixed the sap green with the indigo to create darker tone, some Prussian blue mixed with sap green, just to give you some highlights, and at last, the black color around the edges. I have removed the masking tape now. This is how it has turned out. In the next section, let's paint this together. 14. Project 4 : Elliptical galaxy - First layer: Okay. Let's start with our actual painting. I'm using the big brush and applying water to the paper. You see, I need to pick water just after fused strokes. This is a cold pressed paper. It has a texture. So it takes more water to vet the whole surface. Also, bigger brush can help here. You know, we can cover the larger surface at a time if we use the bigger brush. I'm moving my brush in all directions to help to absorb the water. Distributing the water evenly throughout the paper. Sometimes we tend to forget edges. As the paper around the edges dry faster, we should make sure that it has enough water. Adding some more water and distributing it throughout the paper. Now, after applying the water, I'm taking the first color, which is Hansa yellow light. Let's add a bit of water to activate it. I'm picking the yellow color and adding it to the center like an ellipse. I'm defining the shape by going over it multiple times. Also, observe I try to keep it slant. I'm making the ellipse bigger so that when we apply the second color, it will not cover the yellow region completely. I'm cleaning my brush and taking the second color, which is the sap green. This is the main color of this project, picking the sap green and applying it around the yellow region like an elliptical shape. You know, this yellow is the center of the galaxy, and the green is the outer part. This layer of green we added is lighter. That is because at the early stages, we are just deciding which color goes where, and we will add the details later. Go over the ellipse one more time and adding the sap green. Make sure to keep the center region lighter. Now, let's add an arm coming out from the ellipse, which is like an extra line emerging from the main object. Similar to the one we added at the bottom side, we shall add one more arm sticking out at the top. I'm adding them in the opposite directions. We have defined the shape of our galaxy, and now we shall give more colors to it. I'm taking the indigo and mixing it with the sap green. Now we have a darker green here, and then I'm adding it on the green region. I'm keeping my brush loose and adding these angular strokes. Basically, redefining the shape with a darker tonal value of green. Now, let's take the next color that is black and adding it to all the white spaces we have here in between the main ellipse and the arm and also at the edge here. Similarly on the top region, I'm adding the black between the arm and the ellipse. I picked up the wrong color here. I'm washing my brush and taking the black again and adding it at the edge. This is like our first layer of colors. If you see there is a blob of water at the center. I'm just removing the extra water with the help of a clean brush. I'm wiping off the extra water using a towel so that the brush is ready to pick some more water. See, I repeat it a few times picking the extra water and cleaning the brush and doing it again. Now, this looks okay, but that also removed the yellow color from the center. Let's apply the same colors again. Starting from the yellow. At this point, I would like to add more details, adding these angular strokes around the center. Next, I'm picking the green and adding more details to the green region. Black we add it is quite light, I feel. So let's add some more black to the same places like before. You know, I try to work faster, but my paper is drying. In most of the places, it has already dried. I can't apply more color to the paper, but this is not finished yet. So we have to go for. For re wetting, we have to wait until the paper is completely dry. So let's wait for the paper to dry and then apply the second layer of colors in the next section. 15. Project 4 : Elliptical galaxy - Second layer: Okay. Now the paper has dried completely. Let's ret this and add some more colors. We need some yellow here. Now to ret the paper, I'm picking water and gently applying the water. I'm not putting any pressure here. Also, I'm moving my brush from top to bottom, like in one direction and not going back again from bottom to top. You know, that is because we don't want to disturb the colors that we have already applied. At this stage, this doesn't take long to wet the paper. If you have a big flat brush, you can use it to re wet the paper. I think it'll be easier with the flat brush. Before adding colors, make sure that you have applied the water uniformly all over the paper. Picking the extra water from the center. We are using the same set of colors and reapplying them. Starting with the yellow and applying it here at the center. See, previously as the green had moved to the center, the yellow we are adding doesn't look that bright. It has slight greenish shade in it. I'm taking the next color, which is sap green. And adding it on top of the green layer, we already added. I'm covering the entire ellipse including the arms. As the paper is wet now, the color that I'm adding blends with the other colors. Next step is to add the darker green to get the darker shade of green. I'll mix the indigo with a sap green. We have a darker green now and applying it on top of the lighter green. You can pick any other darker shade of green if you don't prefer to mix colors. Go for these loose angular strokes. Keep the center elliptical shape as reference and add strokes around it. But you see, we don't want to cover the lighter green region fully. Let's keep the sap green visible in some areas so that it creates a nice contrast. As I left some lighter region intact, we can see the different shades of green in our picture. Then let's pick the black color. Taking thicker consistency of black color, and I'm adding it to the same places like before. In between this main ellipse and its arm sticking out also at the outside edge. Similarly, at the top region, I'm adding in between this elliptical galaxy and its arm. I'm trying to keep the shape of the ellipse as well. So while adding the black, I don't add it in a straight line. Instead, I'm making these angular strokes. This would anyway look lighter after it rise. To have the saturated look, I will add some more green. Doing it the same way, adding this darker green in quick curvy strokes to the entire galaxy, but making sure that we still have lighter green visible in some areas. Now it is time to blend these colors. I have cleaned my brush. There is no paint in it with the help of the damp brush. I'm softening the edge. It is spreading towards the green region, and forming small thin lines. I lift some colors at the edge of this black, then we can get rid of these lines. On the lower region, those thin black lines spreading towards the green are clearly visible. I'm moving my brush carefully and spreading those colors. We should do this around all the black areas. So I'm using the dam prash to clean these bleeding colors. Make sure that the black we added in between the arm and the galaxy becomes thinner as it goes further in. Adding some more black at the edge, also in between the arms of the ellipse. We want to keep this black region as dark as possible. I'm adding more black. Now it is time to add some highlights. I'm taking the Prussian blue, mixing it with a sap green to create this bluish green and using it mainly to highlight some areas. At the center, I'm adding thinner lines with the tip of my brush. Also, I would like to keep it lighter. When we keep the center lighter, we would be imagining some light source, then those lines we add should also be of lighter shade. Now, I'm not adding any more colors. Instead, let's move the colors that are already present on the paper, trying to get a better shape for our ellipse. With a damp rush, I'm going over the highlights we added and trying to make them smoother. Keeping the other colors visible is very important. If we don't have this color variation, it would just look flat. The water we added to the paper has moved to the center. Let's remove that with a damp rush. We have placed all the colors, and let's adjust the shape now. I'm keeping some areas darker and some areas slighter. You know, I'm still be able to work on the painting because my paper is wet. If not, you cannot move the colors. If your paper is dry already, you can stop here. I'm only making some small adjustments. Towards the center, I keep the strokes thinner. You can also add some small green lines on the yellow area at the center. Taking some more dark green and highlighting some lines. With all the details that we added, our ellipse has a better look now. Let's Santa black one more time. Those black areas should be really dark as they are located away from the center. It is like they are away from the light source as well. While adding the details like this, work faster so that you can get some time before the paper dries. But in any case, if you couldn't finish and the paper is drying, then wait for it to dry completely. Slowly reapply the water and then start working on the painting. But we must wait for the painting to dry. Otherwise, the colors will move and spoil the painting. I have talked about the re wetting technique. In my class, paint the magical milky way. You can refer that if you want to know more about the re wetting technique. My paper has also started drying. That is why the lines that I'm trying to blend have hard edges. On the wet paper, these colors would spread and mix with other colors. But it is okay. I'm almost done. Some final touches here and there. This is all to our second layer. Let's add some starts in the next section. 16. Project 4 : Elliptical galaxy - Adding details: For adding the stars, I'm taking the white quash. Look at the consistency of the color I'm picking. It's like milky consistency. To add the stars, I use my index finger as support and tap the brush on my finger to create splatters. See those white dots that are falling. There are some big drops. There are some small drops all over the painting. These dots are our stars. Let's repeat it one more time. I'm picking some more color and adding slatters again. I would like to have some bigger dots as well. Adding one here one more to the left. Our painting looked so different before adding the stars. Now with these stars, our painting looks more attractive. So at the top as well. On the black area, let's add one or two big stars. I'm making sure that these big stars are added at random places. Go for much bigger dots if you prefer. Let's add twinkling stars now. For adding the twinkling stars, I'm taking this star and softening it with a damp brush, making the dot bigger and keeping it round. It is to represent the glow around the star. I'm also adding a small white dot at the center. Now with the help of my rigger brush, I'm quickly drawing a line. You know, the brush with a pointed tip helps here, go for the smallest brush you have. Otherwise, it can be difficult to achieve these thin lines. Also, making quicker brush strokes helps to get pointed end to those lines. Here while adding the lines around the stars, I always try to make it quick without stopping anywhere in the middle so that I get those thin pointy lines. Anyway, we can adjust a size and length later. Adding smaller lines in between in all four directions. Adding our second twinkling star now somewhere here. It's the same drill all the time with a clean damp rash softening around the dot by keeping the round shape. Adding a small.in the middle to suggest the center of the star. Let's add those four lines around. Adding one towards the bottom, one towards the top. As the slaters that we added haven't dried yet, I'm finding it difficult to rest my arm. Somehow I managed to add four longer lines. While adjusting the length of these lines, I keep the first star we added as my reference. Now, let's add those tiny lines in between. Once the lines are in place, then we can adjust the length and shape. We are done with this. I'll go ahead and remove the masking tape. It's always good to remove the tape with an angle. Some tapes can't tear off the paper. Sometimes the paper can be too sensitive. This is how our painting looks. Pretty, isn't it? I hope you will give it a try. Let's meet in the next section to start with a new project. 17. Project 5 : Colourful Nebula - Practice session: Welcome again. Let's start with our new project, a colorful nebula. Now, I'll go through all the colors that are needed for this class. We need new gamboge. It's a warm yellow color from Daniel Smith. We need coral. This one is from White Knights. Next is indigo. I'll squeeze it here in the middle. The next color we need is Prussian blue. I think small amount of Prussian blue is enough. We need ivory black. This is to add some details. As always, we will use white quash for adding the splatters. Actually, I forgot to mention, we need sap green, which is our main color. Let's start with swatching. Taking the new gamboge. It's a warm color which is bias towards orange. Second color I'm taking is coral. Another beautiful color from White nights. Next is our Sap green. I have used it in most of our projects. Next, I'm taking Prussian blue. My brush still had some green in it. Do you see that? I'm swatching Indigo now. This we will use to mix with green to get a darker shade. We will need black as well for adding some small details. I'm using a special color called coral. As this is not an usual color, most of you might not have it. So this is the coral from white nights. If you see the pigments here, it's a mixture of P R 242, which is French vmlion and PW six, which is nothing but titanium white. So let's mix the red and white and try to get a similar shade like coral. These are the two colors I have. I have Pralcarlet from Daniel Smith. It has a red pigment P R 255. This is a different red pigment than the one used in coral. And I don't have the titanium white, so I'm using the Chinese white here from Winsor and Newton. I'm using these two colors. I'm picking the warm red color and squeezing a tiny amount. Next, I'm taking the white and squeezing a small amount for mixing these colors. You see I'm grabbing the red with the tip of my brush. To make it lighter, adding the white to it. See, now we got a similar shade compared to the coral, If I swatch them now, This is the color I got by mixing the pral scarlet and Chinese white. I'll swatch the coral now for comparing the two shades. They look very similar. Right? Of course, they're not the same because the red and white used are different in both these colors. But you know, in our class project, we don't use the coral directly. Instead, we are using along with yellow. Basically, we mix it with new gamboge to get this light orangey shade. And we will be using that in our class project. Now we shall do a practice sketch. Starting by wetting the paper, using the big brush to apply water. This layer of water helps the color to spread and blend, trying to get an uniform distribution of water by moving the brush in all directions, moving the extra water out of the paper. I'm done with the wetting of the paper. Now starting with our first color, which is a mix of newboj and the coral. We will randomly add that color in the middle of the paper like this. There is no fixed shape or anything. Just pick the color and drop it on the paper, but make sure to leave some white space at the center as well as in between them. I'm taking the Prussian blue as my next color and dropping it in between this orange shade. But I will leave the center as it is. Next, I'm adding the sap green around this center object we have, basically adding it to all the white regions. Next, let's add the darker green along the edges of the paper. This dark green is a mix of sap green and the indigo. Okay. I want to lift some colors from the center region. Even though I kept that part white colors from around had moved to the center. Now you have to blend these colors. I'm going over the green color and trying to blend. As the paper here is too small, it is difficult to see the color variations here. All the colors are smudging. Let's try to blend the central nebula as well. Again, don't control too much. Keep some colors as they are. It is okay to leave some white spaces as well. Now at last, I'm taking the black and with the tip of my brush, adding some dotted lines. Again, in no particular order. Just taking the center point as reference, and around that, adding these dotted lines to represent some gases or dust particles. Keep it light. We don't want them to be more prominent than our nebula itself, and add it on the wet paper so that they will look softer. That's all to our practice session. Let's paint this on a bigger paper in the next section. 18. Project 5 : Colourful Nebula - First Layer: Okay, let's start with our actual painting. We shall begin by wetting the paper. By using the bigger brush, I'm adding water to the paper. As the paper I'm using is cold pressed paper, it's not smooth. It has some texture, so it takes time to wet it. I'm moving the brush in all the directions so that the water will be distributed evenly. Also, I'm making sure that the paper around the edges has enough water. You know, while adding the water around the edges, the water blops can stay on the masking tape, and when the paper dries, they would flow back to the paper. This would create blooms. So if you have water drops on the masking tape, wipe it off before you start the painting. Do you see my papers glossy and it reflects the light I have. It is because of the thin layer of water, which is on the paper. I feel I have added enough water. Moving on to the next step. Let's start with our first color, which is a mixture of new gamboge and coral. I'm taking the new gamboge, and I'm taking the coral, which is nothing but a mixture of red and white mixing the coral with new gamboge to get this light orange shade and adding that color randomly at the center. I'm just picking the color and dropping it on the paper. It can be of any shape. Let the color flow on its own, but leave some white spaces in between. Okay. I'm dropping this yellow orange color at different places and letting it to define its own shape. As the paper is wet, it helps the color to spread. Let's take the second color that is Prussian blue. I'm adding the blue in between this yellow orange shade. But I do want to keep some regions lighter. Let's leave some white spaces. The shape which we are creating now will not stay the same until the end. I'm letting the watercolor to do its magic. The colors will spread and create something very different than we actually have planned. Now, I'm picking up the next color, which is sap green. The sap green adding all around by covering the white spaces, but I'll not add that green in the middle in between the orange and blue colors that we added. Let's leave that white space as it is picking up some more green and adding it all around. We would need green more than any other color here. This is the main color of our painting. While adding the green, you can leave some white spaces here and there. It is actually good. Now I have added the sap green. I'm going to add the darker green. Let's make this sap green darker by mixing the indigo with it. I'm adding this darker green around the edges. Do not cover the lighter green region entirely. We need to have this color variation. We don't have enough sap green. I'll squeeze some green into my palette and again, mix it with the indigo and add it around the edges. You know, we have to be quick here to add all the colors before the paper dries. Previously, I have left some white spaces, but now if you observe, they're not that prominent. The colors have moved around. I'm trying to lift some colors so that we can have some lighter regions. If you are also lifting some colors, do it with a damp brush and do not add extra water to the paper. Now, let's blend the green color. Here we want to achieve a smooth transition between the green shades. I would like to make this blue bit more vibrant. So dropping some more Prussian blue with the tip of my brush. Let's continue to blend the colors. I add a bit more dark green and blend it. I would have added the dark green all around the edges, but my paper is drying. I can feel that. So I don't want to try anything more. Only thing I can do now is to blend. Just move the colors, especially at the edges. They should look like they're part of the painting. But I don't want to disturb the center region much because I like the way the colors have blended there. You see I lifted some colors before. Again, the colors have moved, and we don't see the white anymore. It is always difficult to preserve white in watercolors, especially when we are using the ton white technique. In that case, we can lift some colors from the paper like I did. This project is actually an easy one. We don't need to care about any shape, shade or anything. Just drop the colors on the paper at random positions and let them blend with one another, and that's all. You can also try to use different colors here. But while adding different colors, only thing is just to make sure that they won't create muddy colors when they blend. We are mostly done. But before wrapping it up, let's add some small details. I'm picking up some black and with the tip of the brush, I add these dotted lines. It is to represent the dust or gaseous particles around the nebula. I'm keeping the center as reference and adding the lines around it. Add those lines in any direction that you prefer, but keep it simple. If we add too many lines that would dominate the underlying colors. I'm going to lift some more colors from the middle. Now to add these black dotted lines, we have to do this before the paper dries. Otherwise, they won't spread. So make sure your paper is wet enough to create such blends. Look at the shape of the nebula. What we added in the beginning was much different than how this has stand out, right? That's why even if we follow the same procedure, every painting would look different. This is all. We shall add some stars once this layer dries in the next section. 19. Project 5 : Colourful Nebula - Adding details: Now this has completely dried. Let's add some stars. That's the only detail we have to add now. To add the stars, I'm taking the white guash, and with the help of my silver black velvet brush of size four, I'm picking some gash. Now with my finger as support, I'm just tapping the brush on the finger and thus creating the splatters, which are nothing but our stars. Repeating the same process as we have to add stars to a larger area. I think now we have enough splatters. Its time to add some big stars. Make it random, distribute these bigger dots all around. You can make these dots much bigger than what I'm adding. Either way, it looks good. To vary the size of the splatters, you can change the consistency and the amount of gas you're picking and add the splatters. This will create splatters of various sizes. In that case, you don't need to add extra dots. But if you pick the paint, which is too watery, then it can create big blobs. You can test that on a practice sheet before splattering on your painting. Okay, I have added some bigger stars, and let's add some twinkling stars now. For that twinkling star, I'm picking this dot and softening the edge. It's only a damp brush I'm using. Now with the rigger brush, I'm going to add four lines like a cross. Let's say one goes down one to the right. One towards the top. And one in the left. When adding these lines, I make quick strokes so that we get thin lines there adjusting the size and length of these lines. Adding those small lines in between. Try to keep an uniform length for these smaller lines. Similarly, let's take another dot, one at the bottom, and let's soften it. I'm also keeping the round shape while softening it. Now with a rigger brush, adding the four main lines, one to the top, one towards the bottom, one to the right and the fourth one towards the left. Also, I'll add smaller lines in between. Let's adjust the size and the length of these bigger lines as well. They should look more prominent than the small ones in between. Let me add one more star at the top. Maybe this one. I'm softening the edge with the damp brush and making it big. Also, I'm making sure that it is round. Now with the rigger brush, quickly drawing the lines. I'm holding my brush towards the tip to get controlled movements. Picking up some more color and adding a line towards the top. And another line towards the left. Adding these stars can be tricky sometimes. If you don't get thin lines, it won't look that good. If you find it difficult to add those lines with a brush, you can use a white marker pen to draw those lines. It is much easier. I'll go through each of the stars and adjust the length of these lines. The direction of these lines for all the three stars should be the same. You can add the stars of different sizes, but the direction of the lines should always be the same. Like I mentioned, go for white marker pen or even pencil to draw the twinkling stars. You can also skip this step. Just a dot with a glow around it without any lines will also look good. This looks okay to me. I have added three stars. Now let's remove the tape. This is always the best part to remove the tape. I feel excited to see how my painting would look once the tape is removed. Here, beat gentle while removing the tape so that it won't tear the paper. This is how our painting has turned out. I really love the subtle yellow orange shade and the contrasting blue color. Hope you had fun painting this. Let's meet in the next section to start with a new painting. See you. 20. Project 6 : Spiral galaxy with blackhole - Practice session: Welcome back, everyone. Let's look at the colors needed for this class. We would need olive green. I'll squeeze it to my palette. We need Prussian green. Let me squeeze it next to the olive green. The next color is permanent brown. It's a rich brown color from Daniel Smith. Next is ivory black. We only need little amount of black, and at last, we use the white gash for adding the stars. Let's start with the swatching. I'm starting with the olive green. If you don't have the olive green, go for any green you have, it should be fine. Next I'm picking the Prussian green. I chose the screen as it gives a nice contrast. Let's take the permanent brown now. This brown goes quite well with the green we have, and at last the black color. You can also go for gray color if you don't prefer using black. This is it for swatching. Now let's start with a practice session. I'm wetting the paper with the help of my big brush, picking the clean water and applying it evenly throughout the paper. I'm moving the brush in all the directions so that there won't be any dry patch. Also, it helps the paper to absorb more water. We should avoid having too much of water as well, then it will not let the colors to spread nicely. If you have extra water, you can just pick it up with a damp rush. I'm done with the wetting. Let's move to the next step to start with, let's take the black, and I'm making a circle at the center. But as the paper is wet, if you see the black color e spreading, it's not keeping the shape, but that is okay. Let's fix that later. Now I'm taking the second color, which is olive green, and around this black circle, I'll add the green to make a spiral. Starting from the center and moving outwards. I'm making these quick angular strokes. O bserve that these strokes that I'm adding are in the same direction. This is something important to keep in mind, and at the borders, let's leave some white spaces because we are going to add another color there. Next I'm picking the Prussian green and adding it on top of the olive green. The brush movements are same as before, starting from the center and moving outwards, I'm making the quick curvy strokes. I'm using two different greens here to get some color variation. They mix with each other and create a new shade. I'm taking the fourth color now that is the permanent brown. We have left some white spaces around, right. So let's start from there, starting from the edge, I'm making curvy strokes inwards in the same direction as before. Wherever we have left the white space, let's add this brown color. You know, the thumbnail in the practice session is just to understand way to place each of the colors, how they behave together, and the different techniques that are involved. So this is to give a basic idea of what is good to know. I'm adding the brown again around the edge of the spiral galaxy. Look at the brush movements here. I'm making curvy strokes and all in the same direction. I'll take some Prussian green now because we want our green and the brown to blend. So I'm dragging the green line towards the brown and letting them blend. We want to achieve a smoother transition here. For the greens, if you have only one green color, then you can mix it with yellow, brown or black to get different shades of green. Blending looks all right. Now, before the paper dries up, let's make the black circle at the center more visible. So I'm adding some more black and trying to get a round shape. We need to blend the edges here as well. Otherwise, it doesn't feel like a part of the painting. So with the tip of the brush, I'm dragging some black color from the edge and pushing it outwards. You see it is only with the tip of my brush. I'm dragging the black. Here I still want to keep the center a circular shape. So I'm adjusting this a bit. Some more blending of the black with a background, and we are done. That is it. We have added the black at the center, followed by the olive green and then Prussian green. And at the end, we have added the brown and blended everything. I'll wait for it to dry and then I'm going to remove the masking tape. Now our painting has dried. I'm not going to add more details here. Let's keep it for the actual painting. Yes, this is how our project would look. We are done with the practice session. Let's move on to the actual project. 21. Project 6 : Spiral galaxy with blackhole - First Layer: Welcome again. Let's start with our class project to get the circle in the middle, I'm using this masking tape ring and slowly drawing the circle. In the practice session, I try to add this circle without any sketch. Both works actually choose whichever you feel easy. So now let's start with wetting the paper. I'm using my big round brush to pick the water and adding it to the paper. As I have to cover the larger surface area, this step takes some time. Also, I'm using 100% cotton paper. This needs quite a bit of water to stay wet. So let's take our time with this step. If you use a bigger brush, you can cover larger area faster. Actually, I do have a bigger brush than this. But as I don't paint with this brush so much, I wanted to make use of it somehow. I'll keep adding water and distribute it uniformly all over the paper. We should aim to not to have any blobs or puddles of water. So I'm moving my brush in all the directions and making sure that there is no such water blob. Okay, I'm done with the wetting. Now we shall start our painting with a first color that is black. I'm picking thicker consistency of black and adding it to the center. I'm slowly adding the black within the circle. But still, I can see that it is spreading. As the whole paper is wet, we cannot stop the paint from spreading. It is totally fine. We can fix that. With a clean brush, I'm just picking some extra color, which is outside the sketch, we added. Now let's take the next color that is olive green. And then you see, I'm making these curvy strokes around the center. Start from the center and move outwards. But I also added some strokes starting at the edge and moving inwards. Both way works, but it would be easier to adjust strokes when we start from the center. Notice that these strokes that we are adding should be in the same direction. Keep adding them until you finish the entire circle. Observe the brush strokes again. I'm quickly lifting the brush at the end of each stroke. That's how you get these pointy ends. I will go over the spiral one more time. Main thing here is to add quick strokes and lift the brush at the end to get the pointy edges. If you observe the lines we are adding are smudging together, that is because the paper is quite wet, but we will add multiple layers on top of this, so this will not be very prominent. I'm taking the next color, which is Prussian green. It's a darker green compared to the olive green. With a Prussian green, I'm adding the similar brushrokes like before. Here, the center black region is our reference. You don't need to have the exact greens that I have used. Go for one lighter and one darker shade of green. If you have just one green in your collection, then mix it with yellow or brown or even black to get another shade of green. I'm using two shades to get a nice contrast. So do not cover the olive green completely while adding the Prussian green. Now, before our paper rice, let's quickly apply the brown around the edges. We have to cover those white regions. The brown I'm using is such a vibrant brown, and it goes quite well with the other colors that I'm using here. Let's follow the same pattern and add the brown to the top region as well. I'm starting from the top edge and moving towards the green region. The plant I have here is too close, and every time when I'm trying to move my brush, it gets stuck. I didn't see this coming. Let me move my plant a bit. Now I have enough space. Let's add the same colors again. Starting with a brown and making these quick strokes from the edge. Here to get a nice pointy end, quickly lift your brush when you meet the green region. Now, let's pick the olive green. I'm keeping the center as reference and adding angular strokes around it. It's okay if the colors get mixed up. Actually, we want that green and brown colors they shouldn't feel separated. Let's bring some brown as well towards the center. See how nice this looks. Next time taking the Prussian green and adding it to our spiral. I started from the outer green edge, but the tip of each stroke I added looked thicker than before. Now, I'm adding these strokes, starting from the center and moving towards the edge. Let's continue to add these curry lines all around the circle. The center black region has lost its shape due to all these colors we are adding, but we have our sketch visible, so it can be easily fixed. Now let's blend the green with the brown. I'm dragging the brown inwards so that it gets that continuation. I'm doing this on both the bottom as well as the top region. These strokes that we are adding now would be visible even after our painting dries. I'd like to go through the green region one more time. Now let's fix the center part. I'm taking the thicker consistency of black. There is not much water in it. At this point, we shouldn't add extra water because that would spread and spoil our painting. I'm carefully adding the black inside the sketch we made. You see, now it doesn't spread so much. That is because the paper is already drying, and also the paint I'm adding doesn't have so much water in it. This time, we should be careful not to let the black spread, so I'm slowly adjusting the shape. Before we wrap up, I'll take a little amount of brown and add it to the green region to get this overlapping feeling. This black circle needs some blending as well. With the tip of my brush, I'm carefully softening the edges, and also dragging the black outwards in the same direction as our spiral. Yes, that is all for this. Let's wait for the painting to. Then we shall add some stars in the next section. 22. Project 6 : Spiral galaxy with blackhole - Adding details: Okay. Now everything has dried, but the center black region hasn't dried yet. We shall cover that part while splattering the stars. I'm using a tissue to cover the center, and as usual, I'm taking the white guage. Now with my finger as support, I tap the brush on my finger. The brush has a lot of white paint. When I tap the brush on my finger, the paint will fall off and thus creating dots of different sizes. We have some bigger stars, and we have some smaller dots. Let's do that one more time. I'm picking some more gouache, and again, tapping the brush on my finger to create more splatters. I'm moving my hands all over the paper so that the splatters are distributed. This looks good enough. Now let's remove the tissue from the middle. If you observe around the black circle, we don't have enough splatters. I'll add some small dots around the center. To add these dots, I'm just touching the paper with the tip of my brush. Here it is good to use a brush with a pointed end. Then we can easily get small dots. I'm adding some more splatters. Next is to add the twinkling stars. I think I'll pick this one. With a clean damprah, I'm softening the edge. At the same time, I'm trying to keep it round as well. This is to represent the glow around the star. Let's add a white.in the middle, which is like the center. Now with the ger brush, I'll pick some gouache, and then add a line downwards. Okay. It doesn't look good. The line should be straight here. Let me quickly take that tissue and rub it before it. It looks better. Let's start again. With the tip of my brush, I'll draw a line facing downwards. One to the right, another line to the top, and one more to the left. Now, the four main lines are in place. We need to add smaller lines in between. You know, I wanted to show you that while painting something can go wrong, it happens to everyone, but there would be ways to fix it. Now I'm adjusting the lens of these lines, making the bigger lines more prominent. Let's add one more twinkling star. I'm choosing this one at the bottom and repeating the same steps. With a clean damp brush, I'm softening around the edges, then keeping a small.in the middle. Then with the rigger brush, I'm adding four main lines, one towards the bottom, one to the top, one line towards the right, and one towards the left. Now I'm adding the small lines in between. As this looks too light, I'll go over these lines again, taking some more white and making these lines thicker. If you find this difficult to add thin lines, you can use a white marker pen. If you don't have the white marker, then maybe you can draw these lines using a pencil and then use the white quash to trace over it. Having a sketch makes the whole process much easier. But keep the sketch lighter because we don't want the pencil marks to be visible. I feel the center region of both the stars can be bigger, so I will use the damp rash to soften the center region. I'm not adding any extra paint, just spreading the existing white color. I'll repeat the same for the second star as well. This is enough. I won't be adding any more details, but if you wish, you can add more stars of different sizes. I'm going to remove the masking tape. As always, remove the tape with an angle to avoid tearing the paper. The tape I'm using is not super strong. It is good enough to stick the paper to the board, but doesn't harm the paper. So most of the times I have managed to get it off without spoiling the painting. Yes, this is how our painting has turned out. I really like it. Now, let's meet in the next section to start with a new painting. 23. Project 7 : Green Comet - Practice session: Oh. Hello again. Let's start with the final project of this class. Now I will take you through all the colors that are required for this project. The first color is viridian. I'm squeezing a small amount of it into my palette. Next is Tal blue. Let's squeeze this next to the viridian. We need sap green. I think a little amount of it is enough. Next color is ivory black. I'm squeezing it in the middle. And as always, we need white wash for painting the stars. I have prepared the sketchbook. Let's watch these colors and see. I'm starting with Viridian. It's a beautiful green shade from Windsor and Newton. Next, I will take the Tello blue. This color is from Daniel Smith. Next color is sap green. This is also from Daniel Smith. The fourth color is black. I'm using the ivory black from Winsor and Newton. In our class, we use the mixture of viridian and to blue to get this turquoise blue shade. I really love this color. For the practice session, I would like to show you a simple pencil sketch. This is a comet we're drawing. We shall start with the front end of the comet. I'm drawing a blunt concave shape. Hope you can see that. Here we should keep the sketch as light as possible to avoid it being visible even after we finish the painting. From this front end, let's draw two lines all the way to the edge of the paper. One from each end of the concave. I'm drawing the second line which goes up to the edge. The distance between these two lines gets shorter as they approach the edge. I'll go through the sketch again to make these lines darker so that you can see them. Then I'm drawing the lines on both sides, starting from a bit above the middle point and dragging it towards the edge. So this is the sketch of our comet. Now I'll erase the sketch. Otherwise, these lines would be visible, even with all the layers of colors we add. Keep it as light as possible only to know which colors to add. As we are using the wet on wet technique here, the first step is to wet the paper. With a big brush, I'm applying water to the paper and spreading it. To start with, I'm taking the first color now, which is turquoise blue and adding it to the tail of the comet between the two main lines that we added. Here, I want to keep the head region lighter, so I'm stopping at the middle while applying the turquoise blue. As this feels more blue, I'm mixing a bit more viridian green with the turquoise and applying it to the tail region again. Now, for the head region, we did not add any colors right. So I'm slowly dragging these colors towards the head. My brush is clean and damp. I'm only moving the colors that are already on the paper, not adding any more colors. Also, we want to keep the concave shape at the front as well. Our next color is sap green. We should add it to both the sides of the comet. I'm adding the sap green on the right side now and also on the left side. Now, to give some more depth to the painting, I'm mixing the sap green with the turquoise blue and adding it on both the sap green layer and the turquoise blue layer, we added. But do not entirely cover the underlying colors. That is very important. Next, I'll take the black color and add it all around the comet. You don't need to wait for the other colors to dry. Go ahead and add black, but be careful not to spread the black to the comet region, especially the head part. As the paper is wet, there is a good chance that the black will spread towards the white area of the comet head. To avoid that, take a thicker consistency of black with less water. I still have black color in my brush. With that, I'm adding some highlights on the comet. We should do this when the paper is still wet. If the paper is dry, the black color I'm adding will not blend. I'll make the surrounding region darker by adding more black color. See I wasn't careful enough and added some black to the white region. To fix that, I will adjust the shape of the comet head. It looks better now. We have to add the stars to the black region, but let's do that in the actual painting. I have removed the masking tape and this is how our painting would look. Let's meet in the next section to start with our actual painting. 24. Project 7 : Green Comet - Sketching: Okay. Now let's start with a simple sketch. I'm starting from the head of the comet. I'll draw a concave shape, which represents the head region. At this stage, I'm keeping my sketch lighter because I might need to adjust it along the way. But don't worry if you don't see it now, I'll go through it again and make the sketch more visible. Now, adding the lines on both the sides of the concave shape and extending the lines to the edge of the paper. This is like the long tail of the comet. Make sure that the distance between these two lines gets shorter as they approach the edge. For the sketching part, you can wait until I finish and then write because I usually keep adjusting it. I'm going through the sketch and making it more visible as the lines were lighter. Hope you can see this now. Here, even though I'm making the sketch darker, I don't put pressure on the paper, we should be able to erase it at the end. I felt the front part needed some adjustment. I'll erase it and now let's draw it again. Keep the head blunt like a semicircle and extend both the lines towards the edge. They need not be uniform. Also, I'm not drawing a realistic comet. Some imagination on top of the different pictures I have seen. Now, I'll add a line like this, starting from the point where this blunt end meets the straight line. Similarly, adding the second line as well and extending it towards the edge. Basically, this part, which is the front part will be white. This part would be turquoise blue. On both the sides would be green, and outside, we will add black. That's it for sketching. As we want our sketch to be not visible, I will erase it, especially the front part as we are leaving it white. But I still can see the sketch, even though it is hard to see it through the camera. So do not erase your sketch entirely. Keep little lines as hints here and there. Now let's meet in the next section and add some colors to our sketch. 25. Project 7 : Green Comet - First layer: Okay. Let's begin our painting by wetting the paper. I'm using my big brush and applying the water. In the beginning stages, the paper needs a lot of water. To make this process faster, you can keep the paper under a tap and let the running water to fall on the paper. In that case, we need to make sure that it is evenly wet. Here as well, I'm moving my brush up and down to make sure that the paper is evenly wet, and there is no blob of water. 100% cotton paper can hold more water and hence it absorbs the water we add and rise quickly. We have to give sufficient water for the paper to stay wet until we finish our painting. I'll repeat adding the water a few more times. If I have to work on the wet surface for longer duration, then I would spend three to 4 minutes for wetting the paper. If you have a big flat brush, use it for wetting the surface, that makes the process much faster. Now the wetting part is done. Let's move on. To start with, I'm taking the yal blue, but we don't use the thyal blue directly here. We mix it with the green. I'm taking the viridian, which is a green shade and mixing it with the yal blue to get this nice turquoise shade. Let me add some more green to dilute the blue shade. I'll pick the turquoise blue and apply it to the tail region. I'm starting from the edge and moving inwards. Here, we don't want to cover the whole body. The head region would be almost white. I'm adding the blue inside the sketch we made, but it spreads slowly, especially around the edges. This is good because when we add the next color, they both blend well. Now, I have washed my brush, remove the excess water, and with a clean damp brush, I'm moving the turquoise blue color towards the head region. It is to get the softer end for these brush strokes. We have stopped these blue lines abruptly at the middle. It doesn't look good if we leave it like that. So let's move these colors around to have a smoother look. I'm taking the sap green as our next color and adding it to both sides of the turquoise blue. I'm adding the green to the left side, and now to the right side of the comet. I'm also making sure that the transition between the blue tail and the green areas are smooth. So I'm blending the blue color and the green color. Do this blending when the paper is still wet. Otherwise, the colors won't mix well. I'm also using the blue to add some highlights to the green areas. Now, the green here is spreading towards the blue region. We don't want that. I'm picking the green shade around the edge where this blue tail meets the green tail with my clean dam brush. Now I'm moving the blue color towards the head. This step will take some time because the transition from the blue tail to the lighter head region should be smooth. We should have a color gradiation here. I'm picking some more green and adding it to the green tail region. I can see that the white region around our sketch is starting to dry. I'm quickly moving my brush over the white region to add some water which I had in my brush. Let's not wait here. I'm taking the black color and adding it to the white region around the sketch we made. The region around the comet should be really dark. Go for the thicker consistency of black here. Again, be gentle around the head region. Don't let the black to spread towards the white area. Here, as the white region is drying, we need to be quick. Adding some color means we are in turn giving water to the paper, hence it will stay wet for longer duration. As my first layer of black is lighter, I'll add more black. Watercolor when it rise looks way lighter than before. If we want our painting to be more vibrant, we should add more pigments and multiple layers. Here we assume that the region around the comet would be dark without any light. This will make our comet to pop. Also, when we add the details like stars at the end, they will look brighter with a darker background. While applying the black near the head area of the comet, be slow and careful, we shouldn't change the shape of the head. Follow the sketch and keep the concave shape as it is. Our paper is still wet, so the black is forming little lines around the edges, if you see, I'm cleaning it with the help of a clean damp brush. Just press the brush and drag it around the edges to remove the thin lines formed. Next step, let's make the green region der. I'm applying the sap green again to both the sides and also blending the edges with the black. Similarly to the other side as well. I'm applying the green. I'll use the same green to add some highlights to the blue region. They are mixing and creating bluish green color. Let's add some highlights to the green region. I'm picking black and adding thin strokes over the green area. My paper is still wet here, so the black I'm adding is blending well with the background. Let's add highlights to the right side as well. And When I look at the green areas, the left one has more green than that of the right, and they look uneven. I'm applying the black mainly to the left side and reducing the green area. I'm taking the right one as reference. I'll add a little more black to the left side, trying to keep them even, adding more black to the area around. I'll spend the next some time for applying the black around the comet and making it darker. Also, I use the black to add some lines on the tail area of the comet. Our comet is taking some shape now. I'm happy with the way it is turning out. I'll use the brush to pick up some of the black that is spreading towards the lighter regions. To lift the colors from the paper, like I'm doing, the brush should be damp. We cannot add any more water to the paper at this point. Most parts of our painting are drying and adding extra water will create blooms. Before lifting, make sure that you remove the excess water from the brush. We are mostly done. I'm adding some small details. This I could do as my paper is still wet. If your paper is dry, then don't go for more details. You can stop at this point. But if you still want to add more details and your paper has already dried, then you can go for re. That's it for this one. Let's wait for this to dry, and in the next section, we shall add some starts. 26. Project 7 : Green Comet - Adding details: Okay. Now let's add some stars to the black region here. To add the stars to the left side, I'll cover the remaining area. I'm taking the gauche now, and with the help of my silver black velvet brush of size four, I'm picking some gauche. And as usual, I'm using my finger as support and taping the brush on my finger to create splatters. Similarly, let's add some splatters to the right side as well. So I'll cover the other areas and pick up some gouache. And again, it's the same drill. I tap the brush on my finger and create splatters. Here, we don't want to add any splatters on top of the comet. That is why we are covering that. Let's do that again. I'm picking some more white and taping the brush on my finger. Thus, the white paint splatters around and creates the stars. Now the front part needs some splatters as well. I have loaded the brush with white paint and tapping it to create these tiny dots. If you feel some black areas doesn't have enough splatters, you can add some dots like I'm doing. I'm going over all around the black area and adding white dots wherever I feel it is required. You can also vary the size of the dots to show that there are stars of different sizes. This time, I'm not going to add any twinkling stars, but you can add some, if you wish. Follow the same method that I showed in the technique section. So that is everything. Now let's remove the masking tape. I'll start from here and gently remove the tape. As I mentioned before, remove the tape with an angle and don't let it tear the paper. Do you see there is a black spot here? Let me cover it with a white gah so that it looks nice and clean. We are done with our final painting as well. I hope you enjoyed this class and learned few things along the way. Thank you so much for your time. Please upload your creations in the project section and also leave a review that would help others to find this class. You can find me on Instagram under the handle Scheta Underscore KM. Thank you once again. I hope to see you soon.