Loose & Lively Watercolor Galaxy

1. Welcome :): Hello. Welcome to my skill share class. I'm guessing Sanders Color may create art dot com For this beginner watercolor class, we're going to be painting some beautiful, vibrant, colorful galaxy in such a easy way. You'll be so surprised how easy it is to paint a galaxy. I'm going to show you some ways to use contact paper masking to save your white space. Then we will talk about different ways to lift, to create lighting effects, and then we'll move on to painting some water color bookmarks. We will paint foot marks with two colors, three colors and freestyle with any colors who like and after that, we're going to paint this large painting, and I'm going to show you just how easy it is to do so let's get started. 2. Keeping a Wet Edge: Let's chat about keeping a wet edge as we're painting our galaxy's. So I feel that one important characteristic of Galaxies nebulas. And that's where thing is the very soft, glowing feeling there no hard edges and hard lines in Galaxies. They're really very soft edges and lines, hidden edges and lines, and that's worth thing. So what I want you to do, a sort of a warm up, is to practice keeping a wet edge. Now there's more than one want to do this, but this is the way that I do it. So I have this a lot of rich pigment here, and I want this edge. First of all, to not be straight line. This would be a straight line. This is not a straight line. See how it's jagged? That's important. I wanted to be not a straight line that way. You can't tell where one layer ends and another begins, and then I'm just going to clean my brush, tap off a little bit of the water, but it's still quite wit and go ride over that edge to keep it nice and soft. So you see how that color flows out. That's perfectly fine. If you don't want so much color flowing out, you just tap off more water off your brush. But you do want water because you wanted to stay wet. You want to be able to go work in this other corner, say, and then bring it together with the water. So say you want to lay some dark color here, or even like color doesn't matter. Darker light. What matters is keeping that edge. So you want this to stay wet while this is wet while you're working over here, so you have to again. You just keep adding a little bit of water going along that edge, and the the color may pull down into there. But that's fine. If you want to stay perfectly white, just leave that part of the paper. But again, really lightly touching the edge not can soften this edge. Keep an eye on it because, see, this is starting to dry a little bit, and I don't really want that. So again, I'm just dragging a wet brush. It's fairly wet along the edge. How much water you use depends on whether you want to pull that color out or not. More water will pour he the color out a little bit further. Too much water will push the color back. You don't really want that. So now you see, I have to Nice soft edges and nice, bright white. Now, I painted this before I started recording so that you could see this hard edge. So what we don't want when we're painting are Galaxies is toe. Let this dry this way. This is a jagged edge, but still it's going to be very evident when you try and paint over it. And you don't want straight hard lines there. No really straight lines in galaxy paintings. Now, if you get an edge that does dry, you may be able to lift the pain a little bit and go back with the damp brush and loosen it up a little bit. I'm adding water to loosen that up, and depending on your water color paint, you may be able to dissolve that line a little bit. But also you're going to have this effect here of this wet going back into the dry. So you just need to be aware that that is a possibility and your line may not dissolve completely minds dissolving quite well, but yours might not. It depends. It really does depend on your paint. So if I had to go back and dissolve this line, what I would do is do that with the water. But then I would go back in with another layer of pigment here in this corner so that I don't get effects that I don't want. Now, if you want blooming effects Hey, go for it and then be sure and keep this nice and soft. Very few hard edges when it comes to painting Galaxies and nebulas. So that's how you keep a soft, wet edge. Now let's go on to lifting. 3. Lifting Technique: Let's talk about two ways. Toe. Lift your paint from the paper. We are going to use lifting in this galaxy painting in order to create sort of lighting effects that are really kind of hard to get other ways. So I'm going to lay down some really solid, juicy color here. This is my little mini sketchbook, which I love by field Artist is not required. You can use your normal watercolor paper now what? This nice, wet and juicy. Here we go. Now there are two ways I want to show you Toe lift. The easiest way is to lift with a tissue, so I have nice, nice cover here. Nice dark painting you're painting doesn't have to be dark, but I just feel like this whole demonstrate it much more easily if it's nice and dark in here and I'm mixing in a little bit of blue with the purple just to create some variation color just something we're going to do in the dark color painting. So I have this nice big swatch of code. One of the easiest ways is to use a tissue like the Kleenex or other brand doesn't matter, and you take it, and you sort of make a little ball with it. And I, like, remind to have texture. Some people might like it more smooth. Make it a smooth as you like, And then in our wet, wet water color paint, you just tap it and it will lift off the pigment enlightened that area. Now I have a lot of texture and there's you can see. But if I just use a smoother area and see him twisting and moving it so that I'm not getting the exact same thing every time it sort of creates a cloud like effect, then you just turn the tissue to a different section and you can lift a little bit more now these air really pigment to color. So I'm not going all the way back to the white, just lifting some of the color there so creates a nice texture. You can see, um, also gives sort of a cloud like effect. So that's one way to lift your pain. So let's paint another area gonna be down even more color Now. This time I'm going to do a little bit differently. I'm not going to cover the whole area. I want to leave some white space and a soft edge. So I'm softening that edge with my brush and brush is wet. Actually, it's It's damp with water, and you can see it will pull the pigment out a little bit. So this is just wet water just to make a really nice soft edge, okay? And if I wanted to usually in the galaxy, I like to add kind of this sort of diagonal effect. I don't I'm not doing that off with this purposes, but I just want you to see something like that. So I have a nice This is this is basically has water in this area, a nice soft effect for the edges. And so now I want to show you how to lift with your brush. So this is damp stills wet. So I clean my brush and I'm going to make it a thirsty brush by just brushing off some of that water very gently is still slightly damp, but it's mostly dry. And then I'm going to pull the brush away from the area, want to live from so I can use the tip of my Russia lift and pull it out like that. Then I'm going to clean my brush, dry it again and do the same again. I'm kind of pulling from a center radio point and you can see the color flows back in some self. I need to I can go back and lift some more and I'm going to do in every direction. Not like that. Now you can also lift with side of your brush. We clean it, tap it off and pull outs. I will do that here so you can see pulled out and flick it up. And we're just picking up some of that water in pigment, so you get a wider stripe. If you do that, I will do that here also, and it leaves the texture there. So I sort of have this really bright light effect here. And it's like the light is going into the darker areas. It's a really nice effect to sort of create a light source in your painting and really great for these watercolor Galaxies. Now you can see that this is starting to dry and this is quite dark still. So what I can do is I could take some clean water. I use a drop from my spray bottle just to show you. Well, I could splatter it on there. Really, if I wanted to, But really, just say I want to use I want that area to be more light. Now. This purple is a somewhat staining color, so I'm not really going to be able to lift it back all the way to the white. But let's just make a circle here of water drop and just let it sit there. So maybe 15 seconds, maybe a little longer is completely up to you, just lets it and then use your tissue. We're going to blot it up. I'm going to blow up this one too, just to show you that you can really lift the pigment a lot if you really want to. Now this is going to make a circular shape because the circular shape of the drop can't see that very well. But I could lighten it more by doing that again. You can see that one quite well. So just want to lift that to show you. So if you have a drop of water just sitting there, it will lift mawr of the pigment and you just pick it up with a tissue. And, of course, if you wanted to the new soften those edges and then it's just like part. Now I can pick up more pigment if I use a thirsty brush and sort of score up that out, see how it's getting lighter, getting a little bit of paper appealing because it's this is my sketchbook. But my watercolor paper, as long as it's a good quality, won't really do that very much. So. I think you get the idea that you can lift the paint by putting drop of water like this and letting it sit for a minute and then picking up that water. Now, some of this sort of closed in on itself while we were talking so I can lift that a little bit more in the same way, applying my brush. This pain is more dry now, so it's gonna have a little effect. I'm trying to lift my brush out as ideo now, I did drop a little bit more paint back in there, not really intentionally. I'm gonna pull that out, point out, soften that get a nice light effect right there, and you can combine these. They're coming. So that is how you lift your paint from your watercolor paper. Now let's move on to creating a mask for our painting from contact paper. 4. Masking and Chatting about Composition Scale: let's make some circular mast for our planets and moons. So I have my contact paper and my scissors out, and I have a Sharpie for writing on it. And I have a selection of circles here. So what I'm going to do is, first off, I'm going to unroll my contact paper a little, and I know don't need that big of a chic. I'm going to cut a section, she If you don't have contact paper, remember, you can use any clear piece of shelf liner, or you can make some masked with your washi tape. It's a little bit more in depth of the process, but you can do it. So I have my contact paper. Have the sticky side down, and you may have seen me do some of this in my watercolor hearts class. So feel free to move to the next video if you feel like you don't need this, but I am going to talk a little bit about scale. So in this class we're going to be painting some bookmarks, and we're going to be painting a bigger eight by 10 painting. And so I wanted to find the appropriate sizes for me of masks for planets, for moons or anything like that. But they're just circles, Really. They're just circles. So I wanted to go from really small to quite a bit larger. So a small in that I found was to use the end of my Sharpie paint pin. And are you going to do is you just take your Sharpie marker? It's an alcohol marker so well, right on here in a dozen race and you just draw a circle around it and what I will do is I will cut at the inside of my circle and not the outside, and that will make it simpler. Of course, if you have a circle punch that's size that you want, that is actually perfect, So feel free to do that. So that's a small circle like you make. I wanted to also create some sort of medium size ones. This one is a little bigger than this one. I don't think there's that much of a difference. I'm just said this washi tape aside, this is actually the center from Washington, and so I'm just going to starting here trying not to move it and failed. It doesn't really matter because guess what? This part is going away. So if you make a mistake, don't worry about it. Just go. Keep going. Go around halfway and stop and then go under my hand could go around again and I want to make a couple of those I don't know yet what I'm going to use because I haven't painted the pain takes and you will learn when I do Which one which one's were going to use? But I just want to have a variety of shapes and sizes. I do know on this painting I want to have a large planet and possibly moon, but I'm not sure yet. I want to think about my composition here and how it will look. So I got out this big roll of tape and I really think this is going to be a little too small for what I want. I wanted to come over the edge if we talked about before. I like for things to X didn't pass the edge that do you know that there's more to the picture, but it just doesn't take up quite as much space as I want to. So I'm not going to use this. So I decided to sort of go through my kitchen cabinets and I found a couple of bulls to try . First I found this one and I was like, Well, that's that if I wanted it to take up the whole corner, Yeah, maybe. But it's really too big for this paper and what I wouldn't do with it. So this was a no also. So I had to find something smaller. So I found this cereal bowl I just compared it to this note was too big. I know I wanted bigger than this. That's how I found what I was looking for. And actually, this was the size that I wanted. Now I'm not going to write on my watercolor paper. I'm going to make a mask from this. I'm going to make the full circle, and then I can place it on my paper. However, I like selling. Move that out of the way. And all you do for your mask is the same process of just drawing a circle, starting on the side opposite of your hand, all around us, when I could actually go all the way around because it's big and then if I need to pick it up over there now, there's a little indigent on my bowl and it showed up here. That's OK, because when I cut it, I'll just go right along that line. So I have a really big mask and I have some smaller masks and a really small mask for possibly a moon, possibly small planets for right bookmarks and for my big painting, and all you do after that is you cut them out. It was a nice circle, really cool. I'm saving this extra contact paper for something else that really am loving this masking with the contact paper because it's just so easy. It works so well. I'm just so happy about it. It's great for simple shapes. You probably wouldn't want to use it for anything like super complex, but really great for simple shapes like the circles, the hearts, you could do a city escape if it cut out City escape with it. That's what I think. So now these masts are ready for my painting, so let's move on 5. Galaxy Bookmarks Part 1: So let's paint some water color bookmarks. And what we're going to do is we're going to do three sort of at once because while one is drawing will move onto the next one and then we can move back again, as we need to. Now remember, we're going to be focusing on keeping a wedge, and we will be doing some lifting techniques during this painting. So I want to start with just a two color watercolor painting. They're a little bit of drops here. I'm going toe sort of Scrub that off a little. There we go, and I've got my round brush and I have my liner brush very small, and I've got my cloth, so I'm ready to go. My brushes. Let we're going to do to color sake. I think mixture of a vibrant blue here, probably something close to a fail a blue. It's nice and thick mixture, so I can have it at more water if I need to or less. And I'm going to use this plus a purple to make a really nice painting. So here we go, starting in the corner. Remember, I want to put lots of pigment and I want to keep that wet edge. And I like having sort of this diagonal line here and now I'm just going to soften that light, actually, have quite a lot of water on my brush. You're gonna really start off, tap it off even more and soften that even more to give me sort of that cloudy effect again . This Linus still very wet and I want to add this also in this bottom corner, but not quite as much. And you notice I couldn't go right over my washi tape again, I'm softening. No need to go straight into my pigment here because I want even more pigment and drop that here. And I'm just tapping it in. Just get such a wonderful effect. The watercolor paint spreads out all in zone. You don't have to work at it. It's really, really nice. Okay? And now I have this area in the middle. So what I want to do is go in with a purple. It's a little bit of thinner. Make sure more of a medium value, more water and go into this edge and drop it in in that sort of scum bling fashion that we've been doing. Not the whole edge. Just in some places. There we go. And maybe even more here, dropping in more pigment. Kelling says they're so fun to paid, and they're really, really easy. So just keep that in mind. Now. What I'm going to do is just invite the color to flow into these areas that are white really lightly wet. Brush this area. I want to keep really a white white quite of the paper. So I'm not gonna do the whole entire edge, but just let it flow in there. Here we go. Now, see here I have white on the edge and one on the edge. I don't want that picking up a little bit of my purple dropping in there a little bit heavier. Concentration right around the edges, going straight again. This is going straight to my palette straight to my pan, rather straight to my pan and picking up war pigment and dropping it in there along the edge to make that area really nice and dark. And I'm going to do the same for this blue. I just don't want any of those white edges there. I don't mind that this is here. I kind of like what is going with this needs maybe a little bit more pigment. So just going to with a damp brush, Invite those colors in there. This is kind of a hard edge, so I will soften that edge because it's a little much. I wanted to look cloudy and soft again. This is needs to be moved around a little. Getting even. Edgware don't want it to be. So I'm just going to keep moving and letting that pick my flow, maybe drop and even a little bit more here and here again, going straight from the pan to get a nice thick. Make sure that that so that is basically done. I see a spot, Harry. I want to soften this. It was a little too much water there. That's okay. It's gonna make a nice shape like a stars there. You may want to do that. You may want to drop in some little drops of water just to create some little areas where the idea that there's some light shining there really nice. I see another edges drawing here that I want to soften. So with a lightly damp brush softening that okay. I actually really like this little white spot. I'm leaving it. It's totally up to you. It's It's how you embrace it. Um, the only thing I would suggest is if you choose to colors other than the blue and purple that they're analogous colors. They're next to each other on the color will, and they will blend really nicely together. Okay, so let's move on to our next bookmark. This one, I think, will have three colors. So what I want to do then, is at a pink. So mainly used similar colors as to here. But I'm going to add a pink, so I will kind of start in the same way. And I'm a speed this video up a little bit for you because you don't necessarily need to watch every little step unless I feel like I have something that you need to know. So again, nice. Make it soft edge. Always tap off that little extra that you have on your brush. A little extra water drops. So I clean my brush and tap it off here so that I don't have so much water, But I still want that wet edge. I don't want it to dry out, and then next, I'm gonna go straight to the purple, get I'm using the same two colors, plus over the use of pink, and I'm gonna put the purple down here. I want the dark on the edges. Really nice, dark on the edges. And this. I don't need to soften this because I'm going to go in right now with the pink for picking that up. This is sort of an opera pink, and I love it and have a nice, thick mixture there. But I do want to soften that a lot. So I'm cleaning my brush, chopping it off and really just bumping up against that edge and living that color flow out . So it's really nice not going to tap more into here so that I have a mixture of this pink and purple and I'm gonna tap a little bit into here. I had a new even more. I want to bring some of the pink up here. I'm not going to purple there. I just want purple here. The bottom. Mm. I said that. But now I'm like, Well, maybe I should put some appear, and so I will It's a process of just a process of going with the flow, really, It iss so even more pigment in this area. This is still all very wet, which is nice. It lets the pigment move and flow, and I'm getting sort of a really cloudy effect here. I wanted bring some of that color over this way, and I need I feel to bring pink up here like that. Now what I want to do is lift. So remember, we cleaner brush and we dry it off. So it's thirsty a nice, thirsty brush, and then we're going to pull out away from the area where we want it to be, like the light is shining from there. So I like this area. So I'm going to pull out from there and lift some of that painting, and I'm pulling away and you see that it moves back here because it's still quite with So May Paul more than once, and I'm lifting as I'm going, just like in our practice just pulled in lift you may be didn't use the side of your brush to pull some of that out, and it's removing the water and the pigment and you may not be able to see it very well, but still go in the other direction. It will move it some, though it might not be much, but your I here, I will notice it. So I want to pull even more into this direction, lifting that out, got it coming from here and pulling it all the way off the edge. Went to pull this side all the way off the edge. There we go. You want to just do a little bit of sort of dancing around in there, and now I want to soften this edge. I don't want to be so hard again. I'm looking for that cloudy blended shape. Bring a little bit of this up here. Okay, so I think this fabulous. So three colors purple, pink and blue Did it some lifting with our brush you can begin to see on our 1st 1 where we drop some water in some blooming shapes. That's what we're going for. It's like, Hey, there's there's a light source here somewhere in space. So really nice. I really like this effect that we have going on here as well. Okay, now, let's move on to freestyle. Now, This time I'm not planning the colors, although I do almost always used this really dark blue. Otherwise I dont planet. But what happens if we don't? Let's let's see, I have another purple here that's a little darker than the one we started out with. C actually picking it up nicely. Look how dark and rich that is. So I think I'm going to start with that. And I just really like the path way that we're creating and soften same process keeping that wet edge, keeping it nice and soft, adding more water there. I wanted to add more water, and now I'm going to drop in some of this blue, but not a lot. And then back to more of the same deep, dark purple who that is so rich. That's fantastic. And down here, and I just using the scum bling kind of motion because it just creates that texture. But the clouds that you want so again touching off that moisture, softening that edge, inviting that color to flow, pulling it out a little bit if it doesn't seem to be flowing. My papers curved a little bit and he doesn't want to flow there, look, see that hard edge. I don't want that. So again, I have a fairly dry brush and I'm going to soften that. Now. This purple seems to be a staining color, so that's going to make a difference. And what we've got going on here. Oh, Carrie, what's next? Let's do teal. I have nice teal color in my palette. I love it. It's beautiful. Let's do that. It'll go great with this purple. Now that's pretty thick, So I'm probably going to want to really add water and soften that at a lot. And now let's do green. Because look at how this nice space separate from the purple and green will go nicely there . I promise. I didn't plan this. This was left over from another place. But I look nice there and will bleed into that teal nicely. You can have a nice space. There we go Really nice. I see there some where it's not blending here. I'm going to with that a little bit, I will get some marks from that. I will get some blooms from that. Now I'm dropping back in that deep, dark purple. I love the depth of that. Oh, my goodness. That is fantastic. Look at that. That is just I just love that. Oh, my goodness. I'm going to invited out a little bit, just sort of nudge it, and it's mixing with that blue there, which is really nice. Seven. I hope you love this as much as I do. I mean, I This is fantastic. I love it. Okay, now, this time we're going to do lifting, going to do lifting with our tissue. So I've got a really soft edge here. I wanted to be really small because I have this and I want to just go along this white area because I want to be even more have a cloudy kind of effect and maybe even a little into that, just to pick up some that pigments. I like the way that looks, so I think I will. I'm just using the very tiny piece and tapping right into there was to pick some of that up and give it some more texture. Is that fantastic or what? Oh, my goodness. I love it. I love it. I hope you love it. I really can't wait to see your project. Oh, my goodness. I'm so excited now. All right? I'm just going to drive these and I will be back 6. Galaxy Bookmarks Part 2: Now that our first layer is dry, it's just time to take a look at this and decide. Do I need darker darks or lighter lights? And how does this look, too? I want to add another layer, so I feel like just looking at that. I have a really nice range of color, from extremely dark to the whitest whites to the white of the paper, really dark. This one is not as dark as the other two, but I still like the range of value and color that we have in there. So I'm going to keep it that way and this one also from the darkest arc to the lightest lights. We want that range of color and adds death and adds interest, and it captures your attention because something is standing out at you. That contrast is what makes it stand out to you. So look for that when you're when you're looking at your painting. If you are not sure if you have those dark, medium and light values, squint at your work to squint your eyes, and you will be able to see less color but mawr of the value so you'll be able to have more of a simplified version of seeing a dark, medium and light. I'm squinting right now so that I can describe it to you. But basically squinting will help you see values, darks, immediate dark, medium and light values in and not everything in between. It kind of makes where you don't notice the color as much as the value. Okay, enough about that. These air. Great. I love them. I think they're perfect. So I'm going to squeeze out a little bit of water color white water color from a tube. You can use hydrates. You can use acrylics. I just happen to have this white water color, which I am enjoying, maybe even a little bit more, and I'm going to mix it some with a tiny bit of water. I want to use my liner brush to mix it, because I just put it in here so it's very thick again. You could use white acrylic. You could use a liquid white water color. You can use the water color from the pans. I just want this one because it's more opaque and also because I don't have to deal with worrying about whether I keep my brushes completely clean because this water color it will watch out of my brushes. And I won't ruin my brushes like acrylic if you let it dry. It's really difficult. Teoh. Recover your brush from that. So I want to use the same brush. I'm going to wet my brush, tap it off and then put it in to pick up some of this white, thick, very thick white water color. And let's just see what happens if we try and tap it off. I have another way of doing it. Also see, it's not tapping very well. That's because it's really, really thick. So rather than using my brush, let me clean that back off in there rather than using my brush. In this case, I'm going to use a toothbrush. I'm going to with the toothbrush and tap it off. Pick that up and then I'm going to flick it. You actually have a little bit more control this way. Look, there of nice stars. You can place it a little bit better here. These air really tiny, really tiny, which is suitable for what we're doing here more. I mean, you need a little more water. Look, im Jane. Two for one here. No problem with that. See, that dark is really gonna make those white stars show up. They won't show up as much on the lighter colors. They'll still show up. It just I'm quite as much. Okay, I think, um, maybe I will do a little bit of a little bit thinner mixture, picking up more water with my brush to make it thinner, so will actually drip off their when I tap it to make a little bit bigger stars in some place. It's not much, just just a little. Also, this will not be as opaque if you don't. If it's dinner, it's just not a cupcake. So some bigger drops there to create a variety of stars. Now, if you remember, if you've taken my painting Falling Snow class, we did a whole sheet of different kinds of white that you can use to make texture a falling stone which is very similar to the texture of our stars in our watercolor galaxy. So this is white water color. This is hydrates liquid watercolor. This is white acrylic, which is similar to the thick white water color that we're using. Now the difference is the apace city, and just a little variety of the way the drops look. You may want to use a mixture of these or use just one. It's completely up to you, but you can get some nice effects with different kinds of white. So as I was drying my painting, I noticed that the white water color sort of faded away and was not as vibrant of white as I want. So I want to go back and make another layer of stars, and this time I'm going to use the hydrates, and I will still use my toothbrush, damn toothbrush and more flicking. So this is my second layer stars. See, that goes on a little bit easier because it's thinner and you don't have to do this if you don't want to. It was just a personal choice that I made because I wanted more stars in there. So what you have to do then, is observe your own painting. A lot of what we do in Watercolor is just stopping and observing and seeing what what's there. What does our painting need? Um, and what can we leave out? So I felt like I needed more stars, so I made more. Source. You're the boss of your painting. You decide what you like best. So I continue drawing and I'll be back. So these will make great bookmarks just as they are. But if you want to add some little hand drawn stars, you can use your white jelly roll a unit ball signal. Or you can use your white water color with the liner brush. I find that have a little more control with, say, a jelly roll. And so I'm going to pick it area. Remember, in this one, we created that water drop area in a couple of places. So I think that's what I'll pick in this little area. And I'm going to put a little dot and pull out the lines for a star again. This is similar to snowflake, but a little different, and I'm gonna smudge that a little and then tap it a little bit more. I don't want it to, like, jump out at you, like in your face. I want to kind of blend in, but I want you to know there's a star there, So that area, I think I'll make one here. Jelly roll doesn't work today. Here's a nice spot there. We switched to my unit ball. Sometimes they're finicky. That's okay. This one doesn't make quite a small mark as the jelly roll. So to think about that, and you may want to put two or three, you could put that little ring around it. That makes it shine even brighter. So just the idea of a start there. Okay. 12 maybe one more small went down here. Here we go. Nice stars. Okay. So you can add stars to this with your pin or not or with your white water color. Let's see. See if I add it with the white water cone. Let's see how that looks Just for fun, huh? Just for fun. I personally like the way it looks right now, But let's try with this thick white hydra s, which is ink like and let's see, where would I want to put one? I don't want to put you may be right here. So the little dot and pull and lift out again, So I don't even know where it waas. So I think was here. Just lift up and out always pulling away from the center, drab in a little bit more. There in the center now is showing up a little more. Make that taller. Tapping that off too. So little because it just went too far. You could use your cloth for that rather than your hand. I just so I'm making the start quite big. It's sort of getting growing as I go, but that's OK. I just wanted to look nice and maybe feel that little bit of a ring around it, which is sort of like a reflection not complete. Consider little can pulling out from there. Okay, So what do you think? Nice little star, but I'm not really used to using my brush. I tend to use my pin, but you get a little different effect. I just want to show you the different effect. Okay, So that will just dry in seconds, because so a little and such little water in it. So let's take soft and take this off and cutting apart and make them into actual. Here we go. I have my bookmarks trimmed. I thought I would show you. It's really simple just to use some embroidery floss. I've pulled mine apart. So I'll just take this little bookmark. I'm using a color coordinated embroidery floss and just going to punch a hole here near the top in the center. And I my vowing it you can measure if you prefer. There we go. Nice hope. And then in order to this together, you see, I always get this a little bit confused. So I like to do then is for this but the bend it over double. But this little bend a loop through the hole like that. If you have a better way to do this power means let me know inthe e discussion section. I would love to hear it and then pull it tight. And then I just like to pull these apart a little bit more, make them nice and loose, and that's a little too long for me. I think I wouldn't want that much sticking out of my book, so I'm just gonna trim it. And there you have it. A nice little bookmark. You could use ribbon for that or something like that. Completely up to you. So there we go. Nice little book. Look for your late night reading or your science fiction reading. I mean, it's a galaxy, after all. Oh, are your romance whatever you like to read for your educational books? All of that. But I just wanted to show you how you can finish off the book months. Okay, so let's move on to our big galaxy painting up so excited. 7. Large Galaxy Part 1: OK on to our big painting now. So I have my clear mask from my contact paper, and I'm just going to bend this sort of back and forth. It takes a minute to get it going. Until I get that edge and I'm going to peel it off. I'm gonna make my cloth because I want to put here on this side. And I want this plant to be again off the edge, but still very prominent. I'm going to put it here. So little off the edge here, but mostly on. So I think you can see where it is located. I need to make sure I press the edges so you get a nice clean and I'll just pull that over to the back because it's not going to really matter. I still have my circle mask when I am finished. Repressed this down. I'm just going to use my finger depressive down. You don't need to press it down with a tool or anything like that. But do you need to press it down firmly? So I have my nice planet there, but I haven't really decided yet. How this What exactly this painting is going to be. I just knew want this planet and possibly moon somewhere on this planet. But I will save this for later. I could have a moon out here somewhere. There are a lot of options that you could do. It could be something that's circling this way or something that circling this way. But I don't have to decide that yet. Right now, I'm just going to do my galaxy background. And so, just like we did in our small watercolor bookmarks, I'm going to just use my freestyle approach and do something with a lot of colors. And I will probably speed this up because going to take obviously longer than such a small painting. Uh, but I'll give you some instructions as we go. I'm going to be using my same number 10 brush and I have some clean water. And I'm going to take the same approach with this big one, as I did with a small on. Except obviously I have my planet here. So but but basically the same approach, I'm going to have the dark outer edges and more bright light here toward the planet. Let's just start with darks. I love I really loved this purple on the edge with a little bit of the blue mixed in. So that's kind of what I'm thinking off as I'm starting and I'm using Lee wet on dry technique that I've talked about in my basics class. But I want to keep that wet edge as I move around the painting, which will be a little bit more challenging because this is a bigger painting. Obviously, it's harder to keep that wet area. That may mean that it may take me MAWR layers. It may not. It just depends on how it turns out in the end. So let's lay down some of that nice dark purple, picking up some more water, my brushes a little dry and going back to the pan and dropping in even more dark color while this area's wet, keeping that nice, wet rough edge. I don't want that to dry out. I don't want any hard lines, very few hard lines in nebulas and Galaxies a little bit where their edges of clouds and things like that that are, um, what's the word that have a bright light shining behind them? Sometimes it makes sort of a hard edge dropping in some of this blue. I like the mixture that it makes there and again going back in with I have more blue still on my brush, going back in adding more water Now, I don't have to get us much water off my brush this time because I have a bigger space to work in. Put a little bit more blue in here. Bring that all together. Beautiful skin, no hard edges keeping that nice and wait nice and wet. Okay, Now, I just have a small space here, but I'm going to go ahead and bring in that deep, dark purple. I want a balanced composition. You see that? It doesn't stick to my mask, my contact paper mask dropping and even more. Now, if I don't have a press down on the weight, it may go under the edge a little bit, rather. And I'm okay with that because I feel like it'll be a little bit more natural picking up more of that blue now and dropping some of that in there. Such a nice combo. I love it. OK, and then again, with that nice edge. Now I have a lot more space here. I think I want the purple in this corner as well, but maybe not as much. So a little smaller area of purple. And then I'm going to bring in that blue to soften That is their Cokes, that color Al and Lynn that to get there Just water here. For now. I'm just picking the colors as I go again, keeping that soft edge and working quite quickly. As you can see, I did have a lot of fun with that pink. So I want to bring in some pinks here and there. And I'm just dropping those in even more pink, okay? And I'm wedding my brush and dropping it in and creating that cloudy effect that I want. I want to bring in that teal. I'm going back to that. I really loved that. It'll mix nicely without pink also, So I can just drop some of that in, and I'm gonna paint that out a little bit into that space, then soften, soften, soften. Now my papers quite with in a lot of places, all of this area this I don't like that there's not color here. I want that to be darker, so I'm gonna bring in my blue while this is still wet That to be more blended color there with those two mix more and I don't want this to just swoop around the edge. You know, I wanted to cover the edge, but not just make a line around it So much drew on the re more of that purple back to my purple more in here and a little in here and back to my pink. Well, the pinks mix with purple A little bit there. That's OK at this. Really like white area right here. I'm not sure how well you can see it, but it's a nice white bright spot, and I like that edge in that particular spot. I'm leaving it over here and cleaning my brush and pulling back this color. Remember how we used the dry brush in the other, cleaning off, dry it off and pull that back like there's light shining from there. I like that. Do that here too. Again, I'm still have a very soft edge over here trying to keep it mostly wet. So let me go back a little bit more water here on this edge on dry my brush, and I'm pulling out from there again in all directions, even if it doesn't look like it. Except where I have this little white edge because I really like that. Now I can't. I'm going to do a little bit pulling that out. There we go. Nice. Nice. Nice. Okay, so this is nice, Bright, soft color. So let me go back in now with adding a little bit more of the teal. We're turquoise here. I really like. That's really nice. And again, I want that sort of bumpy edge. I don't want it to be smooth. I wished I want to have that nice, bumpy effect. I'm gonna adds more pink in here. This is free. Silent. So this is just what I feel will work here. But of course, the colors that I've chosen, it's very important. The colors that have chosen will, um will work well together. Self chosen colors, that or when I put them next to each other here, they're next to each other on the color will a swell. Now I can see an edge forming here that I don't really want to pick up a little bit of this blue and drop that into sort of bring this back together. It's a little bit light there. And then I'm going to clean my brush again and softened that and I'm pulling, putting some other color around too. You can see that. Maybe a little bit more of this color in here. A little bit more of that turquoise Ortio. Really nice. Adding more in here. Also dropping. Just dropping it in, letting it flow. Now, this has become what we started out wet on dry. This has become wet on wet, hasn't it? So really nice? Really nice. Now I'm going to go back to I've got this pink. I kind of want to bring a green in here. Um, just like I did, but not a lot. So maybe a little here in this turquoise. It's kind, right? That's going to I'll just add a little more water. Here we go. I just want a little bit of that green. I don't want to mix with the pink. So keeping that in mind also, it won't mix well with pink. All right, here we go. More of the blue look really nice now. I'm gonna go back here with the blue and the Thiel dropping that color in and then going back out to darker. So maybe some more of this purple not as dark as the other edge, some blue, but bringing in a little bit of that. Just tie it all together really nicely again, dropping in mawr color there, more saturated color here on the very corner it is next to this planet. It's really going to make it. And look, I have these dry edges here and I don't want that. My brush was a little dirty. It's OK. Soften that out. This looks like a cloud shape. I can't live like that. But I just wanted itself from the rest of that. Okay, So really liking this so far. Now it's time to let it dry and then will observe it. See if we need another layer. So I will be back 8. Large Galaxy Part 2: So now my painting, except for some water drops on my contact paper, is dry. I used to heat ill to dry it to be cautious. When you're using heat or a hair dryer to dry because you're contact paper may peel up. And if you want to add a second layer, then you make sure your press it down again. I did have a little bit of peeling up here on the same so on oppressive there who, after looking at this, I feel like there's too much white space here for a galaxy. I want to be really rich, dark Galaxies, so I'm going to add in another layer of really deep dark color and leave a much smaller area of light. So I'm going to use the same exact colors and go over the same areas. Now, obviously, this is super dark, but I don't want, um, strange looking bleeds into the paper, so I am going to go over the whole entire section with dark paint again. That's a technique that is actually called glazing, and if I could do it with a different color, it would cause a color shift there. But a basically do the same thing again with the same colors so I can get deeper, richer colors. So I will speak up this prop part of the process as it is exactly like I did before. And if I need to, I'll slow it down. Explain something to you, but otherwise just enjoy. So let's get going. Oh, beautiful. We'll get that. I love it. I just love that. 9. Large Galaxy Part 3: Okay, so now everything's nice and dry. I still have my mask on. And I have some really deep, dark, rich color which I think you can see. And I've decided that since I want a very opaque white for my star splatter, I'm going to go with the white acrylic that gives me the most opaque white. I don't want it to be too thin because I wanted to be opaque, but I don't want to be too thick, because then it won't spot her very well where it was. Fighter all over me again. Protect your clothing. Okay, let's try here, okay? I just need to tap really lightly. There we go. That's looking good now, so you can see how thin that IHS they're the edge. And I could just wipe some of that off its a little. Well, crazy there. But see, it moves. You see, it moves. It's about as thick as the hydra s, maybe slightly thicker with liquid water color. Okay, so I'm going to move this hold away and you can see I did get a few splatters already, which is perfectly OK. Wasn't worried about that. Uh, so let's go tapping very lightly with my FAM rush. Oh yes, looking good. That's looking good right now. There's a lot of the white on my family rush, so I want to tap very gently. And if I see it's not coming office much, I can pick up more or I can tack a little harder. I want lots of stars, especially Alan. The edges feel free to use toothbrush if you prefer, and all the way around the planet. Now, I've got less paint on here, so I'm tapping harder and getting really small dots, which is what I want on the edge is just on the edges. I don't want as many out here, but I do want some. So you noticed someone really thick on the edges and less as we go in. OK, that's it. That's all the tapping. Now I need also let the strike again and at the same time I'm going to clean out my water because I put acrylic paint in here and I do not want to leave that on my supplies, so I will be back 10. Large Galaxy - Planet Part 1: Now, the white acrylic is mostly dry, but I don't really need to be completely dry for this next part, because now I'm going to remove the mask and then we are going to paint our planet. So if you see it comes off really easily, even though it protected really well, look at that perfect white space. I love love. Love it. But I'm going to do is stick my mask on a piece of deli paper. I don't know if I'll be able to reuse it again or not. Maybe I will. I don't know. Probably if they don't wait too long, I will be able to use it again. Okay, so let's paint our planet. I've got new clean, fresh water. I don't want my galaxy sort of taking over my planet, and I've got my round brush again to start. I'm not going to touch this edge. I'm going to paint wet and wet, but I don't want to go all the way really strong to the edge. So I'm going to paint near this edge. It doesn't have to be perfect. And I'm just laying some water on my paper so that I can just start out wet and wet because I want the first layer of my planet to be Mary gashes in cloudy looking. So now I'm just laying down more clean water. If your water has a little color in it, that's OK. I kind of have a big puddle. And that's actually in this case in this case, that's actually kind of what I'm going for. I want to make sure sell spread out pretty evenly. I'm leaning back right now. You can't see me, but I'm leaning back so that I can see the sheen of the water on my paper. You can see here I touched the edge and it pulled a little bit of pig been out because that's not super dry right now. That's okay. Doesn't hurt a thing. Just go with it. Okay. For this planet, I want it to be light and bright, and I want I believe some of these same colors in here. So I think I'm going to start with pink. And I'm just pulling some pink out of my pan onto my palate. It's pretty thick. I don't need it to be thick. I want this to be soft. And now I'm just going to just lay in some bands of peak and I want this to be very watery , and I will drop in more color in the center of the band of the paint there. And while I'm at it, I'll do another one and I'm following the shape slightly of this circular planet, this spherical planet, I should say it's really sphere, right? It's really not a circle. It's not flat sphere dropping in more pigment and color. I'm letting it do its thing. I see it's running here long. I don't want that. So I'm going to pick that up a little and just smooth it out. I'm OK with it all mixing in there. It's perfectly fine. I'm going to pick up a little bit of purple and just drop some of that in again right along in sort of a line, and this is going to be drawing pro pretty lightly. This is just the background. I'm going to pick up a little bit of that teal and drop that in a swell. It's very watery mixture. At this point. It's going to drive really lightly, and that's exactly what I want. I'm going to drop this teal for along the bottom here and along the top wants to run there on this part of think. Oh, dry my brush. Pick that up a little. I don't want to be like, really running. Okay, now what I'm going to do now that I have this light pigment is I'm going to soften the edge out to here. So I have a clean brush dried off, very lightly damp, and I'm softening this edge. So we've been doing that a lot in this. I think it makes a really nice effects, and I'm actually even going over that as just slightly. Can I clean my brush and dry it again? Because I picked up a lot of water from the painting and go back and keep and just meant work my way right around there. You see, I'm dragging some of the pink That's okay. And I'm going right up and over the edge all the way around, and then I can bring some of that in some of that purple is I picked up a little on this corner from actually is from off of my tape. So we're just fine again. We don't want this to be perfect or anything. We're just creating this sort of back ground, dropping in a little bit more of the band colors. Just a little to give it that. What Now? Look, I have a lot of color overlap here, and I don't want that. So I'm going to pick some of that color for thirsty brush right there on the edge. I want to just be lightly colored skin. This also pick a little bit of that up, maybe pull it in a little bit. Okay, so now I just need to let the strike begins. This is a multi step process. That's something I did not understand about watercolor. When I first started painting, I did not really realize that watercolor is done in layers. Just like I say Acrylic or something like that is done in layers. Now, I got a little bit of water drops here on top, so I'm sort of adding some more pigment in there if you're wondering what I'm doing. So layering and watercolor is Justus important as any other paint? Meet him. That was surprised me. I thought one brought one stroke. One, you know, brilliant stroke. I guess you would call it, but no, it's not. It's it's experimenting, It's moving and it's layering and it's it's just beautiful. Okay, so let's let this try and then we'll come back. 11. Large Galaxy - Planet Part 2: So now we have a base layer of color for our planet. I'm gonna pull out some tissue. I'm going to be using that in this, and I'm actually going to turn my painting a little bit just to make it easier for me to paint again. I'm going to be using the same colors we used here in the background on Lee on the planet. I want everything to be tied together, but I think I want to try to add this little moon. That's sort of passing in front of this giant planet. So I'm going to put my masking straight over the water color. It will keep that back color just where it ISS. So I'm going to put it like right here and press it down. Now, mind you, this is dry. It's going to keep that exact color, and that's going to be my little moon passing in front of this giant planet. So now I want to add some Streit's to my planet, and I want to use the same colors I use here and the same colors I used in the background. So I'm going to start actually with the teal and I have I could show you my mixture. Here. I have a fairly thick mixture. It's getting a little bit of that green in it. But I'm good with that. You know I am. You've seen enough meeting by now to know, but I am good with that. So just make that fairly thick. Look, I have some splatters of the white acrylic. I conclude that out easily later with them. Just a little scraper. And this time I'm going to pull across the painting in the direction of the same stripe. So it's more of a strike than it was before, even though it was in a line before. It's more of a strike, and then I'm going to clean my brush and soften at least part of the edge. I don't want so much of this blue coming down. Some pick a little bit of that up and skip a little spot. Civet. It's more there we go like like so soften that a little bit there, adding more water again. This is a story, right? See my moon here, it's okay to go over and have these extra little lines. I actually want that to break it up so I want to break it up. There we go. And then I'm going to use my tissue and tackle little. Make it look a little more foggy. And just in some places, not all. There we go. So little more lifting were really practicing lifting this for this painting. Um, it's great. Great, Great. Waited to practice. I'm adding a little bit more color to maestro, right? I want a little more pigment there and again I will need to soften that edge. It's not going softened by itself. So I'm drying. We'll just a lightly damp brush and your so often No, no soften up and maybe a little bit more of tapping with this to lift a little bit of that paint here and there gives it just a quality of movement and life on. And then I will repeat here. My plan. It's tilted a little bit. I mean, I like that about it really again. Very soft here, lightly damp. I don't want that running over into the purple, and I'm going to just smooth that pigment around just a little, repeating the same process. Except I want Teoh stabbed more here that to be really cloudy looking. Dabbing with this give you a nice cloudy looking in fact. Okay, Now I'm going to go in with my pink, just reinforcing what I already have here. Really? And just giving the idea that Hey, there's something going on here. There's some bands of clouds and color. I'm gonna add a little dry brush effect there and again with softening. And I'm going to soften this first. Since it's dryer, I want to soften it first. Here we go. The weather One could take a little longer softening, not touching my blues. Just softening here. Now, I can't let it run up into the blue a little bit just to give the idea that they are, you know, connected. Kind of break up that line a little bit. And then again, I'm going to do a little bit of tapping with my tissue to give it that cloudy looking effect. Like that. Maybe a little bit up here, maybe to dry already. That's OK. I'm OK with that was already kind of the way I wanted. Can you do that? Nice. Nice. And maybe even a little on this line here. So? So there's more of a break it on that line and more variation of color there. Here we go. That looks nice. That looks so nice, guys. All right, so I want to add in a little bit of that green. So I had my turquoise here in some green. That was in my palette. So I'm mixing those together, adding more water. So it's a no. It's a bluish green, not a yellow green. I want to add that in a little bit nearer near the blue. So maybe not even a whole stripe. Not sure something like this. There you go. Just don't want very much of it can doing that sort of dry brush thing and letting an overlap a little, maybe even a little bit up here. It's because maybe a little more cloudy effect there and tough in that out a little bit. Sort of like that. Shift to the green there on that corner. So I'm going to add that a little bit down here. Just add a brushstroke or two, just a little Soften it and again with my tissue to make it that cloudy effect. Really like that cloudy effect. So now I see, um, really for my planet. I need I kind of feel like I need to work on this area some in a house, that purple, and it's so I think I'll go for some purple and really sort of lay in a lot of purple in that area and then soften it and then tap it. So I've got that nice, foggy effect there. I don't like this edge, so it's often that as well, and I'm going to actually take it Damn brushing lift a little bit of that color out there on the edge. I m just getting quite blurry. It's OK. Going to just lift a little more with my dry brush are my damp brush other. There we go, and then smooth that out a little bit with a little bit of it. Dropping a little more of this purple here in this cloudy area overlap that pink a little there over left pink, a little here and even the bottom and the top a little just to bring it sort of altogether and give you a nice, effective a cloudy planet. I think I see here I don't really like how this is super white, so I think I should go back and with another color, which I think I will just do again with e purple. Oh, that's quite dark. That's okay. And it's also kind of a dry brush. You notice I don't have a lot of water or pigment, and now I'm just adding a little bit more and kind of scrubbing it around just to add interest. Add overlap so you can really just see this. Things sort of blend together a little bit more with each other in that area. Nice, Nice. I really like that affected. So I'm going to leave that and actually think I'll do that A little down here is, well, sort of that dry brush dragging it across, sort of creating that nice texture that I'm getting there like that. Oh, locked at a little bit more deep, dark color in there and get a little more contrast. Also in here, it's just gonna pull that making this edge darker will draw your attention more towards the center. So that's what I'm doing is just adding a little bit more dark color here, not a lot, and also a purple, which will make your make it look like it's moving away from you so nicely done there. I think I like it. Now let's try and see how it looks. Okay, that dry really quickly. Now I'm going to pick up my moon. I don't want the colors there. So have a nice little moon. And I want that moon to be really dark like this. So what I'm going to do then, But I want to have that light ring around it. So it has, like, light coming from somewhere else, and it's really dark. So I'm going to go to my darkest purple, just like I did before, and a fairly dry brush. I don't want a lot of water on here and being a circle within my circle. Now, if you prefer, you can draw a perfect circle. But I feel like I feel like you can get a really nice solid area there. Many pickup also some of that really deep, dark, that blue that we used over and the other part of the painting I really like it. It's really working very well together for this. So I have a really dark moon there, and now you may want to let your moon dry before you do anything else. But I just want to soften the edges of this glow. Basically, I'm taking a clean brush, lightly damp and just making without touching the circle. So let it dry first. If you feel the need to I don't feel like you have to do right now. Just lifting some of that color and softening that edge and trying to be super, huh? For me? A super precise. Don't touch that moon. Don't touch it. You do not want, like I just did. You don't want that, Okay, But I'm sort of being impatient. So that's why I'm not waiting. Can I did it. I don't even know how I did at that time. I do love to pull color, so that's probably some of it. I just like to mix those colors like that, but I'm just trying to get rid of that hard edge that's there from my masks. Very careful here. Yeah. Now I'm OK, I think. Oh, no, I'm not okay with that. So very dry brush picking it up, cleaning it off. There we go. I'm okay with that. Really soft edge there. And now that I've picked up the extra pigment. If I would quit touching and I would do better. Okay, there we go. So we have a nice little moon. Weaver Planet never stars looking really nice. Now, if you wanted to, you can go in with a white gel pin you could root draw around your planet and add some just light there You could go in and draw stars in here can working on cleaning up this edge that I in my impatience made. I really am okay with it, though, because I just like, for my colors to all sort of blend together. But I just want a little bit of a glow from mind. You know, I don't know if that's realistic or not, but it's just what I'm what and so it's my painting, and I can do what I want to with it, right, Just like you can do what you want with your painting. I was thinking off of making, like, a little, very white area. I want to see if I can lift color from here and make a really light spot. So what I'm going to do is take it and put a drop of water right there. And it's from this little spray bottle, The little tip of it. Now, if you had a water drop or something, you could do that there and putting a nice little drop of water there. And I was just going to let it sit there for a minute. It's going to lift the pain a little bit as it sits. Pick it up. I can go in and to top it off. You see, I lifted up that pigment there If I want to, I can scrub out a little bit more within that drop. And I just have, like, a nice circular shape where I lifted out, lifted out the color. I like it. I'm gonna add a little bit more water and just to one more time just to pull that little bit more of the pigment from there. There we go. Let it sit again while sitting with a dry brush clean up my edge a little. Okay. That was looking really pretty nice of white. 17 years my tissue and picking up a nice white circular sort of circular area. Okay, now what I want to do from there is use a damp brush and pull out, and that will lift a little bit of the pigment. It may not be very obvious at first, but it will. And then I'm going to pick that up with my tissue, lift it up just a little. It didn't lift a lot, but it sort of for me, that's a nice little you know. Something is going on there. I don't quite know what I like that leave it toothy imagination that something is happening . There's something there. It's white, it's light. Maybe it's a star, you know? I don't know. But there's something there. Maybe it's a moon of some sort. There's a lot of things that could be okay, So I'm going to let this finish dry, and it's going to be time for the big reveal who? So here is a quick, an extra quick tip. When you're finishing a painting, you can't really see what it looks like if you have a lot going on in your space. So put a white piece of paper down in your space so that you can isolated. You could also use a mat to isolate it or anything, anything like that, but you want to isolate the painting so you can really see how it looks. So here we go. See, we have a nice clean edge without washi tape. It comes off really easily. Sometimes it sticks a little bit more, but it's warm right now because I just tried the painting. It comes right off. Nice, beautiful, clean edge. Use this out of the way and set this down with a nice white area around it so that you could really see what we have. So this is a beautiful and vibrant planet with a moon, possibly another moon or something going on there. Beautiful colors, Very vibrant, very imaginative. And I just really hope that you will try it. I can't wait to see all of your wonderful galaxy paintings. Your bookmarks. I'm just so excited. 12. Thank You and Project: So for this class for your project, I would love to see you paint some bookmarks A large finding you can put on your wall. I would like to see you practice lifting paint in the different ways with the brush or with the tissue. Are both practice wet, um wet, wet and dry in practice. Keeping that nice, wet edge as you paint. But most of all, most of all have fun. Do it because you love it. Experiment, Grow paint. Enjoy it. And I cannot wait to see your beautiful work in the project section. And remember, if you have any questions, I am very happy to answer in the discussion section, so please don't hesitate to ask and I will try and clarify anything that you need me to. Okay. Thank you so much for joining me for this watercolor galaxy paintings. And I will see you soon. 13. A Special Collaborative Project - The Creative Space Agency: introducing the Creative Space Agency. We are a team of skill. Share teachers from around the world who wondered what we could do if we got together and collaborated on a set of classes that shared a common theme out of space became our theme of choice. And so the Creative Space Agency was born. Now launched an available on skill. Sheer feel free to check out all of the following classes. So what's actually covered in each of these classes and the class? Let's design a rocket logo. Lindsay shows us how to practice in. Develop our victor skills by putting a flat design logo together on Adobe Illustrator Using illustrators shape. Build a toll. You'll learn how to make complicated shapes with ease. You will also learn how to a dimension and highlights to your logo, as well as mastering circular ticks to create your own amazing rocket logo and Diana's painter child on the moon class. Using watercolor, Diana will show us how to draw and paint acute and simple card of a child sleeping on the moon. It's the perfect painting for a gift or to put in your child's room, and Jessica's loose and lively watercolor galaxy class. Jessica will show us a range of watercolor techniques such as lifting, keeping a whited and using contact paper masking all while painting beautiful watercolor Galaxies. And Chris is create a space themed illustration class. Chris will show us how to turn a created pancake surface into a three D moon, paint a nebula and stares and combine all of the's images into one stunning illustration at the Creative Space Agency. We have had a lot of fun putting our classes to give her, and I hope you enjoy watching all of them and learning an awesome range of new skills. 14. Bonus: Painting Watercolor Texture for Chris Heath's Class: Let's handsome texture for a gaseous planet that we can use in our photo shop or affinity designing her software. So we're going to paint this just like we painted the planet in the class. Except we don't need the round shape. So I started wet and wet and laid down a nice, smooth, even amount of water. And then I started adding color in just literal stripes. I wanted this to go into the background, so it's going to be fuzzy. It's going to be just very little color, and it's going to flow out into into the water as I paint the stripes. Next, I'm going to drop in more color, have a nice deep mixture sort of me and value of blue that I'm dropping in right into the center of my strike and letting it flow out. I want to just deep in that color a little bit, but I want those edges to be really soft and light, so that's why I'm dropping it into the middle of the stripes now. I had some little puddles along the edge, and you can see the color was flowing out, so I just used thirsty brush to clean that up. And then I added in a feudal, swirling textures with the tip of my brush and things like that. Next, I wanted the really nice turquoise color, so on mixed that vibrant blue with a little bit of a blue green and created this really beautiful color. I just love this color, and I'm adding more stripes in the same way that we added the other stripes, dropping in more color, repeating the same process into the water that is already on my paper. So you can see here. The bottom of my paper had already dried, so I had to go back in and really soften the edges of that life strike that I put in. So now that I have all of these light colors on, I want to bring in the deeper, darker color. So I picked this dark sort of a Prussian blue color from my palate and also made some stripes of it. It's still going to be light at this point because I'm dropping it into a wet wash, but it just gives me a place where I'm going to really make that nice and deep in another layer. So once that's dry. It's time to add even more definite stripes, just like we did on our planet in the class. So I used laid down a nice stripe. But then I go back and soften it. I use the side of my brush to create some texture and created, and I repeat that for all of the colors. Of course, if you would like to, you can add in more colors this point. It's totally up to you. But I just wanted to repeat the colors that I had already used. And again you could see now that I'm darkening, that dark color that I added in, and now it's going to really punch it up. I also want to add it at the top. I just wanted to repeat those colors and again using the softening the edges, dragging the side of my brush along the painting to create that texture so you can continue adding layers to your painting, deepening the colors that you want to deep and reinforcing at because that you've chosen or even adding more colors until the stripes get to be a painting that you love and that you enjoy em. I would say to you. When you're adding the stripes, try and break the lines up a little bit. It helps if it's not like a solid line all the way across, but if it's broken up a little bit, it just adds more interest to your painting. So once you've finished your painting and you love it, then I would like to see you scan it and head over to Chris. He's class so he can teach you how to create a space themed illustration. With the watercolor that you created, we'll show you how to use it with affinity photo and create a nice planet texture. And it's just a beautiful illustration, so hope you'll go check it out. Leave your project in the project section until Chris that I said Hello. Okay, thanks for joining us, but by