Simple Galaxy Painting with 3D Mountain Crafting

1. Welcome to the Class: Look at the moon in the sky, not as a meal celestial body, but as a gateway to an infinite universe of possibilities and discoveries waiting to be explored. Just like the galaxies that surrounded. Hello everyone. I'm my sheet a barrier, a chartered accountant and an artist, as well as a creative business entrepreneur. To know more about me, you can follow me on Instagram under the handle, creating from the heart. Welcome to our new class on creating a stunning galaxy painting with 3D mountains using paper craft. In this class, we will explore the fascinating world of paper crafting and discover how to use this technique to create a unique and captivating galaxy painting. We will first dive into the galaxy painting itself, discussing how to create a stunning background using bold, vibrant colors. I'm cosmic effects. Do not be overwhelmed. If you are an absolute beginner with gouache or paper crafting. Through this class, I will first be guiding you through the basics about gouache. The properties, the blending, the layering with gouache. And then moving further, we will discuss the basic blending techniques you would require for painting this beautiful galaxy with the 3D effect. Before we dive into the techniques, I will even discuss with you the color tones that we will be using specifically for this class so that you can prepare your alternative color tones by following the color mixes that we will be discussing. I would move on to the basic blending and layering techniques to understand more in-depth about wash. Apart from that, I will discuss all the materials you would need through this easy class for creating in the beautiful 3D galaxy mountains. In this class, we will also learn how to create 3D mountains using paper craft and adding that extra layer of dimension and visual interests to our painting. This will require some cutting and gluing skills, but don't worry, I will guide you through the process step-by-step. By the end of this class, you will have created a beautiful galaxy painting with 3D mountains using paper craft that you can proudly display on your wall. So grab your scissors and let's get started. So without further ado, I will see you guys in to the next lesson of this class. 2. Materials you'll Need: So before we dive into the class project, Let's have a look at the materials that you would be needing. First of all, you would be needing a set of quash paints are watercolors. I'm going to be using in these quash colors from the brand flash pains. This is a set of 25 beans in a jar forms. You're not going to be using in all the colors. I'm majorly we going to using in the shades of blue, white, and a little tint of the black color. Now in case if you are someone who's not used to working with gouache, then you can use watercolors to create the galaxy. Next, I'm going to be using in these round brush from the brand Princeton Heritage Series size two and size ten. Size ten for adding the background and size two for details, you would be needing a jar of clean water. Do not worry, this is a messy water. After doing the painting. Next for painting, you would be needing a piece of paper for which I'm going to be using in this hundred 300 GSM or 25% cotton paper. Because since we are working with gouache and I guess this paper will be good enough for me to add in the details. If you want, you can go ahead and using 100% cotton paper if you're working with watercolors, apart from that, you will be needing additional paper for adding in the 3D mountain and creating in the craft work. I'm going to be using in this round shape cutoff for cutting the edges of the painting. Once we are done, adding in the galaxy. Apart from that, you would be needing some fine liners for creating in that line art mountain range. I will be using 0.10 point 3.0, 0.5 pens. You can use any fine liners so as to add in these liner details to the mountain range that we will be adding as a 3D effect to our galaxy. You will be needing in some pair of scissors and some regular stationary such as pencil erasers and some cutters to cut in these chips. And given the crafting details for this class. Now forgiving in the 3D details, you would be needing this double-sided form T, which will give in that 3D effect to your mountain as well as the moonscape. So make sure you have this tape with you. Otherwise, it will be very difficult to get into 3D effect to your mountain range, into the galaxy painting. I'm going to be adding in a quota as well to the galaxy for which I'll be using in the code sheet from our store. You can shop for this on our website, or you can just write down your own code and paste it here. So these are all the materials that you would be needing for this pretty simple class project. I will see you guys into the next lesson where we discussed the colors in depth. 3. Color Palette: Before we dive into the techniques, Let's have a look at the colors that we will be using for this class project. We are going to be using in the shades of blue for creating in the galaxy. So the first color that I will be using is the sky blue color. It's a pretty peaceful blue color. Now in case if you do not have this color, you can simply make senior civilian blue with a lot of fight Koch and you'll get a sky blue color. So this is the Palo that I will be beginning in the center space for creating in the lightest tone. Then I will move on to another tone of blue, which is the marine blue. Now, again, this is just a kind of a blend of the ultramarine blue with a little of civilian and white quash, giving it another basal tone of blue. So this is the second blue tone that I will be using closer to the sky blue color to give it the second darker color of the blue tone. After that, I'm going to be using in the Prussian blue color. Now again, you can go ahead with any dark blue color. So basically you have to use in four to five different tonal values of the blue color to create the galaxy from the lightest in the center towards moving darker side onto the edges. I'm going to be beginning in with the sky blue color in the center, moving to a little of the marine blue, then the Prussian blue. And then lastly, I'm going to be adding in black to my Prussian blue to get an indigo color. In case if you want you directly have an indigo color. You can directly go ahead using the indigo color instead of mixing in the plaque along with the Prussian blue color. Lastly, you would be needing in the black color, and then you would be needing in the white to create little lighter spots. So this time I'm going to be playing around with gouache in a little watery consistency to create a texture into the galaxy will be using this mic's off the crucial in blue and the black color to the edges here you can see are indigo tone, as I told you, you can either mix the colors together or directly using an indigo color as per availability in your color palette. And lastly, you will be needing in the white to create that texture in the center of the galaxy. So I've just washed out the white color as well. So these are the five colors that we are going to be using in a pretty simple one. Now say in case if you want to create a green galaxy, you can go ahead with four to five different tonal variations of green and then use Vi to create textures. And the stars like these, as we have created, do not worry. In the next lesson, I will be discussing with you all the techniques in detail. Now in case if you want, you can even use a little of the violet and the pinks along with the blue color to give it a little more depth to your galaxy. And given little textures in the center, you can add in a little bit of the violet and the pink along with white to create textures as we have created just with the white tones. But to keep it simple and easy to follow along, I'm just going to be using in the tones of blue for creating in the galaxy that texture and the effect. But in case if you want, you can go ahead using these different colors, even the yellow color for that matter, to give him little texture in the center space of the galaxy and create little highlight points. So these are all the colors that you would be needing to five colors, the light blue, medium blue, or dark blue, and indigo color and a little of the white to create the texture. So grab all these colors. And I will see you guys into the next lesson where we first discussed the basic techniques, of course and the basic technique for creating in this galaxy. And then we will move on step-by-step each lesson into creating in this beautiful galaxy for this class project. 4. Consistency of Gouache: Now, before we move on to the techniques for this specific class, let's discuss some very basic techniques about gouache. I'm going to be using in this pistol violet color to first make you understand the consistency, of course, the blending, the right consistency of water to be added, the smooth movement of gouache. So first let's directly pick up the color from the bottle and try to just spread it across and see how the consistency works. You can see it's too thick. You are getting in or little or blobs of the colors around and it's becoming quite difficult to spread across evenly. Now, I'm going to pick up a little of the color out onto this palette. I'm just going to add in a little extra water and let's see how this reacts. So you can see a little of the paper underneath becomes visible when you add an excess water. In the first layer, you can see the excess color around which was not blending in easily. And in the second one, you can see the color has become a little translucent because the fish the underneath what paper is visible under the paint. Now, let's go ahead, blend in the perfect consistency and see how smoothly it will spread across. I've just used in the previous layer of that we used in and two, that I've added in a little more of the paint and I'm blending it all well, making it into a smooth consistency. And now I'm going to begin spreading it out smoothly. You can see the paint begins to spread smoothly. There is no excess paint leaving onto the edges, plus the paper is not visible underneath the paint. This is the right consistency in which you're supposed to use in the course so as to maintain the opaque effect of the colors and so as to get in the perfect look off the panes. Now, let's understand where you need to use which kind of consistency. The thickest consistency you can use while adding in the details. And you know, but that is also to take and it may be very difficult. This second layer is too thin and it's translucent. And the third layer is the perfect one for blending. So this layer you can use for detailing, as we discussed, but it will still be difficult to blend. The second layer you can use for color blocking bile or you're just walking in with the color blocking method and you just want to block out the colors where which colors need to go in. So you can use this transparent layer and this perfectly ordering is perfect for blending. So every kind of the consistency that we have discussed has some pros and cons. The first one is difficult to blend. The second one is translucent and transparent layer that comes in. And the third one is easy because it gives you the perfect consistency for blending. The second layer, as we discussed, you can use for color blocking just lightly or to mark out your colors where which needs to go in the first layer, the third layer that we discussed as a perfect blending, the perfect consistency and the top layer you can use in for some detailing if needed. So this is about the consistency of gouache. Now in the next lesson we will discuss specific techniques related to the class project that we are going to be painting. So I will see you guys into the next lesson. 5. Basic Technique for Creating the Texture in Galaxy: So now let's go ahead and understand the techniques that we will be using for creating in the galaxy has discussed, we'll first ping beginning in with a light tone of blue in the center. And we'd be playing along with a little liquid consistency of the cause and treat it like a semi watercolor, then begin adding in the details. So for painting the background of the galaxy, I'm going to be using in this size ten round brush from the brand, for instance. It is from their heritage series. Since I'm using an almost five or six inch by six inch paper painting in the galaxy. That is the reason I'm going ahead with such a bigger size brush so that I can cover the space together. So to begin with, in the center, we're first going to be beginning in with this lighter tone. So you can see I'm playing along with a little liquidy consistency or little of the underneath paper is visible. Let me give you a closer view. Now you can see a little of the white sheet underneath visible. Let me swatch this color directly first and show you as well. So you can see the opaque consistency of the color is so thick and so dark that the underneath paper is not visible. The reason that we are going to go ahead with a little liquid consistency is if you can see we are going to create in the texture. We want the colors to flow into each other to get these natural textures with the flow of colors. For that, the colors have to be in a little liquidy consistency only then they will flow and float into each other and create that texture effect. If the color will be too thick, it will not flow. It will be very difficult to blend and get those texture. This is how I'm just going to quickly blend in and get it into a lighter tone consistency. We are going to be using in a very light tone in the center of this light blue color. Next, we'll move on to the next tone of blue, which is going to be the marine blue. Now, as I told you, these are just to paste or tones of blue, so you can simply mixing white along with the ultramarine blue, cobalt blue, and getting lighter tones of blue in the face of color theory. Now closer to it, I'm going to add in this next color, again in a little liquidy consistency. Now at this point you will see that the blending is not happening in naturally plus the color is not moving in. So I'm going to quickly pick up a damp brush, just move it at the meeting point of both the colors are using the same lighter color as we used in the between and run again in the center. And just given a little liquidy consistency, then in this way you will see that the colors will begin to flow into each other because of the little extra watery consistency, you can see how the colors are now beginning to float. So we are using gouache in a kind of a watercolor consistency, but not exactly what a color that is. We're not using it in too liquidy consistency. We want the opaque look as well as we want the flow and texture like watercolors. We're going to use this technique to create in all of these textures that you can see in the center spaces. Then moving towards the edges, we're going to keep moving onto the darker color. Using this liquidy consistency, we will keep rotating a paper in direction so as to get those blends and texture between the pains happening in smoothly. So same way on the edge like this, we are going to go ahead with the darker tone, then use the black color to create an indigo color mix of the Prussian blue and the black. And same way again, you can see at the meeting point of the lighter tone and the Prussian blue color, I'm just adding in little watery consistency, damp brush so that the color begins to flow into each other. And the texture begins to happen because of the liquid and flowing consistency of the paint. You can even drop a little of water like this so that the colors begin to flow. Now, we'll gently keep rotating a board. You can see how the colors begin to flow and begin to create in that texture, that ROI effect into the galaxy giving in that very natural texture effect. After all of these will dry out, it will have that opaque loop. But for getting in those blends and the texture we are using it in a liquidy consistency. Again, just giving you a closer view of all the textures that we are going to be creating in using in the floating consistency of the paint and keeping rotating our boats in different directions. So this was the basic technique to know about the blending for the galaxy. Now in the next lesson, we'll begin painting our galaxy first. 6. Painting the Galaxy: So let's begin painting our galaxies. So I have this paper cut. All the D is approximately six inch by seven inch. The paper size that I have selected. I'm going to go ahead and just given a little taping at the top because I'm going to be cutting the rest of the edges later on once we paid in the galaxy. If you want, you can take all four sides perfectly and then paint the galaxy. I'm just taping it at the top and bottom so that it does not move from the surface. And I will relate to cut all the edges and give each round shape. So let's begin with the colors that we have discussed to begin painting in the galaxy. From this set, I'm just picking up the tones of blue. And as we discussed, you can use the tones of violet, pink, yellow to give him little dip in the center space of the galaxy and creating little texture. But I'm going to be keeping it simple with different tonal values of blue. Beginning in with the sky blue color, we are going to play along with the liquid consistency, of course this time, yet to try and maintain an opaque layer. So you do not have to take the pain's a completely to a watercolor consistency, but you do not even have to keep them to take enough. So beginning in with the size ten brush, I've just dipped it in water and I'm going to begin in with the paint in the center space. I'm just going to directly begin adding in the color and begin adding on little water step-by-step as we move on to the next color. Also, you will see, I'm going ahead a little diagonally, a little tilted color tonal variation to create a little spiral look into the galaxy. Also remember, this galaxy may look very hard at certain parts while adding in. It may look as if it's not going to turn out pretty or beautiful, but believe me, when you reach the end of it, it will turn out very pretty than more than you expect it to. So I've just added in the next color. You can see how roughly I'm adding in the colors. I'm just going to go ahead and add in all the layer first layer of colors first, and then go on adding water, getting the paints a little flowy and blend into each other. So first began in with the sky blue, then the marine blue. Now moving ahead with a little bit of the cobalt blue color, ultramarine deep color, sorry. And after this, I'll move on to the Prussian blue and then adding a little bit of the black at this point also, you can see how loosely I'm adding in the paint, how bad at this point the entire composition is looking even the color layout, you can see how roughly I'm going ahead with, because I'm just going ahead and adding in the first layer of colors. Now from the center, I'm beginning in with the same layer of colors again so as to get the blends happening in. At this point also you will see the pins are not flowing well into each other. I'm just darkening the color after this now you can see I'm beginning to drop in the water so as to get the colors flowy and getting in the texture that the colors flow and float into each other. On the edges you can see I've gone ahead with very rough edges because as I told you, I'll be cutting this into an entire perfect shape, giving in the round edges to all the four corners. Now I'm just going to go ahead and play along with a little water on to these paints and keep getting them flowing into each other. I'm even going to add in a little bit of the black color to the edges to get in a little Indigo kind of a tint onto the edges specifically. At this point also you can see how the paints are added, how they are looking, such a rough look, such a rough pattern that is created does not look like a galaxy at all. Again, just moving ahead with the colors on the inside from the darker towards the lighter tones. Again, at this point also the blending looks ****. But to not funny, we are going to go ahead blend all of these. Begin creating the texture. To create that background effect, you need to keep moving, working on layers from darker to lighter, lighter to darker tones and keep adding in water because we also need to maintain consistency. That is the reason I'm going ahead with so many layers of the Payne's plus to get that flow and the texture effect into the galaxy, I'm using a little water to create the texture. So again, I've moved on into circular motions. I have kept an oval shape from the center space as you can see, and a little tilted as well. Now I'm just going to pick up little of the white paint as well and drop it in between. And then I'm going to go ahead and drop in a lot of water at certain spots and make the colors flow into each other. I've gone ahead diagonally and added in little of the white tint. Again, this at the point looks so VR and looks as if just terrible mistake of color layer that has dropped in, but do not worry, we'll blend all of these, get everything right. Now. I'm just picking up water on my brush and I'm dropping water at different spots and making the colors flow and float into each other and begin creating in the texture. You can see how I'm just dropping in the water and the white paints is beginning to flow in. Now I'm going to keep rotating my board in different angles. I'm not going to keep my boat in one specific direction, tilted for a long time because all the colors my flow towards that side, we want an equal flow of colors and all angles as well as texture is being created. You can see how using the water, I'm making the color move into the darker tones, creating indoors or you don't win kind of details forming in with the flow of color. Now on the edge, I'm again going to go ahead with that little darker tone because I feel the color is a little light on the edges. So going ahead with darker tones again and again, I will just drop in a little water and make the darker tones as well flow into the lighter colors. I'm just going to pick up very little tint of this violet color and drop it in between the Prussian blue color onto the edges to give little lighter effect on the edges as well. Now this violet column and not clearly be visible because I just, I'm using this to give him little lighter effect on in-between the Prussian blue color as well. Now again, in-between the white also, I've added little of the blue because I do not want a complete white patch in the center. I want a mix of little white, little blue, little white, little blue. So I have again added little of the lighter blue in the center space over the white as well. I'm giving him that lighter effect. I know you may be feeling what kind of a galaxy is this turning out into, but still just another two to 3 min. And you'll see the texture is being formed. Again, picked up little white added into the center of the blue color because I had covered up almost all of the white with the blue tone. Again. Now I will keep tilting my board in directions, but I'm first adding a layer of photon to the edges because my edges are turning a little dry. So just running a layer of water again so that everything dries equally. Otherwise, if the edges would be dry and the center would be where you may get in a lot of dry patches as well, which I do not want. Now I'm just plotting a little bit of the water you can see just splattered the water. Now you will see the colors forming in the texture. Because this platter, the water it is making the paints flow into each other. The darker colors moving over the lighter tones, the lighter tones moving towards the darker color, creating in those vain like textures. And you will see those fine lines forming and moving into the darker and the lighter tones. I've made sure my entire painting is wet. You can see I've made my edges also wet by running a **** brush onto the areas that we're trying out. Now, wherever you feel that the colors are still not flowing, you can just pick up water onto your brush and drop them. I'm just going to go ahead with a little off the white splatters as well, because I want to give it a little wider effects onto the darker spaces as well. Suggest using in the finite quotient and little liquidy consistency. I'm just going to splatter in a little off it into the galaxy while this is still wet. So some of these may begin acting in as the del star spaces. And some of these, you know, automatically bloom and create little lighter patches into the galaxy, giving a little more depth. Now before we let this to dry, I'm just going to move it a little more in all directions so that I get those darker colors moving into the center space, creating in that vein effect and the texture. I'm just dropping in water using in my brush so as to make the colors move, you can see how the colors smoothly flow. After this, we'll wait for this to dry. You can see these darker tones moving towards the center space, creating in that vein effect. It will give a beautiful view, beautiful natural texture to your Galaxy. I'm just dropping in little darker and very randomly in the center to make that color flow. Getting those vain effect, you can see just a little tinge of color, more of water. And the wind effect that is moving into the lighter tone, creating in that natural texture to the galaxy that glow with the lighter tones. So that is it. We are ready with the galaxy now, I'll let this dry settle down. I'm quite satisfied with these light last wins that have turned in. So we'll wait for this to dry and move on to the next lesson. 7. Crafting the Mountain: So now, by the time we let our galaxy dry around separately, we're going to go ahead and draw out the mountain range that we'll be adding in. Make sure that you let your Galaxy dry out nationally so that those beans come out as the perfect texture effect, giving him the natural look. Now I'm going ahead with a very rough pencil sketch for the mountain range first. And then I'm going to shift on today technical pens to give him the line art to the mountain range. I'm going ahead with a very random mountain range, but different heights in-betweens. You can go ahead with any shape of the mountain of your choice. You can even go ahead with two to three layers of the mountain, creating in more 3D effects to your mountain range. But to keep it simple, I'm going ahead with one mountain range and I have picked up all the three technical pens. Now, I'm first going to go ahead with the 0.5 nib. I'm begin the outline first and then for the inside line art, we will use the final ones. Now, this is just the first outline that I'm giving in after this, I'm going to begin darkening this up, giving, making it a little more broad. In case if you have bigger size spending, this is 0.80, 0.9, or one, or one MM completely. Then you can go ahead and use that directly to given this bold effect. Now first, I'm just giving it a little more inside lines to the mountain ranges as well, using the 0.5 nib. After this, I'm going to take in all of these lines that I'm adding right now. So at this point you can see I've added a lot of small, small sections into the mountain ranges. When we go ahead with the detailing of line art, we'll make sure to make all of these sections stand out with different kinds of line art in each of them keeping some of the spaces blank as well. So right now we're just marking out the outline creating in sections. Now I'm going to go ahead and begin broadening this app. So as I told you, if you have a vitamin pen, you can directly use that or a Marco, Whichever can give you a bowl detail quickly. But I'm going ahead with the 0.5 nib pen and just thickening up all of these lines that we have added so far for the line art we are going to be using in verifying Stokes and not these thick strokes. Also using this 0.5 nib pen, giving in this rough kind of thick texture, gives in a little more natural effect to the mountain range, to the liner that we are adding in. That is the reason I prefer using in the 0.5 nib pen rather than directly using a thicker pen, because this gives them a little more texture for the mountain as well. It may take a little time getting in these take edges, but it's very important so as to get the depth into the mountain range as well. Because if all the lines would be fine, then there would be no distinction. And the liner would look a very basic one so as to give him the depth into the mountain range as well and showing little or you know, that differentiation in the thicker areas, the smaller areas that we are going to add in the liner. It's important to go with these thick lines. Also in the galaxy as we have those fine lines to give him the texture these lines are acting in as detection the mountain range with those tick and fine lines later on with the liner that we'll be adding in those fine lines as well. So I'm almost through giving in these darker edges. I know it is time-consuming, but believe me at the end, the 3D effect that this mountain range lie not will give him, will be voted to go ahead and slowly do not give up and not rush with the details. Make sure to have so many sections so as to have in those liner because we're not going to be adding in line not to each of these. Some of these will be living in so as to give him that depth to the mountain range as well. So it's important to have multiple sections so that you can show a variation of all the liner as well as the empty spaces. So I'll just quickly finish adding up these into the last spaces here. And then in the next lesson we'll move on to the depth of the lineup in-between these lines that we've created, we are ready with the base layer. In the next lesson, let's begin adding in the lineup. 8. Adding Details to the Mountain: Now that we are ready with the outline for the mountain change, Let's quickly begin adding in the details of the line art for that I'm going to be using in 0.1 and 0.3 pen. So I'm first going to beginning with the leftmost side here and begin adding in very simple lines closer to each other. I'm using the 0.1 nip pen and adding in very fine lines close to each other to create that effect onto the mountain range with the line art. Now, in between, if you want, you can go ahead and tilting the lines as well. I'm going ahead with one pattern your, then onto the next part, we'll go ahead with a different movement for the lines. I'm done adding in the details onto this first part. Now I leave the biggest space in between and move on to the third gap here. Now this side you can see I'm moving diagonally towards the other side and adding in similar kind of line strokes very closer to each other. To create these beautiful line are details onto the mountain range. Make sure that you add these lines, get closer to each other so that it gives you that effect and does not look like an empty space. Again, I've left one space in-between and moving to the next cab. This time I'm moving other way diagonally from the top left to the bottom right and adding in very fine lines close to each other. Again, you can see every movement of the line in every patch. We are going ahead with a different movement, giving in that detail to the line art. Now I'm going to go ahead quickly add in the other details onto the wrist part of the mountain ranges as well. So now you can see we've given in the texture towards the shadow parts of the mountain chains. So basically these areas, I wanted to keep them darker to show the shadow effect falling onto the parts. And the lighter parts are going to be the lighter mountain ranges onto the lighter parts as well. We'll give him very simple dot lines at places Given little texture to those mountains as well. So that is why I had asked you to create a mountain range with a lot of patchwork so that you can show in these shadow details like adding in these liner to actin as the texture. Now into the rest of these spaces which we have left in white, I'm going to go ahead and add in very simple dotted kind of work here. And it's going to be very light and not too dark enough. So I'm going to use in the 0.3 nib pen for this because it's going to be very limited. So you can see how loosely I'm pulling out these dotted lines here, make sure you do not go overboard. These light spaces. I want to show these as the lighter mountain range and wherein the you, the glowing effect of the galaxy is falling in the rest of the mountain spaces where we've added the complete line art. It's going to be the shadow space basically, through the help of the liner details we are trying to depict in that. Now randomly at certain spaces. I'm just going ahead with some overdue lines to give it a little more texture to the line art. We are ready with the mountain range. Now quickly onto this left corner, your eye will quickly mark out the moon as well because I have this space here so I can use this paper itself. I'm just going to add in a very small crescent kind of ammonia. So you can go ahead with the full moon, half-moon or crescent moon. It's absolutely your choice in any shape or size that you wish to. So it's the same V as I went ahead with the mountain range, I'm just darkening the edges for the moon as well. And into the moon. I'm not going to add in the liner. I'm going to keep it simple white. But in case if you want, you can go ahead and create a little texture using in the stippling art into the moon to create some texture effect onto the moon as well. Now, while cutting these out, we're going to keep a very fine white margin as well. See approximately of two MM that will keep him roughly keeping in a white border so that these black outline stand out much better off with the details that we've added in. Now using a very smallest size scissor, I'm beginning to cut this out in the shape that we've mapped out. You can see I'm keeping a very fine white border, crossed a mountain range even across the moon. I'm going to keep that small white lines. Also you can see I'm putting the mountain in the shape that we've added, the black outlines. So a little crooked lines that I'm trying to cut in here so as to maintain the aesthetics of the mountains as well. I'll quickly go ahead and chop this off and then even cut the moon in a similar pattern. So I'm almost through the cutting of the mountain range at the top, at the bottom as well, you can see there is extra white line which is there, which I'm going to cut it off as well, because I do not want that extra white-space to be there. So I will quickly cut this off your as well using an a because is that because it's just a small straight line that asked to cut in your. Now in the same we're keeping that white margin. I'm quickly cutting off the moon as well here. Now, if the mountain range will be bigger, while I stick onto the galaxy, I will chop off the edges as well so as to fit into the size. Now, I will quickly cut the moon and then in the next lesson, we will move on to adding in the star details into the galaxy. Before we add in these 3D mountains and the coats onto our final painting. So you can see a pretty moon is also ready here as well. Make sure to keep those white margins so that they stand out with the black details that we've created. Now we'll move on to the next lesson wherein alphas adding the details to the Galaxy. And then we will add in the 3D detail. 9. Adding Details to the Galaxy: Now let's begin adding in the details into the galaxy so you can see the texture after it is all dried out. The water that we use to move the colors into each other. Now, I'm just going to pick up a little of the white quash out here separately to begin adding in the stars into a galaxy. So first I will begin splattering a little of the stars using the white gouache. Now at this step, make sure you do not add a lot of water to your white gouache because we need an opaque look to the stars. So make sure you pick up the gouache in a little thicker consistency so that it's easier to splatter as well as after splashing, it stays in the opaque look. I'm using a smaller size brush for splattering so that I do not have a lot of them all together at one place. You can see I'm moving my brush in all directions quickly so that I do not have all the stars picked up at one place. Now let's begin creating in some glowing spaces. I'm just going to go ahead and add in smaller dots of the white color first. And then I'm going to blend all of these into the background to create the glowing spaces for the glowing stars in case if you've been following me on Skillshare for quite awhile, you would be knowing this technique for creating in the background glowing spaces for stars, moons into your galaxy or night sky and other lights and so on. So I'm quickly adding in some bigger white dots as you can see, I'm now using a damp brush. I will begin blending these into the background and create a dull white small circle, two, which we will add in the shining star effect once they dry out. So now you can see just using a damp brush, I'm learning these white spots into the background, toning them down. And one Steven dry, we will add the glowing star into the center of the spaces. So I'm quickly done adding, creating in the background for the glowing star spaces, you can see them as the dull white patches. Now when you begin adding in the glowing star, you just have to add a very bold small white dots into the center of this space so that the background space is still visible and act as the growing space. So now using the white quash, I'm going to begin adding in the glowing spaces. So just into the center of these you can see I'm dropping in these white dots. You can see how quickly the background double-spaced begins to act as the glue behind the stars. That is how you can use this technique even for adding in the moon, some fireflies into your forest painting and stars into your galaxies and night skies. Now along with the glowing stars, I'm just going ahead with some shining star details. I'm just using the tip of the brush and the white gouache to add in these details. I'm not going to be adding in a lot of these, just a little of this. I'm absolutely in love with the texture of the galaxy that has come in. The wind texture you can see off the darker colors moving towards the center space. And I want that to be the highlight into the painting along with the craft work that we're doing good. So I'm just adding in some smallest stars of the shining details here. Now, I'm going to quickly go ahead and add in a few more of the glowing stars wherever I feel the space is looking a little empty. So that is, I always tell you that do not add a lot of any kind of detail altogether. Goes step-by-step. So first I added a few of the stars, then added in some glowing stars, then went ahead with some shining stars. And now I feel I need a few more of the thicker star. So I just went ahead with some thicker gold stars. You can see those white dots that we've added in. We are ready with the painting of the galaxy. So now I'm just going to remove in this masking tape and I'm going to first cut the galaxy on all the four edges so that we can begin pasting our 3D mountain effect. Make sure that everything is dry before you begin the cutting thing. I'm quickly going to just go ahead and giving a rough pencil mark, or I am directly going to use enough cutter to cut these pieces now makes sure everything is dry, otherwise it will get lifted onto the scale or the series of whichever method you would be using in making sure that I cut them into straight perfect lines. I'm going to quickly go ahead and cut in from all the four edges. That extra whitespaces. If you're not confident about cutting these directly without any markings, and I would recommend you to first have a rough pencil mark so that you do not cut excess of the painting, otherwise it mid-tone too small. So I'm making sure that I have a unit of account about where and how I'm going ahead with. Now I will quickly cut out this last side and then I will go ahead using the round corner punch and punch all of the four corners and give them a curved edge. Then in the next lesson, we will move on to the final details of pasting everything creating in that 3D effect. Just another five to 6 min to create the beautiful outcome that we're looking for and have been working on to. I hope you guys have enjoyed painting your own galaxies and I hope you guys would have experimented with different colors as well. So now I'm going to first go ahead just adding a few more stars which have just caught or because of my hand touching on to them. I'm quickly going to add those glowing stars again. And then in the next lesson we will add on the final details into this painting. Before that, I will wait for all of the stars to dry completely now. 10. Creating the Magic: So now my galaxy is completely dried, even the edges are completely dried. So using the round cutter, I'm using the round ten MM side and I'm cutting out all the four edges. You can see how quickly it gives him. Those are very smooth and neat. Go finish to the painting. If you want, you can cut them manually as well. But since I have a cutter, I'm using that. Now the mountain range is looking a little bigger compared to the size of the galaxy that I have in hand. So I'm going to paste this and then cut the extra edges. So for pasting, as we discussed, make sure to use in this form double-sided tape so that it gives a little elevated look and creates in that 3D effect to your mountain range. So I've just pasted it and I'm going to go ahead and cut it into small pieces and paste on the top as well. Make sure that you paste the masking tape, I'm sorry, the double-sided tape in such a way that it is not visible outside the white paper once you've pasted. That is a reason I'm cutting them into small pieces and adding them into the shape of the mountain. They're now on the edges. As I told you, I'm going to be cutting off the excess. So I've kept very minimal glue on the edges for now, if needed, we'll add it later on. Now it's onto you how you want to place it. You want to cut all of Texas from one side or cut equally from both the sides. So I'm going to place it in the center and give little drop-offs from both the sides after pasting this. Now make sure when you add this, you do not press it a lot. Otherwise the form may settle out completely and we not give that 3D effect and it mid-tone too thin. Now on the edges, as I told you, I'm just cutting them into the shape of the paper very carefully. Make sure that you're not cut in excess or cut the galaxy as well. Now using the same form tape, I'm going to add in a small piece of the form onto the moon as well to give the moon as well elevated look. Now, make sure again, this is all to smallest size so that this white tape does not be visible after you paste the moon, you need to go and very carefully now as we discussed, you can go ahead with a different size of the moon if you want. You can go ahead with a full moon, half-moon or crescent moon like this. Or even adding a little of the stippling details onto the Moon. I've pasted the moon as well. Now, let's go ahead and add in a code to this before we are ready to see our final painting. So far, the code I'm going to use in this off-white color sticker sheet because it will pop out quite well on to the blue color galaxy that we have. And plus it will go well with the color combination of the mountain range that we've gone ahead with. I'm going to paste it completely out here. And the code reads as everything you can imagine is really absolutely Just like the galaxies that we feel that never exist, but they do exist. Ngo. So everything that you imagine you need you want is possible. And Israel. Now in case if you want, you can go ahead and add in little more 3D elements to the galaxy as well. So say e.g. you can cut out butterflies. So I have this bunch of a butterfly as well, which will give me a small butterfly. I'm just using a white sheet and just going to punch it out like this. And in the back of it, I will have a very small butterflies silhouette of the white color. So in this way, if you want, you can go ahead with black butterfly silicates are white silicates or any other color for that matter. And just fold it into half and add it into your galaxy and create a little 3D effect with other elements as well. This is just for sample that I'm showing you. I'm not going to be adding these. That is the reason I'm just keeping it to your and showing it to you. You want you can add into two-three bunch of these as well. So now yours, a closer look at our 3D galaxy mountain painting. I hope you guys have enjoyed painting this beautiful one, a pretty simple one, Justin, like half an hour with all the craft and the creativity that we've gone ahead with. As well as a little off the line art. I'm just going to add in little more detail of the line art here and given little more detail here. Because since we cut the edges, I feel that this white gap is looking a little extra. So just adding in little more detail quickly here. So here's a closer view. In the next lesson, I will give you a further detail view of the painting that we've created. 11. Thank you for Joining: Thank you so much for joining me into this class and painting along with me. I hope you guys have enjoyed creating in this beautiful 3D galaxy with a lineup mountain range. I hope to see all of your creations into the project section of this class. And also if you liked this class, make sure to drop a review so that it can reach maximum students. And I will see you guys soon into my next Skillshare class. Till then keep creating and thank you so much for joining in.