Watercolor for Beginners: Japanese Patterns on Planets

1. Intro: Everybody, this is Mon, I'll come to myother skill sheet class. Now this time around we'll be painting Japanese pattern planets. The reason why I came across this class was because I remember the time I tried to paint in oils a Jupiter back in Beijing in 2019, and it didn't turn out the way I imagined it to be. I just thought the difficulties that I had with that was because I don't know. I just thought watercolor medium will just be the best way to go about it because it's so fluid. That's why I started painting some planets like I did right here, and then I just enjoyed so much of it. Then I thought, wait a minute, I could even layer on top of them with watercolor paint or acrylics or some metallic pens and play around creating Japanese patterns over them. Yeah, that's how I came about this class and I thought, Okay, then how can I personalize it? It feels like it's your own thing. I don't know if you came across this, but there's this very popular Japanese astrology called Lage. It's a six star astrology. Yeah. Basic and it's only in Japanese, but I will explain for those who love astrology, how you can look up your own and it'll tell you which planet is your sign and so forth. My husband will tell me that's tot bull crap, but I have a love and hate relationship with astrology sign. I just think it's fun at the end of the day. You can either do that, you can look up your sign or you can either choose one planet that you just love, or you can just paint the whole planets that I explain. So hope you enjoy the class. And sorry, I'm position in a weird place of the house because we're planning to move to Washington State out of Germany in a month or so. So yeah, this is the only spot that's not hectic. Okay. So basically, enough of me talking and let's get started. 2. Whats your planet?: I'd like to explain how you can look up your planet sign. First of all, when you go to the resources section, you will see this PDF file called six Star Astrology. You will click on that and download it to your computer. Once you open it, I have a short description of what Digits is and so forth. Then right here, the link to the Fortune telling is has this link. I have my birthday for the eight digits right here. You'll have to change this birthday to yours. It's the year, the month, and then the date. And then you'll finally copy the whole link and then search that online. And then it will pop direct you to what planet sign you are. And you'll have to see, look at this character right here, and then go back to the PDF file to find your own planet and then see in short what I wrote down for each planet sign. I kind of translated all this, so it's very short, but hope it helps. 3. Materials: I Okay Let's go over the materials that you would need. These materials will be able to be downloaded in the materials resources section. I'll have a material list right there. You'll need some erasers, a compass, a pencil, some watercolor brushes, I'll be using these four. Then you'll need a waterproof black pen. I'll be using this vapor castle one. Then the sacuda calligrapher pens, they're metallics, but they're really fun to use. If you have any metallic watercolor paint or same kind lying around, use those. Masking fluid. I love this drawing. It's very thin pointed, so I'll be using this. A white pen. I'll be using Jelly row by Sakura. If you have some paint brush holder, that's cool. I'll be using this cancen paper for sketching purposes like warm ups because they're cheaper. For the final project, I'll be using this B Hong Academy Watercolor paper pad. If you have cops hot press, it doesn't matter. Use anything that you are used to painting on. Then a ruler would be good. A paper towel to clean off your brushes, clean glass or jar of water, and then some watercolor paints and palette. That's all you need. 4. Warm up: Get started on the warm up. First of all, we will be looking over the basic watercolor techniques like wet on wet and wet on dry and mainly focus on working on circles because that's what our final project is going to be. First of all, before we begin, I want to make sure that the masking is ready to go once we finish all of this. Like it's completely dry. So let me go over. And one that I want to use this masking fluid, it's going to be a cloud effect. It's going to be a cloud Japanese pattern. So I will try to do that. I'm going to start getting this drawing gum out. Let's test it here. It's coming out. So it's going to be a curl mark. So just trying to focus on creating, like curls all around. I hope you can see it yes again. Okay, so that's good enough. Okay, so first, we're going to start off with the wet on wet techniques. There's quite a lot, and I'm a big fan of wet on wet. So we are going to water this entire area. And then we are going to immediately drop in a color onto this area. And just be mindful of the colors that you might want to use for your final project when you think about Saturn, Jupiter, Mercury, and so forth. So I will try to use blue here. So that's like putting laying down wet on wet. That's immediate reaction of the pigment on a wet surface. And then we are going to lay this down. And we're going to give it a bit of time to dry and as well as this one. We are going to wet that surface as well. And slightly damp. We're going to wait for these. This one, we're going to wet the surface and it says pull colors while wet and the other one is dots. Why I added this poll colors is because of the fact that Jupiter, you have to pull color that you lay down one. Say, I'm going to use this lavender color. You have to get a lot of pigment on your brush. And then you can kind of pull that color. You can't really see too much. I think I need to get a stronger pigment. Let's get the rows of ultramarine. What I mean is like pulling the color, like that. You kind of lay a color, and then you pull it around in different directions. And then for dots, we are going ops I forgot about this one. Okay. It started drying, and this one is slightly dap still, so I think I'll try to use the same color. So that one started to dry, and then this one is slightly damp. I mean, this is more wet than this one, so it kind of looks a bit different. Maybe it's the other way around, but you get the idea. This one is just out of control. It just spreads out so much. And then the next one, this is a lot of water. This is slightly damp, and this one is like spreading out even further. Then this one, which has started drying, so you can see the difference. And then dots. I want to create the dots, but I'll just add a bit of water. And then I will create dots. So you have to have quite a lot of pigment and less water because the surface is kind of wet, you don't need it to have water in order to push it through. So the next one, we're going to work wet on wet. Again, we're going to wet the surface. But we are going to be mindful creating a space right in the middle. So then we can connect it later. That's one wet surface and another semi circle wet surface. And I'm going to use maybe complimentaries for this and what I mean is the opposites. I'm going to put a purple at the top. And then I'm going to put a yellow at the bottom. And then I am going to connect. I think I need more of these colors. Okay. And then I am going to connect them right there. Okay. And then I think I So you can see how the pigment reacts together. Some are not as flowy, so to speak, as the other one, and some could be really strong in character. So you can see that here. I think the granulating purple that I use is not as strong as this one, so it kind of the yellow overtakes it, which usually is not the case. Yellow tends to be a les stronger pigment. But I think the yellow ochre, yellow ochre dominates the cobalt violet here. And the next, we're going to work on dry because we'll be layering two colors. Now, for this one, I want to use to give you an idea. I'm going to create a venous looking circle right here. And this may look not as vibrant right now, but you'll see how vibrant it can get later. M. So I'm working wet on dry. I've not added any water right there. Okay. So next, we are going to basically wet each of the surface, but once we wet it, we're going to tie it. So this would be after 1 minute of laying the water, we'll add a pigment. 2 minutes after laying the water, we're going to add pigment. 5 minutes later, we're going to add the pigment. So I will wet the surface. And I will t it. And kind of making sure that it's kind of like the same amount. Timer for 1 minute. I'm going to get ready with the color that I will use. I really love Smalt by Windsor Newton, so I'm going to make some pigment for this. And I know there's going to be tons of variable in terms of how much water you lay down, how much pigment to water ratio there is in near brush, but try to control that as as possible. Still waiting on that 1 minute. Okay. Is 1 minute. When I tilt my paper, it kind of moves relatively. I mean, it's super hot here in Munich today, so maybe it's not as a good example. But at least you know what it's like in your environment because everybody's climate is quite different. So I've wet that surface. Timer for 2 minutes. And I'll wait for that. But then I'll just add additional 3 minutes for that one. Okay. So while we're waiting, I am going to work on the blooms. So how do you get a bloom? We are first going to lay down a color. And then I am going to make a bloom. Well, the way you can make a bloom is by dropping in some clean water or another color of your choice. Um another color of your choice when it's starting to dry. This one, you have to be mindful by tilting the paper or looking it from a different angle so you can see the surface of the paper and it's not drying yet. It's drying from like the corners already. It's going to be 32 degrees here in Munich today, it's quite something. I am going to also do a salt experiment. This is not such a strong color, so let's I mean, Tundra isn't either, but maybe I'll get another color. Okay. And the salt also has, this is drying, so I'm going to add some water. I'm just going to add water there. I'm very busy. 2 minutes came up, so I'm going to add some water there. Tilt my paper. The same way I did. Then timer for 2 minutes and a half. I can do that one. And I'm going to add a bit of salt. I mean, bit of water here. It's almost drying, so I think it's good. Let me show you with a camera. You can see these bits right here are starting to dry. And I dropped in the water and it's creating those lovely blooms. For the one experimenting with salt, it's not quite dry yet. I want it when it has a slight like shear sheen. I don't know which word it is, but we'll wait for that. For the masking fluid, I believe it's al, so I am going to use a bit of blue. And then spread that around. Then add a darker blue rate there. And let that completely dry, then we can lift off the masking fluid. For the salt experiment, I think we can add it a bit where it's drying. He right there. Okay. And let that sit far. While. I think the five minute one should be going off any moment now. I don't think the timer was on. Okay. Let me ask. What's the timer at now? There are no timer set. Okay. Maybe I might have been a bit late, but you get the idea. It's quite different. And even if I tilt it, it's not going to move as much as the other ones. Okay. So basically, we're going to wait for the smalt and the maskine fluid to dry, and then I'll show you the results. They've completely dry now, so I'm going to rub off the salt. It's very subtle as the pigment that I use was quite subtle too, but you can see the lovely salt effects. Here. For the masking fluid, sometimes these gum ones that are very thin pointed are quite thin on applications. Sometimes they don't quit work as nice, but I think they've come up pretty good this time. I think my eraser wasn't as clean, so it's left a bit of the black mark, but sometimes those effect could look nice without it being too whitish, that's pretty good. Finally, I haven't forgot about the layering of two colors. This one's dry as well, so I like to layer quin gold, which is like a vibrant yellow to make it look shinier. Look at that. It's almost like layering another colored glass over another glass. Look at that. That is so pretty. Looks like venus now, don't you think? Yeah, that's pretty much it. You could even go some areas. You can go darker because I think the venous has darker areas like the moon. You could do that. You can even add a bit of black. So areas. There we're done with the warm ups. Now, let's get into the drawing of the Japanese patterns. 5. Planets and Patterns: Like to go over the Japanese patterns. For some of these like the Asanoha, and the Segaha, I've already explained it in detail in another class. So if you'd like to go into, using the rulers and the compass for these, then please check out that class. But otherwise, I'm just going to draw them by hand. So they're not going to be quite accurate. And then I'm also going to explain each of these in detail on the side of this video so you can have a grasp of what they mean on kimonos. But they basically good fortune. You always want to wear something that brings you luck. I'm going to first of all, just paint with watercolor, each of these like the ripeter the saturn, the venous, and so forth. Using watercolor, let it dry, and then we're going to be working on it with whatever pens or the metallic colors that we'll be using. Except, I'd like to start using the masking fluid for the acumo right here. I didn't have much space talk about bad planning. But I'm going to create a Wakumo. How you draw acumo usually depends. There are different kinds of acumo out there. But basically the idea is just drawing like a circular like a circular motion, and then almost like flowers like that, but they could have a bit of a tail. So that is vacuo. Sometimes they're also kind of like that, and then kind curly like that, even round like that, and then you get out a tail. So that's a acum. For the anus the tens, I chose the wam because ten means above the Yeah, above us. I thought Clouds, sky, that works idea wise. I am going to draw these right now. You might even want to use a pencil that might be nice just to get the outline of how you want them to look like. Then you can even group them up a bit. I'm going to stylize them later for the final, but I'm just trying to get the idea of how to draw them and for the composition, I'll be thinking about that later. I'm just making it clear for you to see what it looks like. Then I'm going to add masking fluid. This is also going to be a bit of a test for me because I've realized that I've realized that using the masking fluid on top of the pencils made them get muddy looking and quite dirty. You may not want to do that. I will see if I can cleanly erase it or it doesn't bug me when I do this. Testing right now. This testing will also be apart from drawing the patterns. It'll also be a good way to know your colors and see which planets suit a specific color that you may have with you. Keeping that in mind. Okay. So I'll let that dry. And first of all, I'm going to be working on Jupiter. So for this one, I am going to use my shadow violet, which I really love as well as I think I'll use seran, which I have here as well as this whitish color. Think that should do. First, I am going to let that surface at the top. You can look up pinterest to see what colors you'd like to use for the planets. They really got great references there for you to have a look, but I am going to use. This and then even doing that wet on wet technique. And then another Jupiters are quite fun. They're almost like marbles. I think watercolor is a great medium to get that feel out. Here I'm using John brilliant. It's a whole by color. It's a very opaque white big watercolor, but I like using that for the Jupiter. I'm the paint mingle with it together. I'm not doing any color mixing on my palette and then I'm going to use that serian blue. And pulling that color around. Then I'm going to let that sit and wait. That's it. Like the Jupiter is pretty straightforward. You can even add if you want more depth at the bottom, you can add a bit of that grayish color. But yeah, I just like how it looks like that. I'm going to leave that. For the Kiko, the Saturn. The reason, first of all, let me explain the reason why I chose Aha to do on top of the Jupiter and so for later on after I finished the whole planets first. For Saturn, as you know, they have this ring around it. Saturn is quite difficult with its color. I wasn't too sure what to do with it, but I thought, Hey, why not just go with fun colors of pinks and the yellows. So That's what I've chosen to do. And then just really randomly adding colors here. I'm using Rose Dora from Windsor and Newton that I really love. It's got this very beautiful vibrancy to it. Then I'm going to add a bit of maybe even orange. I'm just going crazy right here with colors, and then using Nick I don't know how you pronounce it, yellow as well. D Then a bit of sap green because I did see some greens in it, then again, some reds the rose dory then maybe adding that yellow again at the bottom. For this one, we're going to leave and for the ring, we'll be using the calligrapher metallic pens and the black ink pens because I just thought that's quite pretty. Yeah. Then for the venous, we are going to use the yellow. I'm going to use this tundra, orange, which is a yellow and a red mix, hence the name orange. But I'm also going to add this mahogany brown to some areas. Again, Tundra orange. This is going to be the one that you layer later with a very vibrant yellow if you have around. I think nickel azo should work as well, but I tend to like to use the quin gold. I don't like that greenness that az yellows have. Yeah, that's just my preference because I don't think there's any green on venous really. Then also adding a bit of that mahogany brown randomly Then I'm going to add this color called aps brown. It's got a bit of that blue black field to it just to get that separation going. We're going to layer that venus later on. Actually, I might even add a black pigment. Mars black. No, I don't like that. Okay. Even might create some blooms later. Okay, so this is for the Mars. I'm going to use a Phoenix basically later. But Mars, Let's get going and so first. I'm going to use that John brilliant again. It's a white opaque color that run around. Then I'm going to get volcano red by Schika. This is a great red to have. Reds don't come very granulating, apparently, but this one is super granulating. It's just amazing and I really love it. I'm going to use that piral like scarlet red. If you have a cad red, that'll be cool, you just want to get that redness going. Maybe even pulling it around randomly. Then like a dark red, almost like a bloody red color, would be as well. I'm adding it just to get some depth. That. I think I quite like it. I'll just leave it to that. Using tons of water is really important. I just love how it just moves randomly, intuitively without me doing much of the work. Then I'm going to give this urus a bit of time to dry. We're going to work on mercury right now. For Mercury, Yeah, I don't know. Maybe it's the name. Mercury. I always thought it was more like a blue color. I don't know why, but it's basically gray. Grays are not really fun when it comes to watercolor. First of all, I'll be using the Lapis brown. Lapis brown is from rockwall paints and it's a really beautiful color. You could also use something like hematite violet, which I love. It's the prima tex series from the Daniel Smith, but they tend to have a very interesting glow. This is hematite. It's really close to Lapis brown, but Lapis brown could give you more darker values. Yeah. But yeah, I don't know. I don't like that too much of a coldness to the gray. This one has a bit of warmth, and I don't know. That's just my preference. I tend to like it. I am interested in the Daniel Smith graphite gray. Seems like a really cool color to get. I'm still waiting until the time I arrive in the US. We'll be making a move to the US real soon. It's the end of July. Today is the last day of July, but we'll be moving in September to Seattle, the state of where Daniel Smith is, so that'll be cool. I'm going to add a bit of black Mars black, actually. Maybe I should have added there, but it's fine. Mars Black. Just for some fun, I'm going to add a bit of like lunar blue because it's more of that cool tone blue, black color. I think it should balance it a bit. I'm going to add more black here just to create that depth. I think I like it. It's going to be quite simple, but it's fine. For the uranus, I'm going to keep on trying to say it correctly. I don't know. It takes me back to those days at school when the boys used to make fun of how to pronounce this. Anyways. First, I'm going to use this lavender color right here. And then basically go over this area. Then again, the John brilliant whitish color Big color. She also had this color called the Naples Yellow, I believe it was, but that works as well. Something close enough. Then I'm going to use the lavender again come in there. Then well, actually French ultramarine blue, but ultramarine blues work as well. French ultramarine gets me more in terms of I just love this color because it's more granulating I feel and more intense in color. Okay. Then I'm going to get that lavender again, working my way around, use a lot of water, and then finally, I'm going to use that daterne deep, like deep rich blue. Then finally, they have a ring as well, so I'm going to wring it. I'm going to pull while it's wet like a small ring right there. Okay. That's it. I'm going to let that dry. These are the planets. We've got the base. I don't quite like the saturn right now, but maybe I need some job to do. I don't know. I'm not a big fan of bright colors, I suppose, but we'll let this dry and then we'll come back and then we'll start doing the Japanese patterns on top of. So now that they have tried, I want to go through each one drawing them. For the Jupiter, I've chose Asanoha. Jupiter has basically, this is my sign as well. But Jupiter being this word right here is Jupiter in Japanese, but basically it has the tree character. So Asaha is, like, basically hemp leaf. So I just thought, it's tree. It's a plant. It's kind of related. And plus, this is just my favorite pattern. So what else is there a reason to, like, you know, I had to choose this one for myself. So you can also choose whatever sign that comes up as yours, like, you can choose whatever pattern that you just feel connected to. It doesn't really matter. I just chose these because these are quite what I like in Japanese patterns, and they're pretty. So I just thought, Okay, I'll go with that. So for the Asanoha, I've already explained this in the different video. But the basic idea is, I'm just going to dry draw. Maybe I'll align them into these lines that already kind of exist. And I'm being quite rough here, but we're going to draw horizontal lines, and then we're going to draw a zig zag. This is another way of drawing the Asanoha, but you just draw a zig zag. Making sure it kind of connects with the top bit right there. I'm being quite rough here, so It's not quite perfect, actually, but h, it's quite wide here, oops. It's gonna not look as nice, but you get the idea. And then you draw like a circle in the middle of these triangles. And then you come down, you come to the side, you come down to the side. Again, top side side. There's a circle, top side, side. There's a circle, top, side, side, top, side, side. And then you just continue, and then it'll become like a star kind of shape. I think you kind of get the idea. And I've noticed that going stronger on the lines, like, say I'm going to go all strong on these lines, like the V V here, then it'll create like a different kind of look compared to if you go kind of like a dark value for a specific area. So for the final project, what I'm going to do is I'm going to create, like almost this a diamond shape. I'm going to create a diamond shape in the middle as if it's like the iris of an eye, and I'm going to create the Asanoh within that. That's my goal. Because I saw something on Petris, I'll show you that I quite loved, and I wanted to create that on this Jupiter. That's the idea. And then for the Kiko. So for Saturn, I chose Kiko Kiko is basically a toward toys shell. And I just thought because Saturn's lettering is Earth. Basically this is stand or Earth. And so it's kind of related to how they're grounded on the Earth in a good way, of course. So I've decided to choose Kiko for this. And so Kiko, very easy. It's basically a hexagon. So I think you know how to draw a hexagon. The, there, there. That's it. What I'm planning to do for this one is because I'll be drawing the outer lines using these calligraphy pen touch. That's my first. Then maybe I'm going over this quite loose right now, but just bear with me. I just love how There's many kind of lines right there, maybe even outside. And then maybe even the black a bit gives a modern look. I might not use it. I don't know. Then for the Kiko, I will' make it a bit slanted, so I'm just going to then I'm going to create a lot of the Hexa gos or the Kiko around the Saturn. And although they look quite random because hand drawn. I kind of like that effect. It gives it an organic look. I think. And then so I'm just going to doing that. And basically for these marks, I'm going to go over them with my calligraphy pen touch. And I will y, basically just draw them out like that. I might even not do the underlying sketches. It really depends. But Yeah. I don't know. I I don't quite Maybe it's the background, but I'm not really enjoying that very strong look of the gold on that. I know it's going to take me quite some time, but I might even decide to use like, something like a yellow ochre. With a Yeah, with these very thin liners. Hm. Actually, I might do that. So I will use yellow ochre to draw these hexagons. And maybe add in No. No, I don't think that quite does it. I think I'll just use the yellow ocher for most of these hexagons all over the saturn. Then basically I might add in that silver here and there, but I don't know. I might not, but that's the idea. For, for the venous, K means gold. Basically, co patterns are usually about fortune with money. That kind of fortune, so I just thought, it kind of fits it. So I've chosen Utoko. For the venus. It's basically fish scales, and they're kind of glittery, and venus is glittery, so and shiny and all that. Oh, I forgot to layer the quin gold over it. But Mm Okay, let's do that. I think it'll dry by the time. I'm just going very thin with the layer, and then let that dry, and then come back. See how it shines. It's so pretty. Maybe even at a bit of black. I'm still testing this, but Mm. No, I don't like that black. How about the Rose Dory? Mm. That might be kind of good. No, I'll just keep it with Quinld. Okay. And then I'll come over this venus later. And for the Mars, because this character right here means fire. Fire connected me with the pattern hole. Which is basically Phoenix. It's like, imaginary animal, but it kind of has its own meaning a fortune, like, second chance and so forth. So that's what I'm going to draw. So this one is not going to be like I didn't like that idea of having tons of phoenixes. I just want one single Phoenix. And in a very like oriental calligraphy style, Phoenix. So for this one, I will use a yellow ochre, For the Phoenix, and I'm going to just mark some areas and also laps brown. Think I is too much of that yellow ok there. Um Okay. So I want to get out that kind of like a hair, a beak. And then we even use cobalt blue. Now, actually, I'm using that as brown again. And coming in and then use a blue against Mm, maybe I wouldn't use the blue, really. And then coming down. There was a imagery on pines that I really loved. So I'll probably using that as a reference. And then blue. I'm thinking even coming down out of the planet would be really pretty. So I'll probably do that. The yellow Ochre again, even that oh brilliant. I smushed it too much. Yeah. But, being quite subtle. Oh, no. I'll probably do that one over again. It's kind of bring in that kind of feel of the beak. And the eyes. Okay. So that's the Phoenix. For the ur, I'll be think it's by now. I'm going to this off, see how it turned out. So I think I have to be careful for this as well, but I think this paper hasn't completely dried. Maybe that's why, but it has to completely dry in order to ops much my Phoenix. Completely dry to kind of come off completely. But, I think I had to wait a bit longer. It's not quite coming off as I wanted to. Or maybe it's that reason of using, like, a pencil beneath it. Okay. So I quite like that. That's really pretty. I think it turned out quite right. Oh, sorry, I forgot to mention. For the Asanoa, I'll be For the Asano Ha, I'll be using the gold Coligraphy, Inc, the pen, actually. Because I'm a hue advocate for gold. So it'll be like that. Okay. And for the last one is Mercury. So Mercury, because it has that letter water in it, I've decided to use the Segi ut, which is basically the pattern for the waves. It's basically blue. S waves. So I'm thinking about creating a pattern Actually, I'm thinking about creating a pattern vertically, right there. Just quite subtly. And then I am going to let's just say I'm going to make. So how you draw these patterns is make like a equal block. Make a equal block. And and then a curve. Oh, did I do that right? No, that's not right. The bottom in the bottom square, it should have, like, a different curve. So the curve will be there. And then Hm. Wait a minute. Oh, that's right. The same curve is fine. Make a mistake. So just let me do that over again. My head's quite somewhere right now. Okay, so for the final Sega ha, I am going to only do Like a vertical line of Segi hop. And basically, you're going to split it into equal squares as possible and basically create a curve, a curve, a curve, a curve. And then a curve a half curve, half curve, half curve. I guess it's a bit not equal square right here, but hopefully you get the idea. And then Okay. And then basically, these are can have multiple layers, depending on what kind of look you are going for. It can have multiple layers of these waves, or you can simply just make it as it is and not add any more layers, but here I am adding more layers. And then finally, for this one, I will be adding silver or silver blue wave. I might even just go with two, not too sure because of the tight spacing, but I'll decide on that in the final project. See how it looks. Okay. So that's kind of how it looks. Yeah, and I think the toco is not quite the venus is not quite dry yet, but I think I'll just try doing it. So how you draw toco is quite simple. It's basically a triangle. So just like a triangle in the pattern just means that's a toco. And the way that I want to do it is basically making it diagonal. And then having the triangles, almost like that sanoha. This part is a bit still. I will select few triangles, I think. I might erase some of them later. But basically, I'm going to have some gold. And the gold ones, I thought I'll have a double triangle inside. So go double triangle. And then also some silver. Oh, that's right. But I wanted the silver to be the opposite direction. I kind of want the silver to be downwards. But I don't know. I quite like that kind of I don't know. I might make it the same and even add some Not too sure. Actually, I think I'll go with the silver double triangle, and the gold will be just like a single. I think. But yeah. Okay, that's uroco I might even do a zigzag motion, but we'll see how that goes. I'll just think about the composition later. That's the overall examples of the patterns and how I'll paint the planets. I think we're ready for the final project. 6. Final Project- Painting Planets: I've all included the circles that I'll be doing in this one sheet. But you can always choose one and just do one planet. It doesn't really matter. Because I have to explain all of them and kind of show how I do it. I've put them all in one block. And some of these are going to get quite tight, but I like the randomness of them. And yeah, I'm just going to try working on them like this. Here I'm going to do the venus, Mars, Jupiter, Saturn, Mercury, and then uranus. First of all, I want to start with the left top. I'm going to work on the venus first. So let's get painting. I wrote venus like a small V right there. First of all, I'm going to use a bigger brush for this, and then we're going to work in with the Tundra orange. It's cooking here. It's getting really hot, so I don't know, my head's almost not like working. Yeah, I wonder what other color I used for this, but I think I'll go quite simple with the color scheme and just use this tundra because it's really looking pretty. I just had a water color workshop at my house here this weekend on Sunday. I mean, last weekend. Yeah, there was a student who said, basically, if like, a feedback of they'd rather have a scrapbook, or work on the paper that they'll be working for the final project as a warm up. But that kind of comes quite pricey. So I did give them some scrap papers of the same kind, but yeah, that's a good thing because now it kind of looks pretty on its own. I don't want to, like, work on it too much. Like, add any other color, so to speak. But yeah. Okay. And I'm going to let it do its magic and wait. I might even come in a bit more and create like a movement. Okay. So that's venus. And next, I'll work on the Saturn, which I wasn't too sure about. Quite tricky. I didn't quite like the colors that I used, but I know it's like kind of that yellow and pink. It's okay. I'll just use what I've used before. And it's kind of nice to be mindful of the circle line. Maybe you can try to create the planet inside of it, so then you can completely erase it later. Maybe I'll try using both titanium, actually. It might be less in your face. Yeah, quite like that. And then a bit of sap green dropping in. And if you create some movement with the bruroks, it's going to the pigments are going to move that way, so try to be mindful of that. A bit of red again. Maybe add it here as well. And then yellow. And then the buff titanium. Oh, I forgot to erase that S. Okay. And then some sap. And then the yellow again. Okay. I like that subtle t of this. I'm going to let that dry. Next, I'll be working on on Jupiter. So I'm going this is going to be a bit working on different zones, so to speak. I'm going to use this small tiny brush in But loads of water. And I'm trying to be mindful of that space leaving the pencil mark. And then John Brilliant. Let those two mingle and maybe even add a bit more of that shadow violet at the top to create more depth. Kind of wetting enough surface right here, so it doesn't dry out. And then I will go in the cerlian. Make a bit of up pulling of this color around. Maybe even add a bit of water. Okay. And then I am going in the shadow let again, but even making it a bit lighter toned, add more water. Kind of create that layer and then mingle it with the top. You got to work fast. Well, at least where I am. I might even add this color called Haze blue by Shinka just to give it a bit of fun. Lo to that. And then I will add Just enjoy mixing different colors. I mean, I have quite a lot of colors, but you don't have to have them in order to make them. It's just going to be more convenient if you do have it, so you don't have to mix it. But if you do want to create something similar, then I suggest you kind of create them on your palette before you start working on your planet. And then can I add that cereal in. And then the shadow violet. Again, right there to let it spread. Okay. I don't quite like this middle layer, but it's okay. I think I'll come into it later once it's totally dried. But I may even add that one brilliant a bit more because it's losing its whiteness. So to speak. Okay, and I'm moving next. So I'll be doing the mars next. We'll be adding the John brilliant again. First, around here. I should change brushes, and I should erase my M right there. So trying to keep it as wet as possible. And then I will come in with that rose Day color beautiful color. Maybe even get in a bit of that there. And then the scarlet kind of cad red color. And I am trying to be mindful of adding this very strong pigment away from where the phoenix might go because it can kind of clash and because it's very watercolor is so translucent. I you know, layering on top of a very strong pigment might not really work out as well. So work out as much. I mean, so trying to be mindful of that And then I am going to add a bit of lapis brown just to get a feel of planet look. Okay. And then I'm going to do the uranus right here. So, for this one, again, I'm using the drawn brilliant over the top. Gives that creamy Beautiful look. And then what color did I use? That's right, lavender. Kind of going over that area. And then French Tmarin. Letting it kind of flow into that area. It might even add a bit of more of that lavender a bit. And then finally, in, which is a very rich color. I'm trying to work relatively quick because things are drying quite fast here. Okay. And then finally, I'm going to create that ops, the ring. But when I do this, me just wipe that. When I do this, I want to be mindful of that space. I've created right here. So I am going to kind of maybe go over like that. So it's going to hit the mercury a bit, I think, actually, the san's going to be like that, so it's fine. Just go to create one. Right there. And that's enough. And then for the mercury, we're going to use the laps brown, maybe even the hematite, genuine. And then finally, I'm going to cover it a bit with that Mrs black from Schmka. So let's go. Like, for the warm up, I've kind of placed the segui hot. On the left. And maybe I might even make that area on the left hand side a bit darker. So then the silver metallics that I lay over later. Oh, no, I totally forgot to mask this. Oh, dear. I totally forgot. Okay. Well, that means we'll have to use acrylic instead. You can always use the masking fluid and don't make the same mistake as I did. To be honest, I don't use masking fluid as much. I really use like white acrylics. So maybe that's why I'm just used to it. Okay. And then what did I use? I thought I used something before to gift that Oh, yeah, lunar blue, that's right. But I'll use a bit of that black. And I don't want to get this to dried up. So I've used lapis brown, and I'm layering some black right now. And then I'll add that lunar blue as well. This is going to take time to dry. But it's fine. We've got it. I think this one's oops. It's not dried yet. We're going to let this dry a bit and then come back for whatever second layers we need to work on. Now they've dried. I am going over this first of all, I'm going to the pencil marks that are around each of these planets. And because I'm using hot press paper, the outside lines of the planets are going to be very visible. So you can see the edge of these planets are not quite like a perfect circle, but I tend to kind of like that imperfection. So I don't mind too much. But if you do mind it, then I would say you can go over it with like a pastel color pencil even or even with your thin liner brushes and work on the color that you've used in that area. But Yeah. Okay, so I am going over this with the quinac gold to kind of brighten it up. And I am going to stick with this color unlike what I did before. I am not going to experiment. I just love that color. Layered. On the top. L a dark bird there. Quite like that bloom that it had over on that top right, but it's covered now. Oh, well. It's kind of, like, a good thing to be mindful of what you want to keep and what you don't want to keep when you're layering as well. I forgot to be kind of mindful of that. As I'm layering, I just totally dismissed the showing the underneath layer in some areas. More visibly, without layering could create, like a wonderful look as well. Okay. So I'll leave that to dry. And then next, I will go over some of these that I think needs a bit of layering. I quite like the saturn actually. I like that subtle colors. But for the Jupiter, I think I could even add a bit. I looked back and realized that there was, like, like, like, orange area, brownish orange area in the middle to layer, so I'm going to add that right now. And then I'm going to add a bit of that. John, again, but maybe even kind of go over it with the cerrillan more. I don't know, I just don't like how it turned out as much, I suppose. Um, making sure it's what? And then I'm going to add I think. Yeah. That's much better. And then in to add that shadow, violet. A like that area that I have underneath. I'm not going to disturb that. Then I'm going to go very subtly like as if there's a layer right there underneath that brown. Then there is actually another layer of that orange that I was talking about. I'm just going to layer that area. Make it even darker. Okay. And then I will add that can blue zone. So to speak, and kind of kind of moving it around as well. And I am going to add that white. Okay. And then I'm going to add a bit of that. Dark. I think there's a bug needing my help. Anyways, clean. Okay. I think I kind of kind of didn't do a good job at that bottom. But we can probably clean it by layering over some of this later. So it's fine. For the Mars, I really don't want to change. I think it's good as it is, so I'm just going to that. For the urinus, I think it's good as well. I want to leave it. And then finally, this one, okay. This one has to wait for a while. So yeah, I think I'll leave it to try. Unless I don't mind it kind of coming in a bit. Like, you know, like planets like meeting together and just almost go to explode or something. Yeah. I think I kind of like that idea. Let's do it. So I'm going to go into the rockwall laps brown again. I don't want to disturb that area, though as much because I quite like how it looks. And just almost having, like, a clean brush. Not connecting it yet. But I thought for this one, I can kind of make it into a bitter circle. Okay. Okay. And finally, think I'll think I went too dark there. I've not come in too early. Like, too soon because I wanted to kind of ooze in rather than gush down in. Okay, so I'll leave this to dry. And then we're finally going to work on the final Japanese pattern layering with using pens and inks and even white acrylic for this one, unfortunately. 7. Final Project- Japanese Patterns: Come back and I've drawn. I mean, I kind of went in detail with this toco the saturn. But I drew everything pretty much, and I'm ready to go. So first of all, I like to go over the venus that I've done. And I'm going to use the metallic pens. And I decided to do the silver. For the triangle and the double triangle. I might even just color the inside, and then the outer layer of that opposite triangle, I'm going to leave. And then I'll do the gold, and for that, I'll be outlining these whole triangle. So I'm going to do the gold first. Okay. So I'm going over the gold, and I'm not too sure whether I will be basically going over the whole thing or not, but just going to randomly pick the triangles that I'll be covering. And for the pencil marks, I'll be erasing that later. Hm. The silver one. Silver one is to fill out that small triangle in the middle. And these are not complete in terms of size. I kind of went, like, a hand their hand drawn. I didn't use a ruler for the whole thing. I kind of like the randomness of that one. Hm. But I think I might cover up more of that silver. Mm. I think I'll go for the whole whole look actually. I'm trying to figure out which one I'm gonna cover. Maybe that one. Hm, I might cover the whole thing. See how that looks. Well, there's no turning back now, so, I might as well give it a go. Today I'm feeling quite tight with my paintings. I'm not in the right state. Oops. That's where it had that problem, I suppose. Oops. I made a mistake with that one. My sketch was not correct, Okay. I'm done with my. Uh I left the online. Okay. There's quite a few things I probably wouldn't have done. I thought I think like leaving it a bit alone, like a few areas would have looked better for that one, but it is what it is. I'll be erasing those lines later on. So I'll leave it as it is right now. And then next, I'll be working on the saturn. So for the Saturn, I've drawn a couple of ds, but basically, I've created a compass circle. So it'll be easy for me to create this hexagon. This time around, I'm going to use a very light yellow ochre and go in over. I think I think I could even use the same nick that I used at the bottom. Actually, I'll just say the yellow ochre. I think. That's okay for now, or even the Tundra orange that I've used for this one. Yes, that looks a bit better. Kind of light. No too saturate it. Then I'm going to create that the inner hexagon as well for some of these ones, not all of it. Hm. I'm forgetting my hexagon shape. I think I might even use the rose Dory that I use for the background in some areas. Even that green I think I'm going to end up coloring the whole thing, but some are going to try to make some of these very light in value, then it wouldn't look as strange when you cover dentally up. So basically, I'm mixing up the colors with what I've used in the background. So it still looks it's still got that cohesiveness. Oops, I made a mistake with that one. Just kind of blend it out. I like nothing happened. I must admit that I'm kind of running out of time right now. Yeah, I didn't think The drawing of these would take so much time, actually. It was like my miscalculation of, like, Oh, it's going to work. And I'm having a friend come over. Since it's quite hot, I thought we'll have a bit of a pool party in the balcony with my son. So I have to go pick him up a bit early. Today. Okay, I think I should stop talking as I'm forgetting my accident in shape. Okay. I think I'm done. Maybe I can color in that bit since I covered most of it. Oh, I want a lighter. Maybe. Okay. I think I I think it's okay. Okay, so we'll wait for that to dry before I do the ring around the saturn. And for the Asanoha, I already drew very lightly with a pencil. For this one, I will be using gold because that's one of my favorite color. And I did mention I'm going to do certain areas, but not sure. Like my head is not in the right place today, so it might change. I might use the silver actually to switch things up a bit. Oh Okay, so, hold on. Okay, so it kind of became a slanted version. I think I quite like it actually. I think I'll keep it like that. And next, we will be working on the Mars. Now, I've sketched the bird a bit. So let's start painting this. I'm going to use the bro a bit. Looking at my reference. It's got a tiny flick of the hair. Then it comes down and has that flick of the the beak. And then it's got a bit of a big cheek almost there. And then using a bit of orange. And I will use that same tundra. I used in other places for the other projects. Kind of winking it a bit. Then I am using Maybe I'll use the Lapis brown again for that wing. You make that bit a bit too big. Then And then I used to to drag him for this area. Even pulling it down. And then I will use some of the Maybe I'll use that red same bloody kind of look of red. Flicking a bit of tail right there. And then the same Rockwell Lap is brown. Even a bit thicker. Pull that in a bit. It's not too obvious. Even a bit of shadow violet. Be nice. And then shadow violet in this area where it's creating a bit of shadow. Maybe get rid of that. And then, again, the rock will lap us brown. Even the shadow violet. Pulling that it. Okay. Okay. I think that's good enough. And next, We will go into. Maybe we'll do the clouds. No. Let's do the Sega so I can move like this and work on this one at the end. I've painted a few already. I mean, I sketched out a few right here, and it's on a third of the circle. And then I will just this one, I'm going to take a bit of my time. And hopefully, L et me get a close up camera view so you can kind of follow if I get in the way of painting this. This is gonna be a very subtle work. In terms of color. I think it can do a bit of more strokes. Quite perfect. Okay. I think I'm done with that one. And then finally, we're going to work, actually, not finally, but we're going to work on this. The, the clouds. And since I forgot to use the masking fluid, we're going to use this white acrylic. Okay. So I've already sketched the clouds. H. I do prefer using white acrylics over masking fluids. I just feel like they give a like a crisp like they're more malleable because they can give you crisp edges or they can give you a look. C. The downside of using these white acrylic is that they tend to dry up really fast. So I have to wash my brush here and there, or else the paint just sticks and starts to not flow as much. What do we do what do Okay. So I'm done with that. And finally, for the saturn. We are going to erase all of this once. I think the Saturn turned out quite having that Japanesque kind of look. I think it might be the colors that I. Some of these can't quite come off. L et me use the s as sir. Hm. Strange. Some of these can't seem to come off anymore, but it's okay. Okay. So finally, we are going to create that like a ring. And I don't mind if it's a bit wobbly. But I think I went a to overboard right there, but it's Okay, so I'm done with the saturn. I think somehow something is missing. And I have a feeling that I could even go in with the metallic pens just to give it more a cohesive look. I think I'm ruining the work. Oh, no. I think I'm running the work. But I just can't stop. Oh, actually, okay. It looks fine. Oh Okay. And then finally, I'm going to erase this one as well. This one. And finally, this one. And I guess this one is dry as well. Okay. So I've completed overall thoughts. I, maybe I'll actually put I think having a line there kind of works more. But I hope I can get it straight. Okay. I managed it with a ruler. So, overall thoughts, I think Yeah, I think I don't quite like this one. I wish I had more space probably. I should have created more space between these. But overall, they're okay. This really looks extraly, like some kind of Japanese toy. Like a retro toy. So, maybe it's just I just don't like very vibrant color, so it might just be me. For the final finish, I think I'll even create a Japanese seal right here. Or should I create it here? I just feel like it's out of balance right now, so I'll just create one right there. I'll use like a scarlet, like a cadmium red sort of color. So I explain how to create your own Japanese seal in a different class. So if you like to do that as well, try to look up that class, c one. It's quite fun to do so. Okay, so I hope you enjoyed this class. 8. Final Thoughts: Thank you so much for taking this class. It really means a lot to me, and I hope you enjoyed creating these Japanese pattern planets. Now, final thoughts, I think I should have created each of these planets on a different watercolor paper, but I think I'll work on it digitally and see if I can just cut them out and how they look. If I do so, maybe I'll create more of these. But hope you enjoyed it, and don't forget to share your final projects. That's creating either one of the planets or creating all of them, creating two, three. Whatever you create, post them on the project section, I'd love to see what you can create. Until next class, see you by by.