Hello everybody, how are you all doing today?
Thanks for joining me in the class.
Today we're going to be doing an astronaut,
so it's going to be quite an interesting
class.
It's going to be a very creative class,
so if you like getting those creative juices
going and trying new things, this is definitely
the class for you.
Even I don't know what this painting is
going to look like in the end of
the day.
What I can show you is what inspired
this class, so let's start with that, and
then we'll take it from there.
So a while ago, I was experimenting with
acrylic pour paintings, and I poured some out
onto a canvas.
It obviously initially goes out in a circle,
and I thought, wow, that looks like a
planet.
So what I did was I took a
canvas like this, and I masked it off
with some masking tape so that the pour
couldn't spread where it wanted to go, and
then I did a pour, and then I
did a little astronaut scene, and they've turned
out to be quite popular, these paintings.
So I've done, I did a whole series
of them.
So these are two that are, that I've
kept for myself, which are sitting by my
PlayStation.
So I thought, well, we'll do something similar
today.
We won't be doing any acrylic pour though,
we'll be doing just straight off painting, but
we'll experiment with a few different things and
see what we, what we're going to do
to make our planet look cool.
And obviously, the scene won't look 100%
like this, but it's going to be the
sort of the same concept.
All right, so this is a 12 by
16 inch canvas, which is roughly 400 by
300 millimeters.
I'm going to be painting in acrylic so
that I can dry off the layers, but
you can paint in, will paint as well,
because it's the same process.
You'll just have to stop once the, once
you've done the whole background layer, and then
wait to, to add your, your final astronaut
in, in the end of the day.
Otherwise, the techniques are going to be the
same.
So if you do want to know how
to do the acrylic pour, there's plenty of
videos that show you how to do that
on, on YouTube.
They're a dime a dozen.
So what I was thinking today, I was
maybe using some larger, a larger figure, you
know, maybe something like this size, as opposed
to a large planet with a, with a
small astronaut.
Maybe this time we'll push the planet a
little bit more to the side and feature
the astronaut a little bit larger.
So I found this off nasa.gov. Let
me see if I can show that for
you.
They're a really cool website.
Let's go to here.
They have a really cool website, images.nasa
.gov. And there you can go and search.
They've made all, almost all the images copyright
free, and you're free to use them.
So you can go and search for images,
videos, even sound.
So what I did there was I searched
for an astronaut, just so we can have
something to reference from.
And I got to this picture over here,
which is Ed White on his, on America's
first spacewalk, first ever spacewalk.
So that little gadget he's holding in his
hand, there is a, like a, what would
you call it?
Like a little jetpack, a little mini handheld
jetpack thingy with jiggy that he was using
to propel himself outwards and then back to
the, to the craft.
And then obviously he didn't have the tether
on him as well.
So he didn't accidentally fly, float away into
space.
So we're going to use that just as
a, as a bit of a, a template
for the astronaut, just that we've got some
figures that we, a figure that we can
like reference from, because I know it makes
it easier for you.
Another option that you can do is you
can use something like this.
So this is just a little figurine that
I got off bestartshop.com.
They're not cheap, but they're accurate as far
as the actual proportions are concerned.
And the, the, the figurine can fit into
all sorts of different positions, you know, so
you can maybe have something like that.
They even got different hands that you can
plug in and out.
So you can now use that to, um,
to adjust your figurine to whatever shape that
you want to whatever, and then just use
this to get your, to get your proportions
drawn out.
So that's quite handy.
But anyway, we'll work on this guy from
this guy today.
So I've just done another one like this,
because on this photo, they've cut off the
foot.
So I did just add the foot in
there, just very lightly with pencil.
So let me, let me, let me, let
me, let me, let me, let me, let
me, I just eyeballed my own little foot
in there that I figured would look in
proportion.
So now we're going to play around a
little bit and see how we're going to
put the, put the astronaut down.
So on the original photo, it's obviously standing
like this, which is almost in a position
that you'd expect to see somebody.
And now we, we're in space.
So we don't want that.
That's, that's boring.
In space, you can hang in all sorts
of different angles and stuff.
So I was thinking maybe we could, we
can put the astronauts sort of hanging around
at, at that kind of an angle, and
then we'll put a planet in, in this
vicinity over here.
So the astronauts on a, on a third,
and then we've got a bit of white
space here on the other third, and then
some, some planet over there.
So I haven't unwrapped the canvas yet.
It's still got the, that plastic that it
comes wrapped in with, and that's going to
allow us to just play around a little
bit.
So on the, the other artworks that I've
been doing, what I've done is I've just
taken a really long string and just extended
it out here, way past the canvas, and
then attached a pencil to it, and then
just drew a line with that.
So it gave you a nice, perfect little
radius like that for your planet.
So we can do that.
Another option is, let's get a piece of
paper towel and some water, let's turf that.
So I'm just using a, just a whiteboard
marker here to play around a little bit.
The other option is maybe having a, just
a small planet over there, which is an
option, is, you know, now you've got the,
the astronaut closer and the planet a bit
further.
So it's just hanging around in space.
So that's a nice option as well.
And then maybe you can have the planet
more, just sort of peeping out there.
So it's, you can see is, it just
gives you a sense of distance, you know,
that is hanging in space, almost like you've
got on that original photograph.
And you see you've got the, a bit
of earth floating around in the distance.
So of those three ideas, which one did
you like the most?
Did you like the, the parallel, the circle,
or the partial?
Let me know in the chat box.
We will do the, the one that's the
one that was most popular.
What we'll do for these, the planet, is
we'll, we'll experiment a little bit and do
different things and see which one is going
to give us a nice little, a nice
little effect.
So Annie's saying she likes the parallel option.
So to experiment like that, what I'll usually
do is just take a, just a scrap
piece of paper or an old canvas or
something like that.
So what I do have here today isn't
just an old, old canvas.
So there's, there's several ways of coming up
with a planet.
You've got, straight up, you can use one
of the existing planets.
And that's NASA website I had a minute
ago.
I'd searched for some planets over there, and
let's go back to that website.
So I did search for, what did I
search for their planets?
So they've got all the photos that they've
taken of planets, including stuff like this, which
is actually the moon, but it's now taken
in like infrared or whatever.
So it essentially is giving you an imaginary
planet as you go, you know, already.
So it looks something completely different, but then
there's also other websites that generate you a,
your own little planet.
So let's go to this one over here,
which I found, which is the zarkonin.h
.io forward slash planet generator.
So this is pretty cool.
Every time you, you, you refresh the page,
it gives you a new planet with a
new, even description and stuff with it.
So let's refresh there.
So now you've got this guy, you got
that guy.
So that's quite nice.
It also helps you sort of get those
creative juices flowing between that and between that.
I quite like this.
That's quite nice with all those different colors.
And I also like that with all the,
all the blues in it, you know, it
gives you ideas for, for different colors and
so on.
All right.
So let's go back to the, let's go
back to the canvas.
And I'll give you a few ideas of
what you can do to, to get some
different textures and so on.
So one thing that you can do is
let's just paint.
Let's maybe use that blue planet that we
saw this one.
We saw this planet here on, on the
NASA website, which is hub.
It says Hubble finds a true blue planet.
So it's a, it's a real place.
I'm assuming it's like a gas giant or
something like that.
I'm not sure.
Yeah.
It says a gas giant.
So let's maybe use that guy as a,
as a bit of a, as a bit
of an inspiration.
So what we can do is let me
pop him just small down in the corner.
Let's chuck him over there.
Then we will play around over here.
So there you'd maybe have something that's a
bit of a darker background, let's say maybe
some blue.
So this is just a scrap canvas.
You can see it's, I've used it for
experiments before, and I've just painted a bit
of white over it for today.
And let's just cover up an area with,
with the blue.
So what I'm going to do is just
sort of play with a reference.
So it makes it easier for you to
visualize what I'm seeing in my head.
But obviously you go ahead and do all
sorts of ideas just straight up in your
head.
All right, so let's dry that off and
then we can cover it with different things
to see what kind of planet textures can
we get.
Cool.
I think what we should do is let's
maybe just, we'll split this up into like
three, three or four pieces.
We do different things.
So one way is let's take just a
piece of paper and let's crumple this paper
up.
Because what we want to do now is
make random marks.
So now you've got to just, all sorts
of random angles and stuff.
So often I'll even just crumple it up,
open it up, and then crumple it in
once or twice more to get even finer
little wrinkles and crinkles inside that paper.
So now whatever I paint is definitely going
to be very random.
So let's pop down the palette over there
and let's maybe put down some, well let's
start off getting some, let's get some white
because we do need to make whatever we're
using lighter.
So we'll put down some white and for
now we'll just stick with the ultramarine.
That's fine.
Let's get some ultramarine there.
So I'll start off with white, add ultramarine
to it.
Maybe like a 50-50 kind of mix
for now.
Just that you've got a nice contrast over
there that you can, that you can work
with.
So whatever you put down is visible.
So I'll spray this paint out like this.
I said we've got a nice area to
pick up paint with.
So let's see.
So far Bill, Rene, Eugenia, I'm getting quite
a few The Partial Planet suggestions.
So it seems like that's the winner at
this stage.
Let me just scrunch this up and I'm
going to dab it inside the paint.
And look there, you've got all this random
bits of paint which you can pop down
and build up yourself a nice little texture
over there.
I'm quite liking that to be honest.
And maybe your planet is round, right?
So you've got, when things are round, let's
see if we can, let's see if we
can show that.
Let's take, let's take a piece of paper
and let's just draw a grid onto that.
Then you can see what happens when something
is round how it affects the perspective of
the things that you see.
So let's just do really rough little, trying
to get them reasonably parallel to each other.
So we've got little squares like that.
So check what happens when that planet rounds
off.
So let's do that.
And here, the squares that are looking towards
you, or the objects that are looking towards
you are full size.
As you start looking at it from the
side, they sort of squash up like this.
And the guys that are looking from that
side become even more and more squashed till
eventually, if you look at it completely from
the side, it's just a little, just a
little line.
So we can maybe use that, this here
to, let's take that and you put maybe
lots here on the edge of the planet
and then less as you come in.
So that'll also give you maybe a bit
of a rounding.
So you've got more space between the, the
marks and then less space between the marks.
So that's a, that's a nice little option,
that paper over there.
So I'll put him one side.
The other thing I've got, I just found
lying around the studio was some, some of
this non-slip.
So maybe I'll just cut off a little
piece of that.
Let's maybe just hold him like that.
Let's dip that in the paint.
Let's see what kind of marks does this
give.
So that's also quite cool.
Hey, you maybe do the same kind of
thing.
Let's maybe do multiple dots over here and
then less as we come in.
And that also gives you a nice little
random texture.
There's obviously nothing stopping us from using multiple
of those.
So let's put him one side.
I like that.
And then just to really be as random
as I possibly could, I picked a mint
leaf out to the garden.
It's a thing for him.
You won't be able to press hard on
him.
So let's just take some water and then
we, we thin down this paint a bit
more.
So now we can dab that in there
and make marks with this.
And look there, that's giving you a completely
different, different texture.
And it's also really nice.
I like that.
It's like a, a rocky kind of effect.
Hey, very similar to that.
Very similar to that.
But maybe suggesting a piece of sponge.
Yes.
Like a, um, especially like a sea sponge
would work well with the same.
So there we go.
We've got, you know, three different ideas and
there's other things you can do.
Obviously.
What about some, you can use maybe some
texture paste if you've got, if you've got
that.
So this is, this is just, uh, the
whole fella that you're using around the house
to fill up cracks or little holes and
stuff in the wall.
And you can use texture gel obviously.
That will also work because when you, you
paint, you paint a background and then you
paint the texture gel and because texture gel
goes on a different thicknesses, then whatever paint
you're painting over it will give you different
colors.
So you can maybe just take, I don't
think lots of texture gel with this, just
a little bit of texture paste, I should
say.
And you can maybe just paint, paint little
pieces like this.
So now when somebody is looking at your,
at your planet, they're going to have little
bits that are higher and lower than, than,
than others.
And you'll just dry that off and you
paint over it.
I'm not going to, don't think I'm going
to dry this guy off today.
It's going to take a few minutes, take
a good four or five minutes.
I'll leave him to air dry or pop
him in the sun and then we'll play
around with it.
So of these three textures here, which one
did you like the most?
Or do you think we should maybe use
a combination of them?
Yeah, what the hell?
We'll use, we'll use all of them.
Let's do that.
Just for, what the heck?
At worst my, my painting's going to smell
good with the mint.
I think for now I'm going to dump
those overlays.
We've got now an idea of what we
want to do.
So let's, let's, let's do it.
So we've got a partial planet and we've
got astronaut floating in the air and we've
decided on blue.
All righty, so Bill's saying a partial from
the top left corner.
So like sort of running down there like
that.
That's a possibility.
The only concern I would have with that
Bill is, let's take a look at that.
If we put our astronaut hanging at that
angle and then we put a partial planet
hanging at that angle, they're, they're quite parallel.
And if we do it like this, it's
a bit more, um, if we do it
that way, it's, can you see that?
It's a, it looks a bit more random
and, and that's the kind of look that
we want to get here because in space
things aren't, you know, you're on earth, everything's
upright and so on.
And in space things are floating.
You want to get that floating effect.
If, if you did it maybe, you know,
parallel like that or at quite a, even
this, it's even more.
Yeah, no, I think it's better this way.
I think it's better this way than you
have that, that randomness.
All right, cool.
So I'm just going to use a, just
a pencil.
So I've got a watercolor pencil that I
use.
Let me see, what can I use to
make a, a radius?
Here I've got a nice long ruler with
a hole in it.
So I can, I put my pencil there
and, and if I hang on to the
back of the ruler, I keep that steady.
That'll give a, a nice pivot point.
Let's do it like that.
All right, we'll do the, the, the actual
figure itself right at the end after we've
done the background.
All right, so let's start working on this.
So first thing I'm going to do is,
you'd probably be okay because you're going to
be painting that black, but I'm just going
to be prudent and, and mask it off.
So I just use some masking tape.
And the way I go mask off a
rounding is you'll stick it down until it's,
because your masking tape is not straight, right?
So you stick it down and it's going
to eventually start going away from the line.
So there it starts going away from the
line.
I put my finger down and then I
bend or give a, put a little kink
into that masking tape at that spot over
there.
So the way I'm sticking this down is,
can you see this back piece of the
masking tape is still standing upright?
And that's allowing me to get this rounding
because that's upright over there.
So you do get little kinks in the
masking tape here on this edge that you,
that you are sticking down.
But if you press them down hard enough,
then you won't get, you won't get a
bleeding in underneath it.
So there you go.
Now I've taken a straight piece of masking
tape and that's given us a nice, a
nice mask.
So now you've got half of this masking
tape is stuck down perfectly, but the rest
of it, look what's happened.
It's all curled up.
So I'll just give it a little snip
here and there and then you can stick
that down.
So it's just half of it is, has
been snipped and this leading edge of ours
is still perfectly, perfectly flat.
Great.
All right, so let's get that.
Yeah, I think I'll just use a, just
a soft full bit like this.
Okay, so Annie is confirming that this is
what she meant as well.
Partial parallel.
Cool.
So we're doing what everybody wanted and that's
great.
This is what I was hoping you would
say as well.
So I'm happy.
I'm going to just give it a really
a thin layer.
The ultramarine does tend to be quite transparent.
It's not a, it's not in a paint
colour.
So you're not going to get perfect coverage
using it.
And now as I get to this masking
tape edge here, I'm going to run along
the edge.
I'm not going to go like this because
then you're going to squeeze some paint under
any little kinks that, that we had, do
have.
But luckily with this, it doesn't matter if
it's got some of the canvas still shining
through because, well, look what we're doing.
We're, we're creating crazy texture on the thing
anyway.
All right, cool.
So I think I'm going to dry that
off.
Maybe I'll even just use a bunch of
little crisscrosses and stuff to really start getting
some, um, some texture in there.
So we'll leave that guy in that.
Let's nuke him with a, with a hairdryer.
He's 90% dry.
Good enough.
Alrighty.
So I think we're going to put in
more than one texture in this, you know,
using our different thingies that we've got.
So let's use different colours or different tones
of, of the blue.
So let's maybe head over to the palette
just for a second.
Hi Skygazer, welcome.
This sounds like just the class for you.
Okay.
I'm going to get my painting knife.
And let's mix because we've now got that.
So let's take this guy and let's get
some more, more blue into it.
So it is not quite as light as
the previous one.
Okay.
So I'm checking between there and there.
Make sure I've got a good contrast.
Let's take that and let's get that other
original colour that we mixed in the beginning.
Let's get that.
I don't think we need too much paint.
It's just a little area on the, on
the canvas.
That should be good.
So again, I'm checking, do I have a
good contrast between there and there?
What do you think?
Should we maybe add a, just an extra
little colour, maybe like a, like a green
or something, just little touches of it.
I don't think anything too, too excessively bright.
We want the, we want the planet to
be there, but it's just really for positioning
of the, of the astronaut.
The astronaut is the, is the hero in
this painting.
So let's play around a little bit.
Let's maybe take some of this, some of
that, and let's see what it gives us.
If it's a nice colour or the yucky
colour.
If I hold that there with a canvas,
it's, it's, it's quite dark, but Minnie's suggesting
touches of pale orange.
Now that's a damn good suggestion, right?
Because we've got opposite colours.
That's brilliant.
You're a genius.
So let's do that.
Definitely better than the green, eh?
So for the green, I was thinking like
complementary, so that doesn't stand out too much,
but yeah, let's be bold.
Why not?
Let's see what it looks like.
So we'll take white.
Where can we put it over there?
It's a pale orange, just a little bit
of orange in there like this.
Let's check that out.
Yeah, let's go for it.
Why not?
If you want to see wild and wonderful,
you're going to look for the images that
have been taken by the Hubble telescope.
And there you'll see that any combination is
possible.
Cool.
So let's maybe take, let's take this and
use this.
So then it becomes like an, maybe it's
like lights on the planet.
So let's maybe not put it everywhere.
Maybe there's like a darker area on this
planet.
So we'll leave that over there.
So there's not so much over there.
Maybe here's a bit of a city.
So we'll add some more in that area
over there.
Cool.
I've promptly lost, oh there it is.
I thought I lost my, my mint leaf.
Where's the paper?
I'll just crumple this paper up again.
Create a new, a new look on him.
Maybe like that.
And let's go for the darker version of
this.
Let's see how that, how that stands out.
Yeah, it's starting to give a little bit
of texture there.
Not too, too visible.
I mean, definitely we'll have to play around
a bit more of that.
So I think what I'm going to do,
let's use an, one more lighter color.
Let's take this.
We add some more white into that for
one more lighter version.
Then we'll use this with the, with the
mint leaf.
Okay, so let's re-crumple this guy so
that we don't paint the same patterns again.
Now it's now new patterns for the new
color.
Yeah, this is now starting to stand out
a bit better, right?
Better contrasts.
Another way the guys make really good looking
planets is with spray paint.
Yeah, let's do that.
And maybe even a darker version, just for
some really darks in between.
Let's take some Payne's gray and let's work
that into the, into the
ultramarine to get a super, super dark blue.
Maybe we can use this guy again, or
use the back of him.
Let's crumple him up this time.
So I
think this here, I'm going to put more
on this outside edge, like that.
And then let's put the lightest one on
that inner edge over there.
And that'll give us a bit of a,
a bit of a rounding.
Cynthia's saying maybe we could dip the paint
tube cap in a contrasting paint and dab
some craters in for interest.
Yeah, why not?
Let's do that.
So this is fully experimental today.
This is an experimental artwork.
And now there's obviously nothing stopping you from
picking up the brush and adding details in
as well.
Okay, let's go for some more of this.
Just seems to be missing that little bit
of a in between color over there.
Between the light and the dark.
There's certainly a lovely texture now here already.
That's for sure.
All right, so I'm going to use the,
let's say, take this orange.
We have a few little random, random marks
in there.
Sometimes just the edge of them, and sometimes
the whole thing.
All right, let's maybe take a brush.
Let's pick up some of the lighter color.
So now I'll maybe take the reference photo
again for a bit of, just for a
bit of inspiration again.
And maybe, you see you've got a few
little dots and things, you know, maybe extend
that out.
Annie's saying craters and rivers.
So here we go.
Let's add maybe a few little craters and
rivers in here.
And I'm using whatever marks that, that there
are as, as inspiration for, for what I'm
doing here.
Maybe there around that little orange crater there's
a, there's a big lake surrounding it.
I don't want to go too much in
there.
Otherwise you lose the rounding.
You do want it light on the one
side and dark on the other side.
And let's now add some extra little, little
things.
It's starting to look like a bit of
a, a bit of a more rocky planet,
almost like the, a colorful moon.
So now this, this stuff that I'm doing
now here would have worked great if you
had some texture pies done, because then now
you could have let the, the paint scrape
onto the edges of those, on the edges
of the texture paint.
And I quite like the little city effect.
Let's maybe, while we add it, let's take
a few dashes of yellow just for some
contrast.
So I'll take a, just a fine liner
and let's add a few little brighter patches.
It's not showing up.
So I'll take some white into the yellow.
Let's get it even brighter.
Yeah.
You can even maybe suggest like city streets
by putting these guys in, in a, in
a bit of a, a bit more of
a pattern.
I mean, here's a smaller little city area
over here.
So we had some random dabs and dashes
in there.
Yeah.
Alrighty.
Let's take off the masking tape and see
where we're at.
I think that's going to be quite a,
quite a nice looking planet.
Once we add in the, the background.
Cool bananas.
Let's turf that guy.
So now you can block in this here
with, with a black, you can use Payne's
grey, Mars black, Lamb black, any one of
those guys.
I bought some black 3.0 the other
day, which is really, really black.
Maybe I can show you just the paint
from the experiment that I did.
There's a separate video.
Yeah.
You can, you can see me actually doing
the experiment.
Just give me a second.
I'll find that for you.
So it's really a dull black.
There's, there's no reflection and stuff off the
paint.
So that makes it ideal for a painting
like this.
This is the, be careful I don't put
my, this on that nice planet we've painted
there.
So this was that experiment that I did.
So there's Mars black, Payne's grey, carbon, mixing
black with your three primers and mixing black
using raw umber and French ultramarine.
And this is the black 3.0. Look
at that beautiful dead dull black.
If I do this, can you see there's
no reflection of it?
So I thought, what the heck?
I've got the paint today.
We might as well use it.
You just use whatever black you've got.
I promise you the other ones were done
that I showed you the beginning of the
class.
We're done using, uh, just Payne's grey.
It looks like he needs a good old
shake up.
Your acrylic paint, just like the oil paint
does separate a little bit when you, when
you don't use it for a while.
That's better.
So I'm just going to chuck a bunch
down there and I'll use a nice big
brush and spread it out.
And that way it'll go nice and quick.
So I'm going to be proactive because we're
going to be doing splatter and stuff now
for the, for the stars.
So I think let's be proactive and, uh,
just put some, spread this.
I've got some scrap paper underneath the, underneath
the artwork today, just to protect the table
so that by the time we're finished with
the artwork, we're not all full of paint.
So I'm going to spread this out here
to the edges and over the edge, not
quite up to the planet at this, at
this point, just going to avoid him.
So obviously when you do your painting, use
your own creativity and create your own planets,
your own colors, your own design, go crazy.
Maybe give it a smoky look, you know,
to make it look like a gas giant,
like Saturn or something like that.
All right.
So, so that's the worst of this covered,
but now this is a big brush.
You can't, you can't get to that edge
over there properly and accurately.
So I'm just going to pop him down
there and go over to a, a finer
brush, just a bit of soft, a full,
soft, full bit, pick up a bit of
paint on the brush, just so there's some
paint on him and I will carefully get
that edging right.
Because now remember this edge that we've got
here is a perfect radius.
So we don't want to turf that perfect
radius.
Otherwise you end up with these little flat
edges and stuff.
And then your planet doesn't look realistic.
Looks like he's got a dent in him.
It should be okay if you're painting a,
if he's a, if he's an asteroid, they
come with all sorts of kinks and dents
and funny shapes there.
Cool.
Now I'm going to take this, or you
can use your big brush and just get
all these strokes in the same direction.
That also helps to flatten out the color.
So as you go, depending on how much
paint you originally put down, you may have
too much.
So just scoop off the excess or wipe
off the excess of the brush so that
you don't end up with big blobs because
we're going to have to dry this off
shortly.
And the thicker the paint, the longer it's
going to take to dry.
Okay.
It looks like we're done with that guy.
He's, he's done his thing so we can
chuck him in the water.
There, at the top, we've got quite a
bit of excess paint.
So and I'm coming right up as close
as I can to the planet without going
over it.
I don't know.
I just find doing these lines horizontally works
best for, for the space because it just
gives you that flat expanse.
That's great.
It's looking good.
Got quite a bit of excess paint at
the top.
So just going to get rid of that
so it doesn't take so long to dry.
All right.
So I'm going to zap this guy with
a hairdryer, not necessarily to dry all the,
the sky or the, or the space part,
just to dry off the, the planet, because
we're going to have to mask him off
now.
So concentrate on here and getting that dry.
So with a black 3-pound oil, they
do always suggest that you add a second
coat and I can see there are still
a few little, now that it's dry and
that sheen has disappeared, the, the, the glossiness,
I can see there are little places where
there's still some, some of the canvas visible.
So I'll give him a quick second coat
and that's fine.
I'm quite happy with the planet.
Look, it's looking really awesome, but I'm going
to just lighten up that very edge over
there just to make him round off.
And now you can also, it's a great
time if you want to give him a
little bit of a glow as well, you
know, maybe there's a, an ozone layer or
something like that.
So you can give the, the planet that
kind of a glow as well.
Look what happened to my brush.
Yeah, I think he's had it.
So I'm going to take just a soft
full bit and some of the lightest blue
that we used.
I think I'm going to just turn this
canvas that way for a minute, make it
easier to judge the edge.
If you don't want to go over the
edge, well, I don't anyway, maybe you do,
and I'm not going to fill up everything.
It's not going to become a line, but
just here and there, I'm going to just
like almost a glaze, just glaze some of
this in here just to lighten up that
edge a bit more.
That's going to give a better rounding on
this planet.
So some areas I'll add some more and
some areas I'll add less and so on.
So that doesn't become solid, must all be
all nice and random.
Okay, now just a bit of a glaze.
Can you see how it's rounded off?
Let's maybe add a little bit of a,
an ozone layer over there.
So just a tiny amount of paint that's
left on the brush.
Just going over the line and it's just
catching the tips of the, the weave of
the canvas.
Just catching that little bit of that texture,
gives you a bit of a, a bit
of a haziness there.
Alrighty, let's try a different brush that will
hopefully not fall apart on us.
Let's give this a second coat, but because
he's already got one coat, you don't need
to use half the amount of paint that
you used the previous time.
Just a tiny amount like that is going
to be enough this time.
So I think what I'm going to do
is just do the, the worst areas, because
a lot of it will now disappear as
far as when you're getting your, your splatter
and stuff is in.
Just give it a really quick little light
coat.
There we go, I'm not seeing any, any
marks anymore.
Okay, let's dry that off quickly.
That's enough.
It's not perfectly dry, but it's good enough
for now.
So now what we got to do is
add some stars into the sky.
So that's quite an easy process, but it's
a messy process.
Let's head back to the palette and let's
go and get ourselves some, let's go and
get ourselves some stars.
So we, for now, we're mostly done with
all these blues.
So I'm going to take them, let's just
put them all to the side.
Doesn't mean we, we won't need them at
all, because I do have an idea in
my head already of where I'm going to
need some more.
So I'll just pop them on side for
now.
I know they're easy to mix, it's just
blue and white, but you've already mixed it.
So let's get rid of the worst of
that.
Yeah, I think we can actually add a
few random orange stars in there.
So let's maybe just turf the worst of
this over here.
So what I'm doing is just mopping up,
or sort of dissolving the paint that's lying
there.
Now we can come with other other sheets
of paper towel and mop up what we've
dissolved.
It doesn't need to be perfectly clean because
we're going to have all sorts of different
colors going on, you know, anyway, but just
the worst of that blue.
Get rid of that, then we'll be good
to go.
All right, we're definitely going to need some,
some white.
I put a fair amount of white over
there.
So SkyGaze is saying the black 3.0
is the, the black is black, and it
absorbs almost all the light.
It's something like 95%, something ridiculous like that.
There are other paints that do claim to
be darker and absorb a bit more light,
but I'll be honest with you, this one
works as dark as you can get it.
As you'd ever want it.
Any, any more percentage darker is not going
to make any huge difference.
All right, so let's take white and a
bit of yellow.
We definitely get yellow stars.
So that'll be cool.
Not too bright, just like a pale yellow,
just off white.
And then let's take maybe a bit
of orange.
That's, that's too, that's too bright.
These colors must be just off white.
Not, not too intense.
Maybe a touch of green as
well.
Great.
So now when we do the splatter, we
don't want to be splattering on our, on
our beautiful planet over there.
So what I'm going to do is I'm
going to just mask him off, including that
little, or no, I think we'll, we'll do
it right onto the planet.
Doesn't matter about that little ozone layer piece,
because it's supposed to be like transparent anyway.
So if you have a, a little bit
of stars shining through in between them, that's
fine.
It'll be natural.
It'll probably just add to the, to the
transparent effect.
Great.
So I've got that edge over there.
Okay.
Now the quickest way, I may as well
just gently stick that down.
Don't stick it on too hard because that
paint is still, it hasn't cured.
You don't want to lift it off.
So now I'm just going to take a
piece of paper and I can see that
masking tape through the paper.
So I'm going to do that so I
can create myself a mask.
So this does need to be accurate because
it just needs to lie on top of
the, the masking tape.
As long as it ends up covering over
the masking tape, you're, you're, you're A for
away.
So that's that.
Okay.
So let's just stick him down at places,
just enough places that you know that there's
no splatter is going to zip in underneath.
This one
there.
And I can also see just the tiniest
bit of canvas sticking out still over there.
Great.
So to create splatter, what you need is
really, really thin paint.
So I'm actually going to take just a
dropper and I think I'll just use just
this, any, any brittle hair brush will do
the trick.
Add lots of paint, water.
I'm going to add lots of water into
there.
It must be thin like an ink.
So here's a little secret to doing splatter.
If you want small, fine splatter, keep your
paint thicker.
If you want larger dots, make your paint
thinner.
So I'm going to do the same with
those guys.
And obviously I'll just wash the brush in
between each colour.
Let's go to here.
So I usually just use my finger, but
if you don't want to get your, your
hands dirty, you can use a, just a,
another brush, just a handle and just flick
it off over there.
Make sure you go past the edge.
That's why you have to put some, some
newspapers down.
Go past the edge so that you don't
have these dots of yours or your stars
just inside and sort of concentrated here and
nothing over there.
It must look like it's going out.
Now, can you see the way I'm putting
it down?
There's like an area here where there's less
and there's area there where there's more and
so on.
Your stars aren't even in the sky.
It all depends on where, where the planets
and suns and stuff are.
So keep it a little bit random and
that helps make it look natural.
So can you see, it doesn't particularly look
like green that does it, but yet it's
got that green tinge.
When we add these other colours, you'll see
they've, they've got those little subtle differences, just
like real stars do, especially
when you're like up close and the painting's
up on the wall and somebody comes and
stands right there by it and they say,
wow, look at all this beautiful detail and
stuff.
Okay, and I'm going over to the orange
one.
This one, I'm going to keep the paint
thinner or thicker, I mean, not thinner, thicker,
and I'm just going to add a few,
just a few randoms.
I think the green one did the most
of the work there for us.
Okay, now I can carefully lift this off.
Not too fast, don't yank it, because remember
that paint there's not cured yet, so you
don't want to yank off the paint that
you've put down there.
Very gentle and throw
that away because he's now full of dots.
That's starting to look fantastic, isn't it?
And he's asking, would black gesso work?
Yes, that would work fabulous, because that's also
going to give you that bit of a
matte, more of a matte look, hey, than
the other ones.
Okay, now, just for, because I've thought of
it, I'm going to take a little bit
of the lightest blue that we used on
the edge over there and maybe there's a
bit of a vent on this planet, so
can't touch there now, be super careful.
Maybe, yeah, there's a bit of a vent
happening, so I'm just going to add
a little random thing coming out there, just
dabs and taps.
As I'm going away, the paint is disappearing
off the brush, so it's now looking like
a bit of a, like a gas that's
coming, venting out from there, and it's just
dispersing as we go along out over there,
and let's maybe add another one somewhere.
Maybe just a one over here, just a
smaller one, so let's get the worst of
the paint off the brush and just spread
that little bit of paint that is there
around, and
then maybe there's another one here, close by
to him, so that there's, there's three.
Maybe there's even smaller ones just coming out
next to it, just to add some movement
and some action happening out into the distance.
So maybe that's why our astronaut is out
here in the vicinity, he's come to check
out, see what the heck is going on
here, what's going on at this planet.
Yeah, I like that, and then, needless to
say, here in the, in the sky area,
don't overdo it, I found you mustn't overdo
it.
You can always add, sometimes you have a,
a random blob that doesn't look real, so
then you can take it and maybe turn
it into a little galaxy, like for example,
let's take this guy over there, let me
see if I can, I can zoom in
on that, over there, so this guy over
here, so I'm just going to take that
random dot, because sometimes, as you flick, it
maybe gives you a little stripe, and you
just extend the stripe out to the other
side as well, just like that, so now
you've got yourself a bit of a, a
galaxy going on there, the way out into
the distance.
Okay, so now this is super wet, so
we've got to get rid of all the,
the backing, the protective backing, and we have
to dry off all these dots.
Awesome, so I put that overlay over there,
just so you can see, I think we've
done a fair, a fair job representing the,
that little planet that we did see, yet
it's our own unique planet, so that's great,
it's perfect, hey?
Okay, so now it's off to the, to
the good stuff.
So we've got this guy over here, which
we're now going to put maybe at, we
set at that angle over there, that's going
to look pretty cool, hey?
So this here, I'm not going to use
and copy it exact, I want to create
my own astronaut, my own unique astronaut, so
I'm just going to use this to get
the, the bones or the, the, the pose
of the astronaut similar.
Let's take another printout of this, I'll show
you what I mean by the pose or
the bones.
Let's put that over there.
This dude over here is made up of
different shapes, so I'll just take some yellow
paint.
He's got, there's one shape over there, there's
another shape over there, there's a shape over
there for that leg or that limb, another
shape over there for that limb, there's a
foot, there's an arm, doing that, there's your
body, there's that arm, and then obviously the,
the hands as well, and the head.
So you've got those little shapes or the,
the skeleton, and from there, depending on what
the shape of it.
So all you're trying to get is just
that bare bones, and if you can get
those, those bones sketched in on your, on
your canvas, then you're good to go.
Then you can create whatever dude you want
to around those bones.
So that's what we're going to do here
now.
So I'm just going to put that down
there in that pose.
So I usually take a, if I can,
I'll go and I'll go on to those
images.nasa.gov, and you can search for
spacewalk, and that's when you're going to find
those nice natural floating in space poses.
Or obviously you can use your little, your
little figure that I chatted about earlier.
Maybe you want him to be floating like
this in, you know, in the air, and
maybe with his legs up, or her legs,
you know, it could be a, it could
be a lady astronaut as well, you know,
it could be somebody like hanging there like
this, or maybe taking a photo, you know.
Then you just use that as your, to
sketch out your, your bare bones.
Put that over there.
And now to do this, I'm going to
just use, I think I'll even just swap
that palette for another one.
I don't have to clean it.
The astronaut itself is basically wearing white clothes.
So all you're seeing of him is variations
of, of gray, really.
So here on the palette, let's take some
Payne's Gray.
So now I won't use that black 3
.0 anymore.
That was just for the, for the sky.
And I'll tell you what, it's looking fabulous
here in, in, in person.
It's really worked beautifully for the background.
Because we want our astronaut to always have
a little bit of light on him for,
you know, for the most part.
So we will now take the Payne's Gray,
which is not a pitch black, add a
little bit of white into that, and I'm
going to just check it against my sky.
Can I see it?
Yeah, I can.
See that?
I can possibly even, even make that darker.
So the idea here with this is that
you're going to do all your sketchwork with
this really dark, but it must just be
enough for you to see, it must just
stand out.
Just as an experiment, I'm actually going to
use just a neat Payne's Gray on the
knife.
Let's check him and see if we will
be able to see that.
Not really.
He stands out a little bit too much,
eh?
Or he blends in a little bit too
much.
So let's use this dark, the Payne's Gray
with just a touch of white in it,
just to give us enough contrast to see.
But now I could do sketchwork and make
mistakes, and I'll still be able to carefully
touch it up with a bit of, a
bit of paint later.
And I can sketch with any kind of
brush that you want.
I think I'll just use a little, a
little full bit like this.
Now all I'm looking at are those, those
bones, nothing else.
And let's just see.
We're going to have our astronauts probably going
to be sitting around that vicinity, around there.
So let's maybe start his leg over here.
And I'm just judging these as best I
can for now.
If it's not perfect, that's great.
You don't mind because as long as you
get the proportions more or less, you're A
for away.
You don't care if the pose isn't perfect.
Now it's looking like a, one of the
star signs.
It's not Aries or Taurus, it's Space Menace.
Okay.
Let's see.
Let's get this guy, arm out over there.
Let's maybe change that arm.
Let's maybe make that arm.
Let's make that arm, this, this one here
is the front one.
And then we have that other arm, the
back arm coming out around there somewhere like
that.
Okay.
So now that I've got that, now I'm
going to just gradually build up his size.
So I'm going to even just move that
out to the side.
Not, not particularly worried about him anymore.
So I know this calf over here is
broader and it goes thinner towards the ankle.
So now I'm just going to use general,
some general knowledge of, of anatomy and just
sketch this out more or less.
There's a shoe shape over there.
It's a bit of a gap between those
legs over there.
So let's maybe get that one out there
like that.
There's that shoe, that vicinity there.
Okay.
And then we have our body, which is
out there.
There's that arm.
And maybe this time he's looking towards the
planet.
He's not straight.
So I'm going to just do a circle
for the helmet.
There like that.
There's a bit of a shoulder happening over
there.
Can you see a figure busy, busy appearing?
Yeah, that should be, I think that's fine.
Well, our, our little universe disappeared.
Yeah, I think I can picture that as
a, as an astronaut over there.
Okay.
So now we've got, in, in, in this
picture, our light is coming from that side,
but I'm quite keen to get the light
as though it's coming off the planet and,
and illuminating the, the astronaut.
So we can turf that picture.
Now we've, we've deserved this purpose.
We've got the shape that we needed.
So let's keep to this color.
This is going to be our darkest color.
So I'm going to just work on the
shapes a little bit, refine them a little
bit more.
And as I do, I'm going to color
in this back edge of the, the astronaut
a bit more.
In other words, even the back of him
is, even though it's dark, we can still
see it.
So he's maybe got that over there, like
that.
Make the helmet maybe a little bit bigger,
nice and round.
And let's see, there's a hand.
So just like a mitten kind of thing.
And the thumb, so keep your hands on
the inside, or the thumbs on the inside.
There's maybe another hand over there.
So that one's a little bit smaller than
this one, because it's now further away.
I think that's great.
Okay.
Let's get this guy's dark edge in over
here.
Make sure.
Yeah, that should do the trick.
All right.
Now let's get to a, a lighter version.
We can start adding some, some sun onto
this astronaut now.
So let's do that, and that.
And I'm getting a, a good contrast between
there.
So it's like a, a mid-tony kind
of color, like that.
And then for our highlight, let's add even
more white, but not spider white.
Here we go.
Can you see?
Nice step contrast over there.
That's fabulous.
Okay.
So I'm going to start off using this
guy.
I don't think I'm going to show you
the palette now.
We'll use him.
So that's the mid-tone, that's the highlight,
and that's the shadow.
So I'll just reference the, the names.
And now let's go to there.
So I'll stick with the same brush.
That's fine.
So we've got our mid-tone.
And I'm going to start here on the,
on the sun side and also just work
on defining that.
But now remember this, um, spacesuit, let's put
that over there.
It's all wrinkly.
Can you see those little wrinkles and stuff?
So we're going to create the highlight side,
just using wrinkles.
You can't see the wrinkles in the, in
the, in the, in the light, but here
you can now, as you create these wrinkles,
you have to really bear in mind the
angle of each limb.
So if I take this guy, let's maybe
go to the wider view.
If I've got this limb going away from
me, so then I twist it like this.
So look what happens to these little rings
or wrinkles on that limb.
They, they curling sort of that way.
Now this leg is coming towards us.
So I twist that, and so that's looking
towards us and look what happens.
Those angles have changed.
The same with the arm is back arm
is pointing that way.
So you're going to make these little wrinkles
go in that direction.
The front arm is maybe going sideways to
parallel to you.
So then you've got straight lines.
You see that?
So you have to bear in mind all
those little angles as you add these guys
in.
So maybe that let's do that, that leg
over there.
Can you see that?
So I'll start here on the, on the
light edge and I'll just start plotting a
few of them in like this.
Okay.
So I'm going to carry on with these
guys.
So if you want to make sure that
you get these little angles right, first of
all, you can use a reference.
The second of all, what you can do
is make yourself a little tube like I've
done there now.
There's just a bunch of parallel lines on
there.
Okay.
So I'm flicking these guys in, but I'm
flicking them in different lengths.
Some are longer, sometimes they're shorter and so
on.
I'm also trying to think where would the
sunlight hit?
So maybe like here to hit the tip
of that shoe and maybe the bottom of
that shoe over there.
But maybe with this shoe over here, it's
now hitting the top of it.
So now I'm going to highlight the top
of that shoe over there like that.
Here, let's see, all of this is going
to be
highlighted.
Just get those guys to join up very
roughly over there.
That is
the back arm, so
you just get that.
Maybe just the back of that hand, but
the outside of that hand and the inside
of this hand.
The helmet, we'll leave the helmet.
We'll give him a different color.
So he's got that gold on it.
So this here, we can just give a
basic little shading.
From light through to dark.
Like that, that should be fine for now.
Maybe it goes down just a little bit
too over there.
Alrighty, so now we've got our figure floating
in the air.
So I'm going to go over to a
smaller brush, just a little fine liner, and
I'll use the highlight color.
So now we're highlighting these wrinkles, just whatever
is sunlight.
So now it really makes it important that
you make these little wrinkles, some of them
longer and some of them shorter.
And you can thin down your paint as
well a bit, just so that it flows
off the brush easier.
So this is a nice loose motion that
you're using here now.
Not quite so much light on the top
of that leg over there, because it's pointing
sort of upwards away from the light.
This leg here is going to get more
sunlight.
So remember, shorter and longer little flicks.
And that shows you different folds.
Some folds are deeper and more pronounced than
others.
Look, by adding this highlight on, look at
the lovely sunlight.
In this case, planet light that we're adding
onto our figure.
Maybe add just a little bit of a
shading in over there so it's not perfectly
lit everywhere.
The same over here.
It's not perfectly lit, it's just got a
bit of a bit of light on him.
A bit of sunlight there, and then on
the back of that thumb over there.
Front of this thumb, and the inside of
the hand, like that.
All right, so for this helmet, let's work,
say...
And now you're going to start using your
own imagination.
This is not your astronaut.
It's not, it's not Ed White anymore.
It's somebody else.
In another world, in another dimension.
So let's maybe add that over
there, just to get that shading on the
rounding.
Maybe he's got a camera or something on
his head.
So let's maybe add just a little bit
of a, a little gadget over there.
And let's see, maybe here on his stomach,
here's maybe like a little control box or
something.
Let's add that in over there, and we
know now his stomach is also in highlight.
Catching quite a bit of sun there.
And into over here.
Now that little control box is maybe for
a start, he's got some height.
So we can pop in a shadow over
there.
Oopsie.
Paintbrush to let some water on it.
So he's got that shadow edge, and maybe
because he's hanging up, you can see a
little bit of the bottom.
But Mini is saying he has to have
a backpack.
Absolutely, yes.
Let's add a backpack.
So I'm going to go all the way
to actually straight up Payne's Gray.
Because in between him and the, and the
backpack, there's going to be a really dark
shadow area over that.
Because as it falls in there like that,
the light can't get in.
So let's start with a shadow, and then
we go to the gray.
Let's maybe put in some of that gray
over there.
So a quick little shading.
Let's bring it out.
I think maybe a bit taller.
Okay, so bring that backpack out maybe to
there.
And as it comes out, it's starting to
pick up a little bit of light, but
not quite bright.
So we'll, on this far end over here,
I'm going to put some of the mid
-tone.
Like that.
And I'll fade it inwards.
Yeah, there's our backpack.
Maybe that backpack has got a bit of
a communications antenna on it.
So I'm going to take some of the
light.
Because it's sticking out, there's no light.
So there is a antenna coming out over
there.
There's a little ball on the end maybe.
And maybe this is like, yeah, let's get
some other colors into, into play here now
as well.
So now I'm going to take, for a
start, just some of these planet colors, because
we need to do that helmet.
So let's start with just one of these
mid-tony kind of colors.
Let's pop some of that down over there
like that.
Go to the darker one.
Let's add a shading darker towards this end
over here.
So now we're starting to get some of
those planet colors that are reflecting here inside
the inside that visor.
There's maybe something over there.
Add a few little white dots and things
just for some stars and stuff that are,
that are reflecting in there.
And now let's maybe just make this back
end over here as dark as we can.
In other words, there's no, it's reflecting the
the stars over here or the, the darkness
of space.
Let's maybe use some neat white, just reflect
a little something a little really bright on
that over there.
Just to really show some good, some good
light.
Oh, Rene is asking, am I going to
give him a face?
Well, there's your answer.
And let's see, like I said, let's bring
some new colors into play, some brand new
colors, maybe some cadmium red and maybe a
lighter blue just for, so I'm going to
bring in say some cerulean.
You can also just take French ultramarine and
add some white to it if you want.
And what else?
Maybe a lighter green color.
So take some sap green, add some yellow
to it.
Let's see, let's take this red and let's
give him a, a line.
He's got a stripe running up there.
But because it's all wrinkly, don't put a
straight line, zigzag it like this.
There and running down there, running down there.
And let's see, maybe there's that on that
little thingy over there.
Maybe that's, I don't know what it is.
It's a something.
There's something that's got red on it.
And let's see, maybe this guy over here
has got a, a little green dot.
You can't see it, so I'm going to
outline it to show everything is all good.
Maybe it's got some buttons on it.
How about let's take our highlight color.
No, I'm going to take say a, yeah,
let's use a blue.
Let's use a blue.
Just a dull blue.
Let's maybe write on here.
Yeah.
So I'm putting out some yellow as well.
And now we can have an indicator on
it.
Red, yellow,
and green.
And let's say he's got still got lots
of air, so we can add a, a
whole, another whole green one, and then a
half a one.
So we know his backpack is still good.
Let's see, let's maybe take some blue.
We had a, a bit of trim on
over there.
Maybe there's a bit of a logo happening
over here.
So I'll just put a few little dabs
and dashes to, to suggest a logo.
Just like that.
Let's see, maybe just some blue trim here
down the, down the side of each shoe.
Like that.
Let's see, SkyGazer saying a hint of gold
on the faceplate.
Yeah, we can do that.
So I'm going to take some yellow ochre.
That should give us a, a goldy kind
of color.
And let's put that sort of in this,
like an in-between area, right?
Let's see if that works or not.
Maybe we, we stuff it up.
We'll see.
Let's be a bit more bold, be a
bit more brave.
And see, yeah, it's giving us a, that,
that goldy, bit of a goldy tinge over
there.
I don't want to turf the, the light
and the very dark because that gives you
that roundness and the shininess.
All right, let's stand back and see what
is our, what does our painting look like?
Yeah, there we go.
I quite like that.
So you can now decide, do you want
to add a tether on or not?
Maybe you can add something in that he's
holding over there, you know, so the person
is doing something.
I think let's, let's add a, what, what
could we do?
Let's add maybe a bit of a jetpack
thingy over there.
You know, maybe he's busy doing a somersault.
So for, for a jet, jetpack, for a
bit of flame kind of effect.
Let's see if we can do it without
painting white first.
So I'm taking a bit of, just a
bit of orange, that orange we used for
the cadmium orange.
So when you're making a flame, you, your
orange ends up on the, on the outside,
that's the colder flame colour.
So I'm going to take this and I'll
extend it out so that it gradually sort
of just disappears on us over there.
So it ends up being a bit of
a wash.
And now I'm going to cadmium yellow.
So this now really has taken a few
twists and turns as we've gone along.
Hey, it's been interesting.
Love it.
Let's bring that out over there like that.
And then your hottest colour is white hot.
So that's going to be right here where
that thing is.
The flame is actually coming out.
Yeah, that's pretty cool.
I'm happy with that.
Let's see, I'm going to add just one
more thing.
I'm going to take neat white and I'm
just going to paint in like a little
bit of a, maybe he was busy with
a job and his tool has floated off.
His little wrench or whatever has now floated
off.
Let's make it look like a random shaped
gadget, which maybe
has some blue trim on it.
So that's now floated off.
So now he has to go and fetch
the damn thing.
Alrighty, I think we'll call it a day
on this one.
So I hope you enjoyed today's class.
I certainly enjoyed it.
It was awesome fun.
I'll see you next time.