Beginners ink and watercolour. How to paint snow. | Cally Lawson | Skillshare

Beginners ink and watercolour. How to paint snow.

Cally Lawson, “Paint like no one is watching"

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13 Lessons (42m)
    • 1. Introduction

      3:58
    • 2. Materials list

      1:00
    • 3. Fixing the paper

      2:46
    • 4. Pencil guidelines

      1:43
    • 5. Ink drawing

      5:13
    • 6. Applying masking fluid

      2:12
    • 7. Mixing the sky colours

      3:55
    • 8. Painting the sky

      5:14
    • 9. Foreground colours

      4:03
    • 10. Painting the foreground part 1

      2:49
    • 11. Painting the foreground part 2

      4:57
    • 12. Evaluating your work

      2:21
    • 13. Conclusion

      2:13

About This Class

In this class you will learn about painting snow using watercolour paints. We will talk through how to choose and mix the colours you will require. At the end of the class, you will complete a painting from the reference photograph in ink and watercolour. 

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Transcripts

1. Introduction: Hello. Welcome to my skill share class at college, and I enjoyed teaching painting on drawing, especially beginners. And I work here in my home studio in Korea, north west of England on I enjoy working in mixed media. In this course, I wanted to talk about painting snow, using income, watercolor, all my skill share courses. Aaron income water cooler. So if you want to go back and look at the previous ones there some there mortem trees on a country lane, things that you might like to have a got a swell all using the same style. And if you look back in those previous ones, I go into a little bit more death about the materials that you might want to use. So I will put on a materials list in the downloads on. I'll also put their fearsome photographs to work from a swell the photograph that working from today is gonna be a very simple, straightforward wrong. But I will put some others in there that you can have a go up afterwards. Once you've done this project, it's been lovely. At the end of the course. If you could put your work for other people to see and also for me to give you some feedback. And please do feel free to ask questions at whatever stage you are through the course. If you want to ask something, just do. Get in touch with me. You can find details of how to contact me through my website, but you can also find me on Instagram when it comes to paintings. No, I think the biggest stumbling block that we have is cooler and thinking about what color to use. Our brains are very good at tricking ALS, and we've been programmed all our lives to think about. Snow is being white, and of course it is white when it's completely pure and it's in a completely pure light. But most of the time snow has got reflections on it, and it's got shadows on it. It reflects the close that air around it reflects the coolers from the sky from the objects around, and also there's gonna be a lot of shadow. There's gonna be undulations in the ground that cash shadow so snow is very, very rarely white, except for the odd highlight on Once you get that mindset and think about that and let your eyes think, rather than your brain filling in the guts, your paintings will improve. No end. So think about you. Call us. Look at your references that you've got. I'll look at the snow in front of you and really think about what those coolers are and have a practice shaped and try mixing some cooler looking at those write down in a notebook the mixes that you've made yourself that you would like to use, maybe again another day because you won't remember you might think you will be. You won't so keep those notes written down. Once you're over that storm limb block of realizing that you're not painting white when you're painting snow, it just becomes like painting any other water cooler, and you stop worrying too much about it. So observed the colors like I just said observed, Of course, really Look at what's there, not what your mind is telling me to put down, which is white so you'll see in the project that we do that the only thing left on the paper that is absolutely white is the center of the sort. Everything else the rest of the paper is gonna have some degree of cooler on it, and we're still gonna end up with it looking like snow. So before you start, if you want to go ahead and have a look at the downloads that available for you and look at that materials list and see that you've got everything you need. You will see the on there Put masking fluid because they do use must conclude in this exercise. However, you don't need it if you don't want by, especially if you haven't got any. There are other things you could do. You could just leave the area of the paper dry if you want, or you can live out as well because it's in the sky. Blue is a very easy quality lift. Out ready is a very difficult color to lift out, but when he lifted out from blue, it's much easier. So don't worry. If you know about the masking fluid. Don't be. You need to go out by special colors or exactly the same materials that I've got. Just work with what you've already got, so let me know if you enjoy this cost. Thank you very much for visiting my skill share side. And as I said earlier, please do feel free to reach out to make with any questions you may have. 2. Materials list: 3. Fixing the paper: for this project. I'm using a loose piece of paper rather than apart. But of course you produce a water cooler part if you preferred. When using a loose sheet like this, it's important that you take it down to a board so that it doesn't warp as you're adding water to it. Because, of course, that paper absorbs the water and then as it dries, it can move depending on how good the papers and how thick the papers. So this is £140 in weight paper from the Essay A, which stands for the society of all artists, which we have here in the UK You may be a member yourself if you're here or your out group may be a member because they do collective memberships for our group, so you may be a bit toward through them, but you don't actually have to be a member to buy this practice paper. You can't buy it online as well. So if you look out for the £140 s a. A practice paper on this size is what we call 1/4 of an imperial sheet. So I've got some tape here. This is like a masking tape on. I'm hate that down to the board. I'll just move it this way a little so that you can see what I'm doing. It's a go try and keep it as straight as you can so that you've got a nice straight margin to frame. You work too, on. What I do is I put it on very lightly with no pressure. I'm not pushing down. And then I go along the line. I'm hoping you can see this with my arm in the way on the board side of the tape pressing that tape to the board so that it stopped more tightly to the bar than it is to the paper. Because there's a danger that when we finished our painting and we take that off that you ripped the paper. If you're not careful, So when you do come to take it off the end When you finish your painting, make sure you always lift the tape from this side and take it away from the picture. So whichever side you're going for him from, move it away from the picture. Never get hold of the tape and bring it that way because of it doesn't tear the paper. You might tear a whole sheet of your painting away with it, so put it on nice and lightly and just fasten it down on the board side. If you've got a tape that's particularly sticky that you've bought and that you're finding that sticking too much on that is ripping your paper. One thing you can do when you take a piece of tape off is just go onto your clothing or your genes. Put a little bit of fluff on it like that, and that's going to make it less sticky. I'll go ahead now and take the rest of that paper down. 4. Pencil guidelines: as with the previous income watercolor classes, I'm going to do a very light pencil sketch to begin with, just to get those pointers in on the measurements of where things are going to do it very lightly so that it's not going to be showing through in the finish. Paint him. So if we look at this, the horizons actually about halfway back on here and so we could met measure that would after measure it we could do that with our I just slightly above halfway. I think you'll notice how do lots of little lines. It's much easier to get a nice straight line doing lots of little ones, and it is trying to draw it all in one line. Some Scott fluff there. Now, if we look at the trees, they're coming about 2/3 of the way up to where this soreness here. So don't worry about this. Put in the sun and want to be halfway along its very symmetrical this picture on Just mark , really, where the trees are fitting in. I don't need to actually draw them. They're gonna be fitting in around there and then to where they come to props about here somewhere. Draw the shape of the whole bunch of trees. Not really drawing the individual trees, Just looking at where they're gonna be fitting in there. And then the shadow is this sort of shape. So those are the only lines you really need in with your pencil just to position things really? So that we've got an idea of where we're putting things. If anything, I think of props. Got those trees a little bit towards outside. The May want to be this way. A bit more to be more central. Okay, and then we'll go ahead and get our pen. 5. Ink drawing: So the pen I've chosen to use today is one of my favorite size is really It's a no 10.5, and this is a black one on again. It's obviously like fast and waterproof. So it's up to you what type of pen you want to use. Really. I've chosen black, but you could actually do these in CPR, which is quite nice for trees sometimes. But I think the blacks gonna look nice with the colors that we've got in here. Of the blues that we've got going on. It's make gonna make it quite a striking and very simple little picture, really, to use the black. Now, before I start drawing, I just want to show you how sometimes it's best to alter photographs, photographs of just taking what's there. And this has been taken very nicely, with almost complete symmetry, the actual songs to one side. But there might be now and again things that you want to alter in photographs to make them a little bit different because we don't forget you're making your own artwork. You're not copying a photograph slavishly your produce in an artwork, so don't worry about veering a little bit from the photograph because as you go on, you'll actually find you produce better artworks If you work from your own sketches and things and be a little bit more imaginative, an altar compositions to those that you see. So one thing that I really want to alter on here, I'm not sure how much is picking up to the camera, but you'll see when you look at the reference photograph. We've got a little clump of branches here, and it's quite distracting. It's quite a heavy little blob of dark color, and it's a little bit distracting from that nice, simple shape of these rights of the trees. So I'm going to ignore that. I want to take that out, and I would suggest you do that as well. Just by putting a finger over it. There, you'll see how much nicer it looks on, much more symmetrical, just without that little mark there. The other thing is, if you wanted to, you could move the sun a little bit further across and make it more symmetrical. You'll see, because the sun slightly to this side, this shadow here is further down than this one here. So if you wanted, I think I'm not sure. What are we doing yet? Probably leave it where it is. But if you wanted, you could just move that touch and you could make these completely the same. That's entirely up to you. But for me, the important thing is I'm going to get rid of that little group of branches there. So I'll go ahead now and draw these. The only thing or the thing to say about the drawing is I'm not gonna draw these lines in. You can see how light it is there. If I went and drew a blood line there, it wouldn't add to this paper picture to the overall painting. I think the only drawing would really need to do is the trees themselves not tying a little bit of grass in the bottom there that we can see. So when you're drawing trees, our flowers or anything that's living, try and move your arm and you pen in the direction of the growth. So the gross start growing from the bottom and gope don't go this way around. Actually. Go on. It's different with a pen like this because the neighbor is gone over the branches going with the same size all the way along because of the nip. If you were doing this with a dick pen or a brush, you were lifted off. You went along to get finer towards the end, so it's always important on a good habit to get into as you go along with your painted on. Your drawing on as you progress is to get into this nice habit of when you doing anything that's growing grass trees, flowers to go in the direction of the growth and tapering often lift your pen off the paper as you get to those ends. You'll see how much thinner and finer they are and compared to the drunks here. Okay, so I'll go ahead now and draw the trees and then I'll come back to you when we're going to put some pain, Tom. 6. Applying masking fluid: before we begin at in paint, I'm just going to put a little bit of masking fluid. Where The center of the Sunnis for our highlight. Don't worry. If you've not got masking fluid, there a few things you can do. The easiest thing you could do is just to leave the area of paperwork dry. So don't put any water on that. Keep it dry and keep the paper white there. Or you can use a wax resist so either a candle or a white rocks crane, and you can carefully put that way you want it and then the paint won't to dear to it. The only thing with the wax crayon and using Iraq's resist is that you must be very careful about where you put it because you cannot remove it. So you've got to be quite confident about where you put in it. So if you do have masking fluid, I recommend you use that on with masking fluid. Don't leave it on for more than around 24 hours. Don't do it and then leave it for a week and come back to it cause then you can find it. Comptel your paper so only use it on for 12 to 24 hours. So give it a good shake hope. And then with these runs, these air there, Windsor Newton ones, I actually have to get some players to undo them. So we're back with you in a moment. Want have managed to get this laid off? Okay, so I've managed to merit remove the lead. You can see how these dry bits on the side. You can see how it drives a yellow color, and that's good because it lets you know when it's actually dry. I use a rubber taper. This is called a shaper on. As you can see, it's a rubber tip. It's not a brush, and I use that for apply in this because this just come straight off it and it doesn't stick to it. If you put it on with a brush, use an old brush on use some fairy liquid to clean your brush off straight away. So that's you know, if that's all I'm gonna do, just pop a little circle of the masking fluid where the center of that Sony's just to preserve the white of the paper, and then we'll need to leave that to dry completely before we start. Add in any pain to that 7. Mixing the sky colours: while so waiting for the masking fluid to driver commits, starting to make some colors up. So I'll start thinking about the sky, first of all. And if we look at this, we've actually got a couple of different blues in there because the light is fading. That blew blew away from the center and so towards the edges. It's much more of a cobalt blue, whereas into the center here. To me, it's a little bit more cerulean. Don't worry if you've not got the exact same colors that I've got, just work with what you've got and look at what you think you've got that's nearest to it. Like I said earlier with the drawing, we're making an artwork were not slavishly copying a photograph. So if your colors aren't exact, it doesn't matter. Color is very subjective, and we'll see cooler differently in any case. So just have a look at getting a couple of different blues so that we can fade from this light to blue into a darker blue. So I use a nice, heavy ceramic pilot. As you can see, it's heavy and it doesn't move around on the table on a nice big brush to get plenty of water to begin with for the sky because it's quite a big piece of paper. So we're gonna need plenty of paint and we don't want to be running out part way through. So get plenty of water in there. And then, for those corners, those darker areas, I'm going to go with the cobalt blue. I'm not going to go with Ultra Marine. I think it's a little bit heavy for the sky, although I might use it in the foreground, where it's much darker in the shadows and now some of the cerulean blue. And we want that to be a similar consistency to the cobalt blue. You don't want them to be to different consistencies now if we could the rest of the sky call here. You think at first glance it was white, but actually there's a little bit of cloud here and there, and there's actually a little touch of the yellow from the sun here, so I think we need a very, very pale color to go over some of this area here. What we're gonna do is just paint to this line and leave this area dry for now, so we just concentrate on paint in this. So I just want a very pale wash for here. So plenty of water. And I'm just gonna back to that Make a little bit of a gray color out of the cobalt on a little bit of the sienna. Excuse me. My voice is going, and you might like to have just popular there to show you so you can hardly see it. It looks actually almost white, but it's just taking a little bit of white off the paper and popular bit of color There. You might like to have a piece of scrap paper to test all these callers and see how they're going to dry before you actually go ahead and put Monye finish picture. So I'm also going to make a tiny bit of a yellow. I'm not going to use the raw Sienna so have used burnt Sienna and will also use the raw Sienna and a gauge. I'm not using much pigment. It'll just a tiny, tiny bit with plenty of water. That's a little bit more water. So it's very, very muted again. If we put it on there Oops, it's gonna really fade away you're gonna hardly see. It's just gonna be a little Dustin of color. You may seal the colors now that I'm looking at it from further way, I can nearly see a dusky pink in here. So a game color. It's objective just popping what you think you can see but make it very, very faint with plenty of water. 8. Painting the sky: once. You sure that that must in fluid is dry. You can go right across this guy with some nice clean water, so use a nice big brush and flat brushes. Usually best for this so that it's not drying out between strokes and how quickly it dries out really depends also on the temperature of your room on the time of year. So if you've got a fire or in on your room's nice and warm, you might find that it's drain out a little too quickly and you might need to add more water. So this is really where I can teach you with watercolor is how much water to use because it's all going to depend on your paper, the temperature of your room, how much water your brush holds, how big your brushes and how much water have added to paint. And that all comes with practicing and doing a little bit every day. At this stage. Just pop your head to one side and look across the surface of the paper, And if there are any mapped areas, you'll see there's no water there. You need to go over those, make it nice and even don't have any. Poodles are pills. Keep going over it. So it's not pool in anywhere. So now I'm actually going to turn the board over. I'm not gonna do a little bit in reverse. I'm going to choose that first last color that we made up of the yellow and put that along the horizon when you'll see that's hardly any cooler there, a tall and then that next caller we made up of the blue again has got hardly any cooler in it. And that's going to dry really, really faintly. But just take the edge of that white off the paper that I'm going to go to the darker SARU Liam going all the way across. Not that right to the top and then the edges with this cobalt blue. We're going a bit of a curve, a bit of a sweet there. So I'm standing on my movement, moving my arm quite a lot. This is actually gonna be quite a bit lighter. I think at the moment. Then the picture is the photograph. Should I say okay now, if you turn it over, you might at this stage wanted just slightly tilt your body to find something to prop underneath there and allow the cooler to move down a little bit. So it's not all going back that in that direction. Actually, I think that's quite a nice flat Washington Be okay, Like them perhaps come a little bit too far down here without curves. I'm just going to get a little bit more of the surreally and I think that's really incomes further down than I've got it. And just with a nice sweeping straight down, get that away across once it started to dry. You don't really want to be doing too much more to it. You don't want to keep going back into it. So at this point, you might want to lift a little bit of polar out around that son on. For those of you that didn't have the masking fluid. If you've gone straight across there, what you can do now is with a tissue. Just lived some of that color out, so I'm just gonna lift a little bit out around the sun. You have to do this while it's still wet. Sort of got flags going out from it, a little bit cooler out there, and then just one or two little lines going out. Okay? I don't know if you can tell, but I can tell from here that my incurs Hatcher actually ruin. It doesn't usually do. And I think the problem is I didn't leave that to dry for long enough before I put the water cooler on. So that's a lesson for you is don't put your watercolor on too soon before your inks completely dry. Can you see here? It's a little bit gray. It's not enough that it's going to spoil it, but I can see it actually will lift out a little bit. Okay, so now I think the best thing we can do is to leave that to completely dry. 9. Foreground colours: whilst that was drying have made up a lot more of the color of the raw Sienna. And I've added plenty of water to that. So the similar colossal to it that we had here on, I'm going to use again this nice, big flat brush and cover the whole of the foreground area with that. And the thing about this just taking this little bit of why off the paper and just add in this tiny touch of color is that the sun is going to be absolutely the brightest thing on the picture when we've finished. Because the thing with highlights is you can have too many highlights and then it becomes a bit, um, destructing. Really? If you've not got a nice big brush like this and you working with smaller brushes on quite a big piece of paper like this, just be aware that you're gonna have to be careful that it's not drying out too much as you go along because it's going to take you longer to get that paper covered. And then we can leave that to dry. And while such drain we can think about the colors for the foreground, the main shadow area of the foreground is quite a big area that we're going to be covering on our piece of paper you might be doing. It's more than may, but on May the peace better that I've got. I'm gonna need quite a lot of paint to cover this area, so I'm going to make it up in this centre here, so I'm just gonna scoop that up a little bit. That was left to the piece of kitchen roll keeps my palate nice and clean. And then we've got nice, clean colors that aren't mixed with any of those. And I've also change my water whilst I was waiting for that to dry. So we've got some nice fresh water and keep changing your water. Throughout the time you're doing your painting. Always have two pots of water, one for mixing with your paint on one for cleaning your brush and always keep changing them and keep getting nice fresh water so it's quite dark. It's one of the darkest areas. If you look at this here is nearly as dark as the trees. It's much darker than any of the sky, so we're going to have to really think about how that we want to get up. And actually, now I'm looking at it conceits a little bit movie as well. So I'm gonna use the Cobalt. Did mention earlier I might use ultramarine, but what I'm gonna do is use the cobalt. I'm gonna add into that. Let me just think we're ushered out into that. I'm just thinking whether I should have some violet into that or even some Payne's gray. I think, actually, what I'll do is make a very blue gray. So I would that will act some of the yellow to that same that yellow that we've used before when you making you graze and things, whichever painting you doing, whatever subject you do. And if you try and use the same cause that you have through the rest of the painting is gonna make it a little bit more harmonious. So you can see now we've got a green there because we just got the yellow on the blue, but I want to put a tiny touch of the yellowing and then I'm going to use some Alicia in crimson. I'm using more of that than I have of the yellow so that we're on the red side on the blue side of grey rather than the greeny side, says more of a violet color. It's gonna dry a lot lighter than actual photograph again you contested. So what I'm now going to do is do a darker version of the same color. So a thicker version, less water and more pigment that we cannot into that to get some darker areas. So it's a very similar color, but it's much thicker. 10. Painting the foreground part 1: at this stage. I'm just gonna try and take a little bit of this pencil out with the rubber. Just make sure that you got a nice, clean rubber. That looks better. And you can see that that hardly looks yellow It all, but it's just enough there to, like, take the edge off the paper and give that little hint of color. Now, if you look here, there's one or two little specks of where the lights captured. I'm not gonna worry too much about that. If you did want to catch those at this stage, you could put some more of the masking fluid over the top of this cooler to stop the shadow . Callers stick into that so you can use masking fluid on top of paint. The main thing is to make sure that is absolutely dry. When you're checking to see if it's dry, use the back of your hand. You do have Greece, although it doesn't feel like your fingers might feel dry. You do have grease on this side of your hand more than this side of your hands, so don't feel the paper like this to see if it's dry. Use the back of your hand and your bill to tell if it feels cool and dump. I want to put these shadows in with quite a big brush. This is a size 12. It's a common one, and it's around one with a nice point on it. And I'm gonna use that first mix that we made that nice, watery mix of the very bluey Move gray and just try and leave some of these gaps. Can you see where it's all quite intricate, where the sun's coming through the tree? So this is going to take a little while on we'll just use this one cooler to begin with. 11. Painting the foreground part 2: whilst that's still quite done, I'm going to come in with that second cooler and can you see how we've got lots of lines going across as well as this way? Somebody's gone along here. I think, with the vehicle or something, I got a line going across there. We've got lots of different areas where it's slightly darker and slightly lighter. So I'm going in now while it's still dump, but some of its drying off quite a bit. I'm just gonna add some extra of the dark Akula. So look at where those shutters are absolutely the darkest nearest to the trees. There you ever see there's no light getting through hold. You brush really lightly. Don't obsess about where every little line is. Just get a feel for it and look where it's up to. The darkest in these corners and at the base here furthest away from that son to looking for more on impression of those shadows and whether all going rather than trying to look at every single brun shape that you might see there. I've done this quite quickly. It's probably only taken me 10 minutes, you might want to take my time you might want to mix mark colors and go even darker in places are out of art. So more of the yellow If you look, I've got that yellow coming through, but it's not perhaps as yellow as it is on here. So you might want to do that. I'm gonna leave that for now and what I'm actually going to do on here, we've got a little spare, Paul it the I'm gonna put some of that color in that nice sweet mix, and then I'm gonna add some more water to that so that it's even lighter. So use the clothes that you've already got on your palate. And then if you look here, we've got lots of little bits of shadows and I don't know pebbles or something along there . If you wanted, you could get a smaller brush. But I'm just using the tip of this brush. And this is why it's important to have a nice tip on your brochure. Even with a big fat brush like this, you can get a little bit more detail if you've got a good shape to it. And that just makes it look a little bit more like the the long to you unless, like sky, quite a few lines going across that this is shadow. But then going to cross ways we've got some of, you know, the undulations in the snow itself. So another thing you could do is to use the back of your brush to make some of those shapes going across a swell whilst it's wet, of course. Also, just gonna put a little bit of that cooler under there because we have got some bits of kind of shrubby grass. Maybe a little bit on the trunks, too. Just make the trumps a bit darker. I think perhaps it should have been darker to begin with. Maybe you've used a heavy a pen all the life, said. I do like that pen. Speaking up those trees a little bit with a tiny to paint not just brings the whole thing a bit more together, although all this is still wet. What we can do now that the skies dry is turn our board around with a very clean finger. Always make sure that your fingers are clean. Very gently remove your masking fluid. Don't be rough with this, because if you pay produced start to lift. You just want to do it gently so that if it just start to lift your feel it and you'll know to stop. So hopefully now we turn that round, and that is the lightest area off the painting. 12. Evaluating your work: I think it's good when you finished a painting to have a step back from it. And just think about how you might do things differently another time where you've gone wrong things that you like and things that you perhaps don't like, because I am working very quickly in order not to bar you and in order just to give you tips on how to do things. I perhaps have a few things here that have gone wrong that I wouldn't do again, and I just go through those with you very quickly. So Number one was, If you remember, my pen did bleed a little bit because I wasn't patient enough in allowing that pen to dry. So even though it is water fast, it's not going to be water fast if you don't allow it to completely dry. So that's the first thing to remember. Another thing is really perhaps in places I could have been a bit bolder and got more strong with McCullers, so a little bit less water in a bit more pigment or here in the sky and down here. If we look at the colors here, we've got a much stronger cooler in here than we have here when that's the essence of watercolors, really, you're allowing the paper to show through, and we've still got that very snowy feeling. But I could have been bolder and I could have put more color in. So that's perhaps something that you might want to remember as you're doing it. Another thing really is. I feel it could have been a bit warmer in places a little bit more yellow in here and here . It just feels a bit cooler. But then again, we did want to kill paint him, so I think that's what I do. Another time is get a little bit deeper in these dark areas with a lot more pigments. I could allow it to dry and come back on top and put some more in. In fact, if we look now, I'll just get the the brush. You know, we could soon make. There was a bit darker if we wanted to, but you wouldn't want to go back into the sky once you've done it. Okay, so those are the things that I would do again next time I would do differently, but like I say, I just wanted it to show you how to have a go it how to tackle it. Another thing is, I think, perhaps to be a bit bolder with the tree trunks and make them stand out more against that very, very light sky. Here we've got a really light sky, quite dark tree drunks, and I think my needs to be a little bit chinchilla on a bit bolder than they are, but nevertheless a pleasing picture that does look as if it's no weaken. Tell it snow there. 13. Conclusion: in conclusion, I'd like to say a very big thank you to those of you that have taken part in this course on . It would be lovely to see you work. So if you want to upload that to the project section, and then I can give you my feedback. But it's also great for other people to see you work and do go back and look at the previous courses that have done because of some lovely work there that people have done in the past on uploaded their work for you to have a look out. So go back and have a look and it might encourage you to have a go putting your own work out there. And also, the very interesting thing about that is, although we've all got the same reference photo on, we're all working roughly to the same ideas we do end up with all the pictures looking very different. So it's really nice to see how we're all interpret things. And like I said, we're all making our own out. We're not slavishly copying that photograph were just using it for that little bit of inspiration. So I hope you've enjoyed that and I do hope you go on to do some of the other snowy reference photos that I've provided. So they're all there for you in the section of reference section. There's those nice colors in their fear to have a go out as well. So one thing I can really recommend that you do is test. You call us out, have a scrap piece of paper, or even a scrapbook that you use for color mixing on right down. Which colors worked well together. And if you you know, you might not have the same colors as May and just write down, which mixes worked well together. If you come across a really nice gray, write that down because you'll remember, Then the next time, So enjoy your painting. I hope you found that useful. Let me know what you think. If you want to ask me anything at any time, you can contact me by direct message on Instagram. You can also email may you to pop along to my website. There's many ways you can get in contact with me, so please feel free to us. Me anything, any time and I'll try and help you with that. Okay, so thank you very much. Enjoy drawing and painting and I'll be back again soon with another skill share cost.