Beginners ink and watercolour painting of a Sunflower. | Cally Lawson | Skillshare

Beginners ink and watercolour painting of a Sunflower.

Cally Lawson, “Paint like no one is watching"

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (54m)
    • 1. Introduction

      3:24
    • 2. Pencil Guidelines

      7:29
    • 3. Ink drawing

      7:40
    • 4. Painting the background

      6:15
    • 5. Painting the leaves

      8:31
    • 6. Painting the flower part 1

      1:55
    • 7. Painting the flower part 2

      7:29
    • 8. Painting the flower part 3

      6:19
    • 9. Conclusion

      5:09

About This Class

Drawing and painting a pretty Sunflower using ink and watercolour. Looking at basic flower drawing technique and applying watercolour paint in layers.

8c058579

Transcripts

1. Introduction: Hello. Welcome to a skill share calls. I'm college and artist based in Cumbria, in northwest of England on and enjoy teaching, beginners, painting and drawing on. I especially enjoy teaching ink. Wash was, It's a media time. Enjoy working with so in today's video, going to be doing another income wash. On this time, we're going to be doing this lovely song flower, So I have put a link for you to download this sunflower. But of course, you don't need to print it off. You could just work from you. Monitor if you like, but it's a lovely picture on especially good for beginners, where we're learning to draw flowers to start with. Well, that's a nice, obvious round shape. Very, very easy drawing to do to begin with on a good practice to then go on what you paint someone's once you've got that nice, solid drawing. So it afterward worry about any complex shapes with this project, something very, very easy and simple to begin with. So when we're breaking this cost down into easy to follow step by step, beginning with a few pencil guidelines, we have been on to the droid, putting a lot more detail on and they coming on top with some nice colors but still allowing you drive to work. Show through because that's the whole thing about income washes to allow you drawing to show through. You don't want to live with you drawing underneath layers of heavy pain, so get your water cooler. Nice light. You have plenty of water in your mexes. It's whether selling to this photograph you'll also find a link to the picture that I did in ink before I went ahead and put the water cooler zone you might like to download. That's just for reference, or you might like to even trace it or color it in. Print it off authority with different media at a future time. So that's there for you to have a look at if you want to. But it would be great if you just concentrate, really doing your own drawing. But I did think some of you might find that useful. To have that as a PdF Billy thing that you'll find in the attachments is a list of the materials you need. So that's a very basically similar to the list that we had in the previous two courses. For those of you that don't knows, you already have everything you need. If you want to look more in depth of the materials that we need, go back and have a look at my previous courses where I go into that in a much more depth. But there will be everything that you need written down on that for you to download. A swell. As I'm going through each stage of the project, I will have lots of extra little tips and things that come into my mind as I'm talking about what I'm doing. So we're doing a combination of painting wet, wet, wet on dry. I'll explain that'll as I go along, as well as the color mixing and the color choices the time use. If you have any questions that you'd like to ask it any time, please don't hesitate to ask in the discussions or you could. Private Message may use Instagram all sorts of ways to keep in contact. If you go on my website, you'll see an old social media so authentic ways to get in touch with me. If you want to ask me a question about anything that we're doing. I really love old to see you work at the end of the project would be nice if you could upload that so that we could all have a look and share our ideas. So home you enjoy completing this project. Do keep in touch and enjoy your painting. I'll see your game at the end of the course. 2. Pencil Guidelines: for the first part of his process, you're going to need some watercolor paper. I've chosen a cold pressed are not pressed a four size £140 or 300 grams watercolor paper by Dale around me. I did go into much more depth in previous skill share courses about choosing your paper, but for most of the projects were going to be doing, This is a good one to go for. So look out for it, saying 100 £40 in weight and cold pressed are not pressed on a for a nice size to work with. Now this one, this part isn't actually taped down, so a little thing I do when I'm working in a pad like that is to get some tape. It's a masking tape and just pop that over the end so that when we do at the water, it doesn't walk too much. He could also use a clip or anything else. You have to hand to just hold that steady. You're also going to need a pencil on a razor. The rays of the Thai uses a Derwin to razor, but you can use whichever arrays you've got handy on the pencil I'm using is a size to be with a nice point on it. So to begin with, we flood with flowers, try and draw the overall shape rather than starting withdrawing individual petals and shapes. Start with the whole thing. So the reason I chose in this picture is because it's a very nice, simple shape to begin with. I have put this picture available for you to download, and you could work straight from your monitor on your phone or your tablet. Are you a PC? But also, if you did want to, you could print it off like I have done. And I printed off nice and big so that I can see all the details in these petals so going to stop. I just get in this very big shape off the flower itself in and, of course, rocked that to take up quite a bit of this page. So keep your arm nice and loose. I'm standing while So do this and get a nice big circle. You'll say I'm not trying to do my own line. It's much easier to get a circular shape, are doing lots of little lines and keeping it loose is that we need to look at the size of the centre compared to the side of the petals and how far along that's coming. So there you can get your pencil and measure. So if measured, the width of the center there. Compared to the pickles, it's actually quite a bit longer. It's about half of it is the same again. So we want that to take up quite a portion of the center. If you wanted, you could measure that exactly, and you could do the your picture exactly the same size. That's the one on the photograph, but I'm just doing it by so it does take up quite a portion on. Then we can start to put in some more detail, so don't put too much detail in the pencil. This is only for guidelines. We've got, like a center there, which is actually slightly off center. That's this portion here, and then we need to look at the petals and perhaps not count them all. I don't think it's ever a good idea to start counting petals and things because nobody looking at your painting later on is going to have this photograph and say you've counted the petals wrong, so we need just to get an idea of the width of each petal and set off and go around. And of course, there are some behind that just peeping through. And then not all, even we're not going to go all the way around like a child would do, doing them exactly the same. Look how close these ones are here compared to how much distance between the two there is here, and it doesn't actually matter if you did this over here somewhere old it around. What matters is that you've not got it completely, even which is gonna look slightly fake and false. Look at these ones here. How that one's overlap in there and it looks a bit ka kite compared to some of the others, which are much more uniforms. So don't have a uniform all the way around. So I'm not actually thinking I should do every pickle in the pencil I may do, but just look at the width of them. Look at the overall shape of how they quite round at the edge there that the tips, you know, you might think the quite sharp But they're not the quiet round and how the next one overlaps and don't have every single one coming exactly to use the line of your circle of game, because that's gonna make it to uniforms. One or two of them have little nicks out of the end. Some of that detail can come in later with your pen, so I'll go ahead now and put on the petals in, which is obviously going to take quite a while. And then in the next lesson, we're gonna go over that with pen and get lots more detail in. Because if we look here, there's so much detail in the center of this flower. - Now , once you've got most of the petals in about the right place, roughly the right place, you can then have a look and put some leaves in. So you've got one leaf. If you look at it here, coming down and out there so it's spanning about three or four petals. That gives you a good idea of how wide it needs to bay gain. It's the overall shape that you're looking for. The fact that we're it tapers off from where it curls rather than it being absolutely perfect. We've got one going off to the side here, which is going away from us and we don't actually get to see all of that leaf. But we can see that it's curling ups. That's quite nice shape to get there where you see in the edge of the leaf. It's a very big one going off at the top here, which we can hardly see because it's sort of out of focus on. Then we've got another one down here, which gives us a very characteristic some flower shape, having those leaves coming off and it's sort of frames the flour as well. It gives it a bit more structure. Put in some of those leaves in. We've actually got one here as well. Joshua puts in. It's quite nice shape. You might just want to do the flower on its own without all that background. But I think it's quite nice to get those wanted to leaves in, so that's now enough for the pencil, so I'll see you again in a moment when we come and put the pen on top 3. Ink drawing: for this. Next days you're going to need a fine line of pen. I've got size, no 0.5. The main criteria, really is that it's like fast on water fast. You don't want to put your water on a little smooch, so make sure that whatever pain you're using, it is water fast and you also want to be like vassal. It doesn't fade over time, so you don't want to be too heavy. So no 0.5 is quite a good size for this. So I'm gonna put in a lot more detail in with the pen and we might alter things as we go along. Some of this is going to be quite tricky to do. I didn't do much of this detail where the petals meet the flower, the center of the flower here and all these little shapes intricate shapes here. So this is going to take times You just need to work around your picture using those pencil guidelines. But put in extra detail in and you may even want to put some of these lines of the petals of the direction that the going that's all gonna help with the form there. So I'll go ahead now and do that. And I put some music on whilst I'm doing that. The main thing to remember is I like to start at the top of the page and work down so that you're not putting your hand over where you've already worked and smudge in things and do allow things to dry before you raise any of those pencil lines. You would just stand in there with wind in your golden hair Didn't know your name, but I can feel it was a very hard it become that Highs wouldn't meet, Didn't know back then like me like me. I never thought that you, me, someone I don't know what is good for you. You see, I will drag you here at the bottom. Hope that you find Lisi. I'm not good in, uh, way, way, way Didn't wait. Was this for free? You from me? I never got that way. Someone like me. So one like me. Someone like me. As you can see, that's quite a time consuming process. But it's well worth trying to get that detail in with your pen, and it makes the painting much easier and much more enjoyable when you've already got that structure to work from on. That's all part of working with income. Wash is to get a really nice defined drawing that you can enjoy putting some color on top off so you'll see that haven't gone overboard with looking at every little shape in this center part, most of them of kind of little triangle or V shapes of W shapes, which you can see in that center there on awesome some little circular shapes in this area here, but very, very loose. And again try not to keep that two uniformed try and break it up a bit and on, you know well, two things so that the not all like little soldiers in a row have them a bit random. So hopefully the petals are a little bit more random as well, and not to uniforms. Got some going in different directions, and I put some of those lines in that, you know, just gives it a bit more character as well. So take your time. It does take a while, but take your time and just enjoy that drawing process. Then you need to leave that to dry, so it will only take a few moments to drive. But don't start with your razor straight away to get root of those pencil lines. Once I've got rid of those pencil lines, what I'm going to do is take a photograph of this, and I'll put that as a PdF for you to download if you want to download my drawing to have a look at. But also I would suggest that you take a picture of your own work at this stage once you've got rid of those pencil lines because it's nice to keep. And if you want to keep it on the computer, you can always have a go at printing a tough again and color emitting with something different with a different media, even with pencils or whatever. So it's a nice thing to do is to take a photograph of your drawing at this stage before you go on to put your paint some 4. Painting the background: for the next step of this project, you're going to need to greens. So here I've got sat green and then in here I've got sap green with some cadmium yellow added. You don't need to use exactly the same greens as May, but just have a couple, what with some yellow in and a little bit lighter, and also try and get the two greens the same consistency. That way, they're gonna work nicely together and not make a mess with cauliflowers. Sorry, I've just seen as a a little bit of dirt. They're just getting that out. OK, so I've got a nice pointy brush, So this is a synthetic brush. It's around about number six, and it's a round brush, but you can see it's got a nice tip on because we're going to need to get into the edges of thes petals with that tip. So what I want to do is do a little section at a time, because if we did the whole background at once, it might start drying out. So that really depends on the weather, how warm it is in your studio or wherever your working, but it is much easier to do a little letter to time. So you're not worrying about things. Dry out and turn your paper around. It's going to make it much easier if you do things by turning your paper so that you know, leaning on things. And it's something we forget to do. I forget to do that. It makes life much easier turning your paper around. So that tip of the brush and just some nice clean water just wet this area of the background and gore I took to the edge of the paper or the margin. If you don't a margin, it might have been easier had. I don't imagine. And if you need to see if you've missed any bits of the paper, if it's not all wet, just tilt your head on one side and you be able to see where it's shiny and where it's Matt . I'm actually got that a little bit wet. It wants to be damp, not to just give it a few seconds for that water just to sink into the paper a little bit because that's the whole idea of watercolor papers that it's absorbent. The water's going into it. It's not sitting on the top of it, so just give it a moment for that. All too nicely. Go in before we popped these two colors in. And then you can do this quite randomly. I've not got my photograph here at the moment of the actual picture. I'm just making a very loose, impressionistic background with these two coolers, adding them into that water so that it is going to be very pale when it dries, and so that we're not going to get too many hard edges and make it look out of focus by having that water already there on the paper. And the main thing with water cooler is when we get mistakes. It's usually when things are pooling, so keep an eye on it. Watch it as it's drain. Watch it when you go on to the next part of the painting that you keep looking back and seeing if you've got any areas that appealing because it's not going to be the most expensive paper, so you will get a little bit of cockle in. So with the water squeezed out from your brush, just lift or penny areas that you're worried about pooling and running back and keep doing that. Keep looking back to areas that you've already done, and that way you prevent, prevented drain with mistakes. So I'm gonna go all the way around the painting now and just keep moving a picture around until we've got this background or filled in. And then we'll leave that to completely dry before we do anything at all in the foreground . - When you get to that stage, just carefully watch things as the dry. If there is any little pools at the edges, because you can see the papers cockle in a little bit, just so close up with either a tissue are damp brush. But just watch it that things aren't pooling and that you're not going to get any room backs into that other than that. Now you just need to leave that to sink into the paper and to completely dry. You want this to be absolutely bone dry before you carry on with your foreground, so now will be a good time to step away and go and have a cup of coffee or tea. 5. Painting the leaves: in this next step. Now that the backgrounds dry, we're going to be doing the leaves and suffer this. I'm gonna use the green that I had earlier, and I'm gonna just add a little bit of blue into that. I'm not adding next any extra water into that because I wanted to be thicker than the background colors and jump forward a little bit more so right in some blue. And that's the ultra marine blue that I've added again. The shade of green is entirely up to you. You might want to mix your own from blues and yellows, and also it can use this one here. So we're going about a little bit more green to that just to make it a bit thicker than the background again and a little bit more of the yellow. So I haven't added extra water into those pallets have just added extra quality Matan thicker. So if you start with the top leaf so I'm gonna turn it over a game and again, I'm going to wet that area first with some nice clean water. Then I'm going to pop the darker of the two greens into that because if you look, that's quite a blue green. Could even I've added a bit more blue to that? And right on the tip of that leaf, the sun is captured. So you want to leave that a little bit paler. So just tease that color into that area with a damp ish brush. But leave the top part of out more or less white, and then we'll move down to this one here again. That's what quite a lot of sun shining on it. The part of the leaf that you can see is quite blue green again. And this is the outside edge of the leaf. Where is this is the inside? So just gonna put towards that end for now and again just soften that edge off. But then we're gonna come back and do a little bit extra on that to make that more defined , and he can lift the color out as well with a dry brush. If you feel you need to on the same down here now, this is much like toe. The sun's really shining on this one here so much you're going to use mainly the life too green with some of the darker green Audi. Deena's well, in a similar way to Howard did the background. So these leaves want to be nearer tours and more detailed in the background, but they don't want to be as detailed as the actual flower itself. And again, at this stage stage, if you want to dry, brush off and look where that vein is coming down there, the sun is catching there because the leaf is bending over, where the vagueness and again the sun is captured in one or two places here. So with a dry brush, just lift off little areas to give us the shape of that life Dover doing That's just enough . Just suggest that sunshine there. Now, if we look back to here, can you see that's pool in a little bit? There that's quite thick, so just generally lift some of that out before that rooms back. So this is the thing with water call. You need to keep looking again. We've gone over the line a little bit there. It doesn't really matter, but it's making a bit need to just to lift it out on this one here, what's doing in a similar way, mixing the two colors together, keeping them much more less detailed than they actually are on the photograph. Saving that detail for the flower in front and again, the lights capturing down that vein a little bit down this side. Try and again stop things peeling too much, and then we need to turn our paper round. Do this last world. And if we look at this again, this is a very blue one, similar to the 1st 2 lives that we did. The the green actually looks much bluer once it started to dry that ultra marine shows through more there on those first leaves. There's plenty of ultra Marine in there again. It's darker, nearer to the flower paler, where the sun's on the edge of the leaf. Further out, just remix you color when you've got more than one color in there. Sometimes they start to separate. It really depends on the cause, but occasionally is a separate bit bar on the palate, and you want to mix them game. She may want to just lift out where the sun shining on there. The actual photograph is not as defined as my picture. You can hardly see the tip of the leaf there, but I've made it much more defined on here then, whilst this is we've been doing that, this has been drained and I'm just going to make a more definite line there so that we can see that that's the underside, whether leave spent over there and that's really enough detail for those leaves, we don't want them to be taken away from the flower. We want the flower to be in the foreground so long as these leaves are in front of the background, that's all that we need, and that's enough for that. 6. Painting the flower part 1: Now we come to the painting of the flower, and for this step, you're going to need a large quantity of quite a wall. True mix of yellow. I've used cadmium yellow. As I said earlier, you choose whichever yet yellows. You've got available to you in whichever ones you like, But I'm going to use this cap me. And was this was the same one that were used in the back on this time I'm not wetting the paper. First, I'm just gonna paint this straight honors. It's quite a watery mix, in any case, on gonna put this over the whole of the flower. So I'm using a big brush so that we can do this a little bit more quickly. You'll see it's quite water in those pen lines is showing through nicely. So not covering up any of that nice drawing that we did. If you put your paint on too thickly on your income wash paintings, you're gonna ruin you drawing. You know, it's all about your drawing and you want that to show through. So it's nice to keep your watercolors quite liked with plenty of water so that you can see that drawing through. So I'm gonna carry on now and cover the whole thing 7. Painting the flower part 2: Whilst we leave that to dry, we're going to make two more colors up. This time, we're going to make some orange for those central parts of the petals. So because of already used come in just getting paint. I'm going to use the company and McGain minute to make quite a bit took because office is quite a few petals, we don't be running out of paint. It's one of yours cadmium yellow, and I'm going to put into that some cadmium red. And that's first basic mix for the main part of the pattern of those petals. Now we also need quite a darker color than that for where the shadows are. So what? Do a similar thing again? Okay, get the orange color with the two cab memes again, you use whichever yellow and red you have to hand and just have a play with the quantities to get the color that you want. And to that, I'm going to add blue, which is overseeing on the other side of the color wheel two orange so it's gonna make a nice cooler for the shadow coolers. A little bit more of the orange, some red, some yellow perhaps a little bit more blue. So the blue abused his cobalt blue gang. You have a play with different blues and just test them. See what you think. I'm actually going to make another color. I'm looking at it now and thinking there's quite a lot of kind of Louis Reds. The some of the Reds are just has oranges this in there. So let's try mixing more red and a tiny bit of yellow and a tiny bit of that blue a game for another kind of shadow Kula. That's perhaps closer to some of the cause we've got there. And so, with all three colors, we should be able to start to build up some of that detail on the flower itself. Now, for the next step is to do the petals on. We're going to do these one at a time and again, this is gonna be quite painstaking. It's going to set quite a long time, but I think this is the easiest way of doing it. So wet the whole of your petal. So this is completely dry, wet, one petal at a time, just with a dumb brush. Don't have a sopping wet and paint very gently when you painted on top of cooler that's already there. So filling that one petal and then with Dutch first cooler put it down the center of that petal. Because if you look at each battle, the color isn't going right to the tick or to this end, the cooler is in the center there, and then we're gonna do that all the way around. This is going to take quite a long time. I'll just show you the 2nd 1 before we move on. So with a damp brush, not with a sopping wet brush, just to slightly damp brush what you petal and then dropped this caller into the center and just allow it just often off itself. That's all you need to do all the way around. So I'll carry on with that, and it's going to take a while. But by doing them one at once, it means that you can leave them and come back to them if you like. If you went the whole thing, then you have to work on it all quite quickly. But just doing one at a time means that you couldn't just take your time dropping those colors in. And don't worry about how that's room down there. Can you see the paper slightly tilted? So it's running to They're a little bit you can't lift out if you want, but actually, with one or two of the petals, sometimes the call is going to go a little bit further than others. So again, we don't want them all uniforms. We want them all to be slightly different. So I'll carry on with this now and I'll come back to you and talk to you about it once. This is all dried way with making my head on the wrong side of justly Teoh Way too late trying to start over new I want you to be Wait, did you say when I you would never wear by with Nick in my in the wrong side of Just leave your Teoh 8. Painting the flower part 3: Now, if we look at the photograph again, the most bright yellow area is all the way around here. So with this yellow thereof, so go on the palate. That's starting to dry out a little bit. I'm gonna put another layer of the yellow around the area just going into the edge of each of these petals, but not being over four c. Andi, You know, looking at it to carefully just move your brush around into it, the edge of each petal just carefully going around that circle, getting you don't want it to be too uniform or two straight lines. So just wriggle your brush in and out. You're going to get that yellow where it needs to be on the edge of those petals cake. So by the time we got to this petal here, after been all the way around, the first ones was still a little bit done. But they're starting to dry off, so we need to now look at the shadows and again, like we said earlier with the drawing on the painting, don't be worried about every single little shadow petal being correct. It's just to get a feel of that obviously they want behind you gonna have more shadows. And where they've got these ridges, they've got shadows. But don't worry about doing every single one in exactly the right place unless you've got hours and hours to spend on it. So these two shadow colors and a nice point on your brush just go along popping shadows where you think you can see them, starting with this driest petal that you've got here And you can see now that that's quite sick. Of course, with water cooler, it dries much more likely than it goes on. So gonna have some shadows behind. And some of these weather overlap him. I'm quite happy for May shadows to be quite defined. If you did want the softer edge to them, you could just wet them a little bit. But don't forget, In general, shuttles do have quite hard edges to them because it's a shape of what I was casting the shadow There. We've got a little bit lost about which petals which here, But it doesn't matter. Your callers might be slightly different to mine. I think maybe in a little Eliza in might work well with this. Maybe I've got a little bit. Two yellow and not red enough. The oranges You could try, Annalisa Rain different. I left those first shadow cause to dry. And now I'm going to put the second color on the, um, a joke. I'm still feeling that these are red enough, but we may come over and put a wash on afterwards to sort that out to just look generally in which direction The lights coming from two US A. 10 where some of these shadows are where the brightest reds are as well. So some of this shadow as we go along is gonna build up the shape off the actual flower itself because its dome in a little bit that way. So if we look at it here, this is much more in shadow. And we've got shadow cast here. And that's because this book's sorry. That's because these flowers domain slightly so those of the kind of things that you need to look out. How's she going along? So I'm going to help get the form of the flower more again. I'm not looking at the picture too much. I'm just generally putting these shadows on the back petals. One of those veins without overthinking it too much. If there's any edges you don't like at this point, any shapes that you don't like. This is when you want to soften them off with a damp Roche if you want, so I don't mind those harder just because it's very sharp. We have got some very sharp lines on there where those things are. Yes, I think the best thing we can do for that now is leave it to dry and then we'll think about this center. So for me, the center wants to be quite rich brown, so I would use some burnt sienna. 9. Conclusion: after the petals air dried. I started working on the center here on I began with the burnt Sienna, and I went the whole thing apart from the very edge where the yellow walls and dropped the CNN in various places on. Then this darker color here was made from the burnt Sienna with some French ultra Marine at it, which is a really lovely color if you want to get some dark areas. So if I did that to this side, where it's more in shade and a little bit around here and in the centre, where it's much darker now, Unfortunately, I did lose the footage of me doing this. I had a problem with the camera and I lost that little bit of footage, so I do apologize for that. But basically the main thing with that is don't forget to leave some of those lighter colors that we had there from before, with the background still showing through, don't obliterate the whole thing and make it completely dark. I've also put a little bit of extra yellow around here again, again to brighten that up on a little bit of extra yellow on some of the tips of the flower as well. So I think now we just need to get one or two more darker areas in here and actually a little bit more yellow in the center here if we look here, some quite bright yellows and oranges in amongst this. So now this is all dry. I'm just going to go ahead and do a little bit of finishing off with some extra bits of yellow and some extra bits of dark. But I don't think we want to do too much more of that. And when you've done that, have a good sit back from it and assess and see whether or things that you might want to change or, indeed, that you might want to do differently again next time. As I said earlier in the video, I think next time if I was doing this again, I would usually use a lot more red in those oranges that are created to begin with. I feel it needs to be a little bit brighter, but by the same talk. And don't forget that you're creating a piece of artwork. You're not slavishly cook copying a photograph. We're not doing a photo realistic picture. We're creating our own artwork and using artistic licence. So what matters? Is this the picture that you produce? Not that it's an exact copy off the photograph, having said that would like it to be a little bit brighter. So in future I would've put some extra red in there. But then again, you could do. You could do it. Whatever colors you wanted. You could completely alter the colors if you wanted to. So I hope you found this whole course useful. And if you do get the chance to complete this and do this some flour it we really nice. If you could take a photograph of your work under under, load it in the project section, and then as well as getting feedback from myself. If there's anything you want to ask, it's good to show each other your work. And it's very interesting when we all work from the same photograph, how we all get different results at the end of it. So one another little thing. As I'm looking at this photograph here, I do feel maybe that have not got the highlights as brightly as I would like. Their several things you could do to get your highlights back. If you haven't used the masking fluid in the first place, you can use things like an acrylic paint. You could use a white pen if you didn't want to introduce any extra mediums, you could use a moral pate watercourse, something like a Naples yellow. I also often use watercolor pencils on top of my water cause as well, which is you can often get the highlights but using a white water cooler pencil. So little tips like that are all handy to know. But like I said, I'm just going to carry on now, but wanted to a little extra bits on this to finish it off and hopefully look forward to seeing your work. If you have any questions at any time, just don't hesitate to ask both on here on skill share on. Also, you can contact May by direct message on Instagram etcetera. Thank you very much for taking part in this course. I look forward to hearing from you and I'll be back again with another skill share cost next month. Bye for now, and enjoy your painting