Wintery watercolor splashes & How to NOT paint white! | Elise Aabakken | Skillshare

Wintery watercolor splashes & How to NOT paint white!

Elise Aabakken, Happy watercolor enthusiast

Wintery watercolor splashes & How to NOT paint white!

Elise Aabakken, Happy watercolor enthusiast

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9 Lessons (32m)
    • 1. Welcome to Class!

    • 2. Our Class Project

    • 3. Supplies

    • 4. Practicing Water Control

    • 5. The Sketch - How to

    • 6. The Splash - How to

    • 7. The Details - How to

    • 8. The Snow - How to

    • 9. Final thoughts

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About This Class

Using wintery scenes to showcase our watercolors and all of its unique properties, while practicing a negative painting technique for snow? Why not!

Watercolors can be such an expressive beautiful medium, and this class is all about playing with your paints in a flowy, splashy way, like only watercolors can!

The splashing effect in this class is one of my favorites, and using it for different effects in paintings is so much fun! In this class we'll be using them for wintery landscapes, which allows us to also practice painting white subjects. With a transparent medium like watercolor, this can sometimes seem counter intuitive, as we are not actually painting anything white: we'll be painting everything else, keeping the white of the paper visible for highlights and white elements. This is also known as negative painting (although it usually has a very positive effect on me....)

Included in this class are classic watercolor techniques like

wet in wet

wet on dry and

dry brushing

and we'll be practicing all of those, while creating something beautiful at the same time. You can use these as postcards and send them out into the world (who doesn't love receiving snail mail?) or showcase them on your own walls! 

This class is for anyone and everyone who enjoys exploring their watercolors, and I will go through all the steps thoroughly so it's easy to follow along! Although, if it's your very first time using watercolors, I suggest trying my technique class on Watercolor Splashes first:

Watercolor Splashes - Simples techniques to get to know your paints!

It's a great way to get to know more about wet-in-wet and wet-on-dry techniques before this one, but feel free to give it a try! You might be a natural :) 

If you have any questions or concerns, please reach out to me so I can help out!

I'd love to see your work in the project gallery below and I frequently share students work on instagram as well, you can find me there at @aqua.d.elise


Meet Your Teacher

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Elise Aabakken

Happy watercolor enthusiast



Hello friends!

I'm Elise, a watercolor artist and color enthusiast from Norway.


After seeing a close-up video of watercolor paints blending onto wet paper, I bought a small travel set of watercolors while on a sugar high caused by way too many pancakes at brunch...  And that's all it took! I was lured into the world of paints in November 2018 and I haven't left since.



I love painting tiny pieces, just to be able to say that I painted something today! Watercolor splashes... See full profile

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1. Welcome to Class! : Hello friends and welcome to class. I am Elisa and today I'll be sharing with you some of my favorite things to paint with watercolor, combining a water color splashes with painting winter landscapes. I'm self-taught watercolour artists from Norway. And the sum of the first things I painted when I started about two years ago, were dark, moody blue winter night skies like these, leading the way to the ones we'll be painting today. For this class, you only need one paint as both of our projects are in monochrome. And we'll also be learning and what to do when we want to paint something that's white. Because in watercolor, usually we won't use white paint. Using the white of the paper to shine through and give us the highlights we need for anything that's white. So actually painting White is more like not painting white. It's just as much about what we don't paint will be painting in the shadows, will be painting everything around. But we won't actually paint the snow. This glass is my second in the splash series. So if you've never used watercolors before, I recommend checking out my lot of colors, fleshes, glass, where I go through even more thoroughly basic concepts and techniques like wet in wet and wet and dry. But of course, you're free to jump right in and start exploring these wintery splashes. First, working step-by-step, I'll be sharing all of tricks with you. So after this class you'll feel a ready to use this effect to keep creating on your own. And we'll practice some techniques first so that beginners can join us as well. And then we'll draw, I sketch will splash our background wash and add details that we're finishing with a final touch of falling snow. To get started, you'll need to bring your paints, ideally your favorite color, your brushes and some watercolor paper. And I'm so excited to see what you create. In the next video, I'll be sharing with you the project for this class so you can see what you're getting yourself into. And I hope you'll join me in painting these beautiful wintery watercolors fleshes. I'll see you soon. 2. Our Class Project: For this class, the project will be to create one or both of these simple winter scene postcards. Notice that I said Simple and easy as the mystery of how to balance the paint and water is not an easy task, but simple in the sense that I've eliminated some of those extra elements like color mixing and realistic detail by keeping the pieces monochrome and based on a simplified sketch. In my opinion, watercolors should be fun and a way to relax and find joy in between all of the other everyday routine things we do in our lives. So let this be a way to enjoy yourself, practice your watercolors and play with your paints. Getting better will be practicing some simple techniques first and then drawing our sketched before splashing our background wash, matting our details and finally adding some falling snow. These were some of my Christmas cards for the season. And I love how simple and unique they are. Using simple elements like the shape of the house or the color of the splash. With watercolor, we kind of have to let go of the expectation that we can control everything. And more or less just let the paint flow where it wants. So I can guarantee you now that yours won't look exactly like mine, which is part of the point. I hope you'll be painting along with me, or that you will be ready to start painting after watching the class. So just take it at your own pace and when you're ready, I would love to see your version of these flashy winter scenes in the project gallery. In the next lesson, I'll be going through my supplies, so I'll see you there. 3. Supplies : So let's talk about our supplies. Paper is going to be one of our most important supply. So make sure you have watercolor paper. Usually it's around 300 GSM as it stays wetter for longer and handles water better. I would absolutely advice you to use cotton paper so that you can easily get this even seamless Flash to make it easier for our splash to be smooth, I recommend cold pressed paper which has a great texture for this kind of flow. Or even rough paper which has even more textured and that hard-pressed paper behaves a bit differently and will not be great for this kind of project because it's so smooth. I'm going to be using these postcards from Etruria lab. But if you have bigger sheets of paper, you can just cut them down to about a postcard size. I also have some smaller scrap pieces of paper to practice our splash at the beginning of the class. And they're perfect is switched my paint, if any, to check my values for the details. And just a tiny Menton, if your postcards or printed like mine, make sure you're painting on them the right way up. It doesn't really matter, but I thought I would mention it because I always forget. Then we'll need our water. I recommend having two different jars that were you wash off most of the paint of your brush in one and then you pick up clean water from the other one. And that also keeps them cleaner for longer so you don't have to swap them out all the time. I really like using jar is so I can close them up when I leave my desk all ready to go for next time. Moving onto brushes. I love using round pointed ones. And I have these from silver brushes called black velvet incise 4812. I loved one of my brushes ever really nice pointed tip for details and at the same time can hold a decent amount of water. I'll use the bigger ones for my clean water and the smaller ones for our splash in details. But you can also just use one medium-sized brush for the whole class. Just make sure to clean it really well in between the different steps. Then we have our paint. My favorite part. In this class, I'm using this beautiful Indigo in a tube, but this will work perfectly with pens to, and I want to have a really big contrast between the light and dark. So I'll be using a really rich dark paint, but you can choose your favorite and test this out, different ones for different projects, then to spring something to wipe your brush. And I usually use a class like this piece of an old t-shirt. And since its weight, it's easy to see if my brush is clean when I wipe it on it. Since we're going to work with really liked paint for our details. And also because I'm using a tube, it's great to have a little pallet to put them on. And I prefer white porcelain once, so it's easy to see the color, how dark it is and easily clean because it doesn't stain, but you can use whatever you have available. Both of these are just from kitchen section, so different stores. So you don't need an expensive art store one, a simple plate will do. For our sketching. I'll be using this 0.5 each beam mechanical pencil and a kneaded eraser to make the drawing nice and light so it doesn't show through our transparent pings. And, you know, I said we wouldn't use white faint and we're not using whitewater color. But I will splatter on some of this bleed proof white, which is almost like a garage or a thick ink for some falling snow at the end. And the step is completely optional and you can use guage or gel pens if you have them available as well. For our sputtering, I'll be using this little ol brush. Just cut the vessels down off a fan brush. And it's perfect for flattery snow and stars and gives you a lot of control because it's really small. And that's it. Take a mini together, what do you need? And we'll start our practice session and talk about border control in the next video. And I'll see you then. 4. Practicing Water Control : What are the main challenges with watercolor is water control and how to use the different amounts of paint to water and water in her brush to get the effects that we want. Splash will be working wet in wet and for our details, will be working wet on dry. And wet on dry is pretty self-explanatory. We'd put our wet paint on dry paper and it just stays where we put it. This gives us control and sharper edges, sometimes referred to as hard edges. And it's perfect for details. And when we want to know aware are paints will go when we put them on paper for our tiny houses, I'll be using a bit of dry brushing, which is a technique where you have an almost dry brush, which results in the brush skipping parts of the paper, creating an uneven texture and really nice effects with things like wood and mountains. And we'll be using it for the walls of our house, getting that kind of weathered and rough. For soft edges, we often work with wet in wet, which means that the paper is already wet in our wet paint will go in and spread around because watercolor will go wherever it's wit the, remember that the paint will flow beyond where you place it. So make sure you place your water in a big enough area, making a nice big playground for your paints, so they have space to flow. While flowing freely in water, we will get soft edges to our paint. But on the last example here, the paint was dropped into close to the border of the water and has created a hard edge all along that right side and the bottom. On the left side, it had enough space in water and the edge is soft. Also note that some paints are extra flowy and it will bleed and disperse very far even if you don't have too much water. So it takes a little practice and it might save you some frustration to test it out in advance. So let's try this out and see how it works. I'm just starting with a large square of water on this piece of scratch paper. And this also depends on what kind of paper is used. But when there's a good amount of water, you can see a scene like this one. We can still see the texture of the paper and it's perfect conditions for splashed with snow water pooling up anywhere on the paper. And this takes a little practice in your paper, might drive faster or slower than mine, test it out, going back and forth, creating that smooth sheen on the surface so Europeans can flow freely without flowing like crazy. Getting a pigmented load of paint. I'm drinking that in from one side, letting it flow and spread into the water, diluting itself into the water on the paper, Florida splashing on our projects. The bottom line will be the horizon line and the edges of the house. And there we will have a hard edge, a sharp edge against the light of the paper that helps enhance the contrast to the white snow on the ground and the roof. And that's why I started at the edge of the water here, making sure it doesn't. The other side, if he does, that will create a hard edge there because the pigments stops where the water stops. And what we want is for the paint to get lighter and lighter in that water until there's nothing left with clean water at the edges, creating this beautiful soft, seamless effect. A soft wet in wet edge. So you can imagine if my water area had been half as big, that paint would have flowed to the edge on the other side and we wouldn't get this feathered out effect. And then just to demonstrate, I wanted to show you what it looks like when there's too much water. And you can see it pulling up on the paper. You can't see the texture of the paper because it's flowing around on the surface and we have no control over where the paints flow. So you can see that the paint is just spreading randomly. No control at all. Just swimming around in the water. And it's not giving us the same splashy effect that we're looking for. I really love watching it and playing with my paints like this. And it's really fascinating to watch, not what we're looking for in this class. Of course, you don't have to play with your paints like this. Maybe you already know wet in wet technique. It's just to show you that sometimes we get too excited, we put in to which pain through letter and we lose that control that we seem to have when we have that. Instead and the paint flows evenly, we can more or less keep track of where it's going to go. Also remember to keep checking that your paper is still wet. The moment your paper starts drying, the flowing stops. So to demonstrate that when I turn my paper to decide here, I can see that it has stopped shining up in this corner. So if I put my paint there, it just stays put. That's a wet on dry technique to papers to dry. Whereas if I put it right next door, that paper is still lit and the paint starts flowing again. Another thing is of course, that when you put this much water on, it takes a really long time for it to evaporate, so it stays wet for reading on time. Whereas on the other side here for our first splashes, theories have started to dry and they've spread out beautifully into that water. I would say even more so on the one to the right, the one on the left here is almost reached the edge, almost making hard edge to where that water ended. And the same thing at the bottom here where we have that crisp edge against the white. That's what we wanted. A hard edge on one side and the soft edge on the other. I know that sometimes we go in with too much water and our paper gets too wet. And then you can use and this technique to soak some of that back up again using what we call a thirsty brush. And a thirsty brush is just your normal brush. You just rinse it off and then you wipe it a little bit so that it's dead. And it works as a sponge. So you can soak up some of that excess water in paint and pick it up off your paper in an easy way and wiping it in-between Washington again, making you damp and depending on how big your brushes and what it's made out of, it will so more or less water than this one I'm using here. Usually natural hair brushes soak up a little bit more than synthetic brushes will. And now that I've picked up all but actually, this is now a perfect flora within with technique. This can help solve some of your problems if you put too much water down. Now when this water is picked up, I can see that there's a hard edge where that water ended because there's pigment all the way to the border of the water. And if i want to blend this out, I do more or less the same thing. I rinsed off my brush and make it dense. And then I just drag it along the edge, blending that out into nothing. This one didn't have a lot of space and just blend it off the edge of the paper. But if not, I just blend it out into nothing into clean water. So test out your paints and papers so you feel already. And in the next video, we'll start with our sketch, outline for our projects. I'll see you there. 5. The Sketch - How to: Since the focus in this class is our splash and that beautiful background wash, I didn't want the sketching to advanced or time-consuming, so I'm just making a line for our splash and a small simple house. All the other details will be added with the paints directly. But if you feel more comfortable sketching more guidelines, you absolutely can. And I have checked that my paper is the right way around. I want about the bottom third of my painting to be snow. So I'm just making a wavy line there, that horizon line like the one on my practice piece. And you can make this line different for every time you do this. Then I'm placing my little house more or less in the middle and making two lines for the walls than an upside down V and let snowy soft roof because snow soften the edges and keeping all of the corners soft and round. And I'm sketching very lightly that way. If I want to move any lines around, I can erase them completely without leaving any dents in the paper. Then when I feel satisfied, I'll go in with my kneaded eraser, which is soft and sticky, just picking up that extra graphite that my pencil has left on the paper. Remember to not go overboard and leave enough of the sketch so that you can still see it when we start painting. Then doing the same thing on the other one just starting from the roof instead, which on this one will be a soft upside down V, two straight lines for the walls. And this house is on top of a little hill. And I recommend not using your kneaded eraser like a normal eraser rubbing back and forth because that can smudge the graphite. So just dab it to pushing it straight down and picking it back up again. Or you can also roll it into a cylinder and rural lid over your drawing. After a while it will get a little bit dirty and full of graphite and you just clean it by needing it between your fingers. And there they are all ready for our splashes coming up in the next video. So stay tuned for that. And a sneaky bonus tip at the end. In Norway, we sometimes call it teachers gum, the blue tack or ticket that you hang photos and posters on walls with. Before I bought a kneaded eraser. That's what I used to like my sketch. So if you have that lying around, even try that out too. 6. The Splash - How to : We are ready to start splashing inquiry, that beautiful background wash. And since we need to work quite quickly with watercolor, I've put some paint on my palette and mixed or really sticky mix with water. So that's ready on my brush go in when my paper has that nice sheen of water. If I was using pens, I would make sure to activate my paints with water first so to not waste time getting a pigment Id load on my brush because then my paper of woodstock drying in the meantime. First things first starting with clean water on the paper, making sure to follow those like length of our sketch. And this is kinda the playground for our paints. It needs to be bigger than our finished slash, so that when we put painting it has enough space to flow outward without reaching the end of that water. Depending on your climate and your paper and how warm your house is, your paper might need to be repeated a few times. So just go back and forth with water and to let xi1 is even on the paper, then it's important that we work pretty fast to start putting in our paint since we only have until the paper dries to get a seamless splash. Well, the paper is dry or starts drying. Paint will stop flowing. Though. I'll start along the lines for the horizon in the house making it dark as they're creating a contrast to that snow and creating a beautiful range of values from the darkest to the lightest in who nothing. And we don't want our paint to be too thick as it won't flow as far. But if it's too wet, it might flow all the way to the border of the water and create a hard edge. I'll stereotypically when I'm working with watercolors, we start polite and work are we darker, which will do for details in our next lesson. But since this flesh only has one layer and the whole thing is painted at the same time. I'll go in with a really thick, dark rich paint so I get that range of all the values in one go. I usually start with a rather thick consistency rather than to wet because for the splash, we can add more water if needed to help her pigments flow. As I'm putting in paint, I keep defining the outline of my sketch. And if I accidentally crossed the lines that I drew, I'll just reshaped my house to go with the new outline. If you make a big mistake, you can also wait until it's dry and then cover it with guage or ink when working wet in wet, remember there's a bit of a time limit. So about now the edges of the water I put down first are starting to dry. But since the paint I put in first is keeping the paper wet, that allows me to keep putting in some darker paint within the wet paint, creating a darker value along the house and horizon for these projects. I'm not trying to shape my splashing any specific way. It's just higher at the center and creates that kind of a night sky effect. But it's also fun to explore with creating soft outlines of mountains are trees. Now I don't want to overwork it, so I'm just gonna leave it like this, letting it dry and moving on to the second one where we'll do the exact same thing. With this one, Two things happened that might happen to you. So stay tuned for some tips on how to add more water if your initial layer starts drying and how to blend a hard edge. After a little while the left side looks too dry to flow, but since everything else is still wet, I add more clean water trying to match the wetness of the areas that are still wet. If I make it too wet, we can get what we call backgrounds or cauliflower effects or watercolor Bloom's, where the paint and water have different wetness and start pushing each other around. Blend it out with your brush, and then tried to create that seamless transition into the new water you're putting down. And this might take some practice getting used to and maybe your first splashes won't be as seamless as your second, third, fifth, fifth. But I hope you'll keep practicing and you can even make more than these two he'd like. And I'm not trying to control it too much, just letting the paints flow or they want the things I'm adjusting quite precisely or just the edges around the house so that that line is clean and sharp. At the very end here I see that the top left side has a little bit of a hard edge. So I'm just going in with a clean, damp brush to carefully blend the edge and then wiping inward with a thirsty brush to stop it from flowing further outwards towards the edge of the paper. Now this all comes down to practice and it comes with a little bit of time as well. Don't get frustrated if it doesn't end up exactly like you planned it. I have several pieces that don't end up the way I want, and some paints flow further in. It's really difficult to get a seamless Flash because you get harder just almost immediately. Usually for those, I will just flush them by adding in trees. So there's an extra bonus tip for you. You can just, you can just keep creating, just add some trees, just put a little burden or some extra snow. Or, you know, I think it's important to kind of keep the humor going with the flow. And you're painting both metaphorically and literally keep adjusting your painting to end up more or less the way you wanted it. Because remember that you are the artist and whatever you say is right, is right. So they are my splashes, they're done. So I'm just going to let these dry. Go have a little snack or a coffee, or you can use a heat gun or hairdryer if you have that. Of course, in that way we can start on our details right away and I'll see you in the next lesson for those. 7. The Details - How to : Hopefully by now you're splashes or dry, so there's no bar shine on that paper when you turn it in the light. And if we press down very carefully, it's not leaving any paint on our fingers. Starting with our first one, I'm mixing a super light value of indigo on my palette. And I'm placing it up against the side of the bowl that way it doesn't touch the other paint and get darker in value. Like mentioned for this part of the class, we'll work from light to dark, starting with a light wash and adding worn layers to build our darkness. Starting up against the corner of the roof, following the line of the sketch, crushing downward from there. The proper term for this is negative painting, where we peaked around something rather than painting the thing itself. Since the paper stays white on the roof, that reads us know when we look at it, even though there's no paint at all against this, right? While I accidentally reactivated CMO, the paints from our splash. And that's okay as this house is going to have color anyway. So I just blend it carefully into the wall of the house and dry paint can reactivate with water even if it's on the paper, especially a dark layer like this. So just be careful when working along the edges. But since it's all the same color, it won't really show when it's finished. Going into what this slightly darker layer making a bigger contrast between that snowy roof and the walls, keeping it the darkest up underneath that roof where it would be a bit of shadow. And I'm using quite a dry brush, brushing downward from the roof and also upward from the snow on the ground, building up the layers and contrast. And here, it's not a problem if our brush gets a little too dry and start skipping the texture of the paper as it makes those wells look a bit more risk steak and light. Onto our snowy ground, I mix an even lighter pain. It's just colored water, which I think is a really cute way of thinking about watercolor that we're painting with colored water. I'm just soft wavy shapes like this, grading that shadow on the snow. And I'm holding my brush very lightly and on the side keeping most of the paper white. And you decide when to stop this effect doesn't need much to show the snowy ground. And if you make a sharper enlightened than you want, you can always go in with a clean them, brush and blend it out. And if you have too much water anywhere, you can use your thirsty brush to pick it back up. Then I'm planning on painting my doors here, but in case my wall is still wet to him doing this little path first still was a very, very light shade and just adding a tiny bit, wiggling my brush back and forth, making it small, applied a house and then making it bigger towards me, which is a classic way of showing perspective and distance as if someone just walked through that snow going up to their little house. Journey my paper, I can see that my house well is dry, which means I can safely put in my door liked on dry, which will keep the edges clean and neat with a slightly darker pink. Then with the same paint, just enhancing the contrast, creating some more shadow and texture on our house. And since I know I can come back to it later if I launch, I'm just leaving this for now, starting on my other one. And you guessed it. Doing the exact same thing. Starting with the lungs creating texture in contrast, rushing down from the roof and up from the ground, then adding snow, a past and a door. I got a little excited going in with my door because my past was still wet. So that blend a little bit downward. So you can see me just using my thirsty brush to pick up that extra water in pink and then to stop it from blending downward, I'm just using my rag making a sharp edge with that. And when I've picked up that water in a straight line at the bottom of the door, it's impossible for it to bleed further down since it can only go where it's wet. I've made a very year of dryness there. And that way we can troll where our door ends because the paint can't go any further. And then I'm just continuing to tweak the textures and shadows. And especially upon seeing them next to each other. I see that my dollar on the first one is a little bit pale, so just darkening that up. I'm not doing anything with the snow and I'm trying not to overwork it, just enhancing some more interests, so more shadows and textures. And there they are. And I loved the way these look and you can leave them like this if you want to OR-join me her final lesson on how to add falling snow. So if you want to, you can grab your ingroup wash or gel pens and I'll see you blur. I last step. 8. The Snow - How to : There are lots of different ways to make falling snow on a painting. And I know that some of us applies I'm using for my snow are a bit untypical, but they work so well for me. So I wanted to share them with you. I have my bleed proof ink. I have my strange to put up fan brush and a water dropper bottle, and this one just always lives on my desk. So I know I have clean water available to make snow with. Of course, you can just add it with your brush directly from your clean jar of water. Often, I'll just mix my ink in the lib directory, but you can also put it on a clean corner of your palette. Just make sure it's completely clean so your snow doesn't get a tint of whatever color it was already there, like with watercolors, getting their ratio of water and pain to write is the biggest challenge with snow. If you're unsure of the consistency, I recommend testing it out on a piece of black paper to see how big and far apart your splitters are before going in and you're painting. For this flattering, I'll just drag my fan brush against the handle of this other brush. You can also use your finger. And I just kind of aim where I want this node to be. After awhile, you'll start to recognize the right consistency for your way of creating snow. Since the snow will be more visible on a dark background, I focus my sputtering over the background splash and the house as it won't show as much on the white ground. If your mix is too loose and has too much water, this bladders might become very big and uncontrolled as well as to transparent for that bright light snow. And if you're splitters are too big and Witte on your paper, you can go into a secure tissue or your teachers and pick up some of that excess paint. Or you can carefully go in with a thirsty brush. If it's too thick. On the other hand, it will sit on top of the paper and integrate these strange little dots. These are usually easiest to wipe off when they dried completely with you tissue or your finger. Those are all my favorite tips first know, and please keep exploring until you find a method that works for you. I've seen lots of different methods for making snow like this. I'm sure you can find another class here on skills here as well, if you prefer a different way. And when you're happy with how your snow looks URL, that was the end of our piece. So join me in the last video just to say goodbye in a few final thoughts. 9. Final thoughts: And there it is. You finished our entire class. And I cannot wait to see your beautiful watercolor landscapes in the project salary below. If he decide to upload your approval instrument, I would love to see it there as well, so don't forget to tag me. And if you have any questions or any concerns or anything at all, don't hesitate to reach out and ask me, and I will be happy to answer any questions. I hope you keep playing with your watercolors after this class and get to know them even better. And find out what you like and find out how you want to use. One of the reasons I love these flashes so much is how it shows off. And Pete's and I especially love using handmade piece for this, which I discovered in 2020 and I've since collected from all over the world. Handmade paints often have beautiful interesting textures and granulation. And I also really enjoy supporting small businesses and artists in this way. So if you feel intrigued, See if you can find someone who creates paints around where you live and try them out to eat you find some new favorites. And just to mention it at the end, remember this so-called failed one, where it wouldn't blend seamlessly and I felt frustrated and annoyed with myself or choosing the wrong paint and getting hard edges and not feeling good enough. Turns out are usually our own worst critics. I a bit reluctantly posted it on my Instagram and it ended up being one of my most liked posts in all of 20-20. So just to remind during the end here to not be too hard on yourself, you can always learn from something failed and move forward. And maybe in time you'll look back and see that it wasn't really a fail after all. So until I see you in the next class, heavy slashing, and I'll see you soon.