Transcripts
1. Welcome To The Class!: Hello everyone. My name is will Elliston
and I'm delighted to have you all hear in today's
class on painting, simple but captivating
botanical flowers. Painting plants offers
a wonderful opportunity for beginners to learn and
practice essential techniques. By working with
these natural forms, we can explore brush control, colour mixing, wet on wet, wet on dry techniques, and the Art of creating
textures that mimic the delicate surfaces
of petals, leaves, and stems will explore
the beauty of simplicity, focusing on the
fundamentals that will help you bring your floral
compositions to life. I've been a professional
artist for many years, exploring lots of
different subjects, from wildlife and portraits to cityscapes and
countryside seems. I've always been entranced by the possibilities
of Watercolour. But when I started,
I had no idea where to begin or
how to improve. I didn't know what
supplies are needed, how to create the
effects I wanted, or which colours to mix. Now I've taken part in many
worldwide exhibitions, been featured in magazines, and been lucky
enough to win awards from well respected
organisations, such as the International
watercolour society, the masters or
watercolour alliance, Winsor and Newton. And the SAA. Watercolour can be overwhelming
for those starting out, which is why my goal is
to help you feel relaxed and enjoy this medium in
a step-by-step manner. Today, I'll be guiding you
through a complete painting, demonstrating a variety
of techniques and explaining how I use all
my supplies and materials. Wherever you're just starting out or already have
some experience, you'll be able to
follow along at your own pace and improve
your watercolor skills. This class is too challenging
or too easy for you. I have a variety of classes available at different
skill levels. I like to start off with a free expressive
approach with no fear of making mistakes as we create exciting textures
for the underlayer. As the painting progresses, we'll add more details to bring it to life and
make it stand out. I strive to simplify
complex subjects into easier shapes that
encourages playfulness. Throughout this class, I'll be sharing plenty of
tips and tricks. I'll show you how to turn
mistakes into opportunities. Taking the stress after of
painting in order to have FUN. Also provide you with my
Watercolour Mixing Charts, which are an invaluable tool when it comes to choosing
and mixing colors. If you have any questions
so you can post them in the discussion
thread down below. I'll be sure to read and
respond to everything he post. Don't forget to follow
me on Skillshare by clicking the Follow
button at the top. This means you'll be the
first to know when I launch a new class
or post giveaways. You can also follow me on Instagram at will Elliston
to see my latest works. Let's get ready and
embrace the magic of watercolor painting
as we delve into the enchanting world of botanical flowers and
plants, That's begin
2. Your Project: First of all, thank you so
much for choosing this class. I deeply appreciate it. Nature has always been an incredible source
of inspiration for artists and botanical subjects hold a special place in the
heart of many painters. The delicate petals,
vibrant Leaves, an intricate details of
the flowers and plants offer endless possibilities
for artistic expression. I'll chat tips and tricks
to help you achieve effortless yet captivating
botanical paintings. Will discuss color mixing, brush techniques,
shady, and composition. By the end of this class, you'll have the
confidence to create your own floral masterpieces and find joy in
every brush stroke. In the resource section, I've added a high
resolution image of my finished painting
to help guide you. You're welcome to
follow my painting exactly or experiment with
your own composition. As we're going to be focusing on the painting aspect
of Watercolour. I've provided templates
you can use to help transfer or trace the
sketch before you paint. It's fine to trace when using it as a guide for
learning how to paint. It's important to have the
under drawing correct? So that you can relax and have FUN learning the
watercolour medium itself. Whichever direction
you take this class, it would be great
to see your results and the paintings you
create through it. I love giving my
students feedback. Please take a photo
afterwards and share it in the Student Project
Gallery under the project and resource tab. I'm always intrigued to
see how many students have different approaches
and how they progress with each class. I'd love to hear
about your process and what you learned
along the way. Or if you had any difficulties. I strongly recommend
that you take a look at each other's work in the
student project gallery. It's so inspiring to see each
other's work and extremely comforting to get the support
of your fellow students. So don't forget to like and
comment on each other's work
3. Materials & Supplies: Before we start the painting, Let's go over the materials
and supplies I use. Having the right materials can greatly impact the
outcome of your artwork. I'll go over all the
supplies I use for this class and beyond that, very useful to have
at your disposal. And we'll make it easier
for you to follow along. Let's start with the
paints themselves. Unlike most of the materials
will be using today, it's a lot to do
with preference. I have 12 stable
colours in my palette, and I fill up from tubes. They are Cadmium
Yellow, Yellow, Ochre, Burnt Sienna, Cadmium
Red, Alizarin Crimson, Ultramarine blue, cobalt blue, Cerulean blue, lavender,
purple, Viridian, Black. And at the end of the painting, I often use White Gouache,
but tiny highlights. I don't use any
particular brand. These colours you can
get from any brand. Although I personally
use Daniel Smith, Winsor, and Newton
or Holbein paints. So let's move on to brushes. The brush I use the most is a synthetic round
brush like this, a Skoda per Brush. For this Van Golf brush. They're very versatile because not only can you use them for detailed work with
their fine tip, but as they can hold
a lot of water, they are good for
washes as well. That also quite affordable. So I have quite a few
in different sizes. Next are the mop brushes. More per brushes are good
for broad brushstrokes. Filling in large
areas and creating smooth transitions are washes. They also have a nice tip that can be used for smaller details. But for really small details, highlights or anything
that needs more precision. I use a synthetic
size zero brush. All brands have them and
they're super cheap. Another useful brush to have is a Chinese calligraphy brush. They tend to have
long bristles and a very pointy tip
that perfect for adding texture or
creating dynamic lines. And you'll paintings. You can even fan them
out like this to achieve for or feather
textures as well. And that's it for
brushes onto paper. The better quality
of your paper, the easier it will be to paint. Cheap paper crinkles easily
and is very unforgiving, not allowing you to
rework mistakes. It's harder to create
appealing effects and apply useful techniques like
rubbing away pigment. Good-quality paper, however,
such as cotton base paper, not only allows you to rework
mistakes multiple times, but because the pigment
reacts much better on it, the chances of
mistakes are a lot lower and you'll be more likely to create
better paintings. I use Arches paper because that's what's available
in my local Art Shop. Award spray is
absolutely essential. By using this. It
gives you more time to paint the areas you
want before it dries. It also allows you to
reactivate the paint if you wanted to add a smooth
line or remove some paint. I also have an old rag or t-shirt which I use
to clean my brush. Cleaning up the paint
before diving is in the water will make the
water last a lot longer. It's always useful to
have a tissue at hand whilst painting to
lift off excess paint. Also, you never know when an unwanted splash or drip might occur that needs
wiping away quickly. I also have a water droplet
to keep the paints wet. When you paint, it's
important to have them a similar consistency to what
they're like in the tubes. This way, it's easier to
pick up sufficient pigment. A hairdryer is useful to have, speeding up the drying time and controlling the
dampness of the paper. And lastly, masking tape. And this of course it's just a whole paper down still on to the surface to stop it sliding
around whilst Painting. Also, if you plan on
painting to the edge, will allow you to create a
very crisp, clean border. And that's everything
you need to paint along. I encourage you
to experiment and find out what works
best for you. Now let's get ready
and start the painting
4. Drawing It Out: So I'm using a soft to be
pencil for two reasons. If I make mistakes,
I can easily rub it out without making
damage to the paper. And at the end, when I rub
out the pencil markings, also, they won't leave marks because
there's a soft lead rather than a hard land. So it's easy to rub out. I got to start off as
ever with simple shapes. So starting with the stems, I'm just going to have a
main stem coming up there. Flower head on top
around about that, keeping it very rough in
general to begin with. Then I think I'll have a secondary Flower somewhere
a bit further down, bit smaller this time. And have a, another stem
going around there. Maybe not a flower on
that one stem going up. They're coming out here. Something going on here. Maybe let continue that
stem a bit higher up there. How she things coming off? The Stems, the main stem. So I have reference of
different plants and flowers. I'm drawing from. Not directly just if
I like some shapes, I just add them all needed, even if it's not a real plant. Just adding my own flavors, different colors,
whatever you want to add. I'll of course have different
references you can choose from in the resource section. And you can come up with your own designs that I'll be happy to see your own interpretations, but you're equally welcome to follow along
exactly as I am here. Sign to add a few
leaves to this. I'm overlapping the main stem, which should make the
painting more dynamic. Now I'm going to
go back up here. We're going to start
drawing out over a bit of a bit more detail. The actual petals
are the flowers. I'm going to find
the center point, which is around out there. And go straight across like that. Drove a car and live. It looks like a weird
telephone, I guess. Old-fashioned telephone. Two petals like that. Or bent dog bone. It's trying to think
of abstract ways, face a visually
understand it into simple shapes, visual metaphors. Now we can add another petrol, all going towards the
center of gulags. And that's why we
Flower done in Mark, where it comes off
the stem here. And add uninstall Leaf here. Just dotting around
all over the place, jumping around different
sections over time. Now the little rubber here on a mechanical rubber to
so that I can get into those details called mono
zero if you're interested. I'm just doing a single line. Stam actually are paying to send thicker when
the time comes. For knowing that stemmed down. That's another leaf here. Drawing leaves, leaves
at different angles. They will have Leaf overlapping here just
for a bit of interest. Have a few of them overlapping. Just to create some more
interesting visual aspects. Is Leaves can be a
bit thinner, smaller. I'm keeping it quite simple. Choosing the storks and
just adding various Leaves. Then we can choose
different colors that we want for these leaves when
it comes to Painting. Last way to experiment with
different color schemes. Me on another branch
going up here, straight through that one. And up to their actually slightly different, but using the same kind of idea, like almost like lips, I guess. Once we've sketched
out will be a bit like coloring and
we're watercolour. Good practice for brushwork,
different angles. It's going to put a
tissue here so they don't smudge that drawing. I can put my hand down
there without its smudging. I'm going to draw
out this Flower. These flowers, I'm going to
put on these stems rather. I'm going to put Buds rather
than Leaves of flowers. Maybe some of these buds can
be opening more than others. We will have a third
one coming off here. Odd numbers are usually more attractive compositionally,
an even number. So I always go for three or
five rather than two or four. Boil down to taste. And situations. Sometimes even numbers
can work out quite well. Whatever feels right for
yourself when you're painting is not actually a
right or wrong way about is, is whatever direction
you want to go down, what you feel, you
want to explore. Don't feel limited
by what I'm doing. This is quite an easy process. Drawing. It just takes a bit of time. There's a lot of
line work going on. As long as you get
your drawing correct, the painting will be
far easier to complete. Because if you start to
painting without knowing that you're drawing is absolutely the way
you want it to be. And there's no way
you'll figures out during the painting process. So take as much time as
you need to make sure that drawing is how you want it. You don't need to necessarily
do a full painting. You can just look at the references that
I've included and just paint a single plant rather than overlapping
plants like this. Up to use this class, however you want to use it to improve what you want to improve or who just want to
have a bit of FUN. You can just take it easy. You have few overlapping leaves here and little Buds underneath. I think that is pretty much done with the sketching stage. Now, just get my
palette out and think about how colours we're going to use and which
way we're going to start
5. Painting The Flowers: I'm going to use a synthetic
round brush like this, a Skoda Perla or
the span got brush. I'm going to use the
Van Gogh this time, size eight, but
they're both similar. And I think I'll start
off with the flowers. I'm going for an orange color
tennis around us when she, I'm going to keep them
interesting and have various colours dotted around. Influences of different
colors inside there. Some bits will be more Yellow, some bits will
blooming more orange. So I'll just prepare my
palette with a lot of different hues and colors. So I can just dip dab wherever I want
when the time cones. So prepared by colours
now I'm just going to wet the flower so that the pigment can just
flow all by itself. Then we can just touch up how it might How we might
want it to move. We can manipulate it a bit. Once the paint is on. Tongue moving in with
pigment, very soft pigments. Again, live. Splash haven't read maybe, yeah. I'm thinking orange,
yellow hues, The Flowers. And then for the stems, of course will be green
and blue kind of thing. Because of course, Blue is a complimentary color to orange. I might even include a bit of purple because that
compliments Yellow quite well. All Yellow Peril here. I'm trying to finish this
section for this all in before any of it dries
because if an edge dries, then it'll be difficult
to keep it all unified and E Then I'm trying
to work quite quickly. If that's stronger
down the bottom here. It's cleaner. Edge like
a silhouette really. Then while it's still wet, get some thick pigment. This is, I've got this little board here
just to get the pigments very thick and dark. And then it's going to
dab that thick pigment in there along that line on
the top of that line. And as it dries, it
will just bleed out. And I can actually add a
bit more red there just to help lead us out like that. And I'm just gonna leave that let that do what
it naturally does. I'm gonna do a similar
thing to this one. Except with this one. I won't add to the thick pigment that we added on the last one. I might come back to
it hit the very end. But I want to show two different approaches
to painting a flower. I'm going to keep this
one even simpler. Even more simple. Just like the last one, I'm filling it all in
one even silhouette. And with this one, I'm actually going to
put less variation of color in to keep
it one block, Yellow. I try not to go over the
lines just so that I can help help make it easier
to rub them out later. A board, a little block underneath here to
put my painting a little tilt so that
water runs down a little. I'm going to add a little bit more water on
here to just say that it's lighter on the top
and it is on the bottom. Maybe make it a
slightly bit redder. Okay?
6. Painting The Leaves: Next I'm going to paint these petals or
not petals leaves. Rather. We're going to go for
Cerulean blue. For those. I like Cerulean blue so much. I think I'll keep it as
the base color for most of these leaves and add influences of other colors and
that will keep it unified. Again, blue and orange, a beautiful
complimentary colors. Pure Cerulean blue
at this stage. Then maybe I'll mix a tiny
bit of viridian green here. Better. Poll. Just
dab it in there. I'll make this petal
a bit lighter, actually, it's a bit too dark. I add more water. So here's a tissue. Bring it up into a similar thing here you
get that Purple tip here. Quite light. Then at the bottom we use the Cerulean
Blue just to connect it. And it will just lead out
into that area above. Maybe a bit of green for
this one. Viridian green. Cerulean blue again. He's my rubber rub out. Some of these stems
that are overlapping. The paint inside there. Let's Cerulean blue
again and connect it. A similar thing against here. This is a little bit more constrained than
my other classes where you can be
expressive brush. You can still be expressive
of your colors though. On this, just a
different technique. You have more control of this, this actually then
my other classes just takes a bit more time. But that can be a good
thing for beginners because taking your
time to make sure you're observing
everything correctly and to study your subject closely will help you in the long run and
create a good habit. Look for unique
characteristics that make what your
painting distinct. And it'll help you
train your eye. And taking your time is a useful thing to think
about when you're, when your patients is low. It is a good reminder
of how important it is. Making sure each leaf has
a bit of variation in it. And trying to create a smooth gradient from one
side of the leaf to the other
7. Small Leaf Brush Control: Can move up, down and
do these ones too. Now I'm going to
change my colors. Maybe Purple, add
Purple to the Cerulean. Now have to bring
this bit close to me. This is a good practice with brushwork
because you can see how the different pressure affects the thickness
of the brush. Just like coloring. And you're going to choose different whatever
color you want to experiment. Each petal I'm doing
slightly different. And then collectively it
should just make sense. Stabbing in different blues, different Greens,
Ultramarine. And this one. I'm keeping Cerulean blue
as my stem, so to speak, as my main color that
holds everything together. So if you keep Cerulean blue, or whatever color you want
as your primary color, that you can merge
up a colours into it and it should still work. These wounds are a
little bit more fiddly. But again, it's
really good practice, especially if you're a beginner, to see how your
brush works and to improve your hand
coordination technique. The next one will paint,
will be a bit more green. I make section where it connects to the
stem a bit darker. So if you're a beginner, you should choose simple flowers or plants with uncomplicated
shapes and fewer details. And this will help you
build your confidence and grasp the basics before tackling more complex
shapes and subjects. Where the stem goes underneath. Just stop where the leaf starts. Enormous painting, Leaf. One brush stroke. If SAP then light and
then as you go forward, press small, brush
thickens out like that. As you get to the end, you bring it back out again. And by the end of
all these leaves, it shouldn't be an expert
at that technique. It does take a bit
of brush control and patients just
to get it right. When painting these
in my mind's eye, I'm trying to break it down into basic shapes like
circles or ovals. I'm not thinking of
the flower itself, just the shape, their overall form and proportions
of the plant or flower Cerulean blue again, haven't
used that in awhile. Will make something a bit large. You can, of course,
use a smaller brush if you feel like need more control. I encourage you to experiment with different
brush techniques to understand how they create different textures and strokes. Practice controlling
the pressure and angle of your brush
for different effects. It's some dark pigment
to the bottom here. Painting takes time and
practice to master. So be patient with yourself and embrace the learning process. Don't be discouraged by initial mistakes
or imperfections. By keeping practicing, you'll
see improvements over time. Someone's gonna go over the
leaf. The Anthony's father. I forgot this one up here.
8. Painting The Stems: Now I'm going to use my
number one brush actually. And just paint out the stem. Almost a single line. Then when it comes to their, I'll stop just before
it reaches the leaf where it gives the illusion
of going underneath. This is of course just gray. Gray pigment can add
another color to it. You won't make it a
bit more exciting. That's Purple. Ms. Connect the dots. Can paint that stem now as well. So again, using dark pigment, it's going to very edge. This one. Make slightly brown. Starts thick at the top. And as it goes down, I'm going to gray it out a bit
and make it a bit lighter. The time we reach the bottom, it's completely different
antibiotic dynamic. It starts dark at the top and
then lighter at the bottom. Keeping it in gray, Making
sure the colors match. Otherwise it won't look
like the same stem. And starting from the bottom, connect it from the bottom. Now we're going to be careful
when we paint that Leaf. We don't come into contact
and let it spill out. Just notice I've obviously brushed some pigment now
which I don't want to do, so I'm just going to
scratch that out. I use a hard bristle brush
for when that happens.
9. Colour Variations: We're going to paint this. I'm going to start off
this purple color. Remember not to come in
contact with the stem. It's okay if there's
a little gap between the stem and
the Leaf anyway. So I'm going to add
a little bit of warmth at the top,
there's a title, DHAP, then Cerulean Blue. Then at the bottom
work has quite dark. Maybe a lot dark, but that's okay because
we can use that. Start another Leaf. Can draw some pigment out of here and put down up here. Cerulean and gambling going to add some orange
at the top here. When we're going to put that
underneath that other leaf. I'm just going to paint
through the other side. This is when these
synthetic round brushes really work their magic because if there's still new and haven't
been worked away, they have a very fine point where you can get
into those corners of the leaf. Like that. Making these diamonds
a bit darker. You know, make this
one a bit Red. Again, coming with us Cerulean. You can start to
see the amount of control you do have
with the pigment. If it's too dark,
you can lift away. And if it's too light, you can
drop more pigment into it. Now I'm going to
continue with the Stems. So getting that
dark pigment again and connecting it there. Mixing it here too like that. Then going to find the point
there where it connects, where it goes underneath. Then bringing it out
down to the bottom. Now I'm going to use a hairdryer just to dry this sides that
we can work on this side, we're about smudging it, fixing a bit more texture into their okay. Let's you've had dry
10. Painting The Buds: So I've dried it off and I've used a rubber disturb some of the pencil markings out
on this side of painting. Now we can continue.
On the other side. It's going to use my tissue
again to cover smudge. I'm going to start up the top. And I'm going to also
clean my palette to get rid of all these purples
because I think we've finished pretty much with
the purple side of it. We're gonna go to the complimentary of Purple,
which is Yellow. And get rid of the
blues as well. And focus on orange. Because blue and oranges
are complementary to some Yellow, Yellow Ochre. Actually, I prefer Yellow Ochre, the tissue to protect. Just fill out these areas. So the abdomen with a
big brush and then use this little brush just
to bring the water out. My tissue at hand
here just to dab away in case the pigments to
stroll or it's too watery. Darker pigment here. Just to add a bit of
shading into their we'll come back to
the standards later. Moment we're just
doing the Buds. And you'll see,
once this has done, that the yellows of
these Buds work very well with the purples of the
leaves on the other side. Other pair of orange
into that one. 90% of this painting will
be done with one layer. Because I'm intending for
it to be for Beginners. People, you just want to
do a simple painting. But if you want to
take watercolour further and explore another
level of this painting, you can wait until
it's dry and then add a few more layers to bring more details and depth or
realism to your painting. Swapping the pigment out. If there's too much
pigment in one, I move it to another one. That's not enough and one I
draw it from somewhere else. That keeps everything unified. They didn't need
to be so accurate. There'll be an illusion of detail when the whole piece
is finished at the end. Individually, they're not
very detailed at all. But the mind will make sense
of it in the viewer's eye. So as you can see, the paint that I have
in my palette is quite thick and it's still very
much absorbed with water. The pens that you buy from, directly from the shop don't have any liquid
in there very dry and it's easy to think that that's how you're meant
to paint with dry pans. But of course, everything's open for different styles and different interpretations
and workflows. But to have more
control of the pigment, it should be wet because
you can always dry it out on your palette individually. But if are faster results, it's best to have very wet pigment like i2
and then pick up bits out into your little
sections to mix the colors and put
onto the paper
11. Mixing Natural Greens: Thinking about it, while
these bits and drawing, I'm just going to use
this passage rubber this to lighten my pencil mark because I think there
are a bit too dark. Now going to move down. And as they go down and I'm going to
influence more colours. So this top sections,
more orange, yellow. Now down here, it's gonna be more yellow, green,
green, yellow. And rather than using
migraine to use green, fridge and green
are going to mix Cerulean into the yellow. Because I think that's
just some prettier green than the viridian
green Viridian. It's quite an artificial
green, not very natural. And while I'm at
it, I'm going to paint Here we're overlaps. You can take a
little bit of time and patients to do
these villi sections. But as long as you concentrates and
really take your time, have a bit of finesse
with the brush. You should be fine. Simple silhouettes. Mixing the Cerulean and civilians and so
many of this mix, but it's not noticeable like
this is Yellow and Cerulean, but it just looks like green. So it's not obvious, obvious where it is, but it has a subconscious effect on bringing the painting
together and the color scheme. But again, it doesn't
have to be so brilliant. That's a different
color scheme you want. You can have oranges
or base color and everything cool purple and
a base color of everything. Whatever takes your fancy. Re-wetting these areas here, we've Yellow and
softening the edge. One says the tissue. The tissue handy. Whenever mistakes may occur. Few more dark details just
to give it a bit more depth. The bottom where it
reaches the stem. I want some of these
to be a bit bigger. So that's what I'm going to do this to
increase the size of the
12. Connecting All The Pieces: Now I'm going to change the
color scheme again and make them kind of dark brown here. Colour, dark around the edges. Couple more. Then last thing to do will be to connect
them with Stems. Starting at the top.
Again, I'm going to start connecting them. We're going to have
that same kind of dark yellow color is to
mix them up like that. Gradually starts to make
a bit more sense in context with the rest
of the painting. And make it this
one a bit redder, just adding a few
Variations each time, keeping it exactly the same. Sometimes adding a bit of red, sometimes Making a
bit more yellow. Whatever color you
decide to pick, be fine. See wherever this guy I'm
plaque coming underneath here. I can show them where. I come down here
and connects there. I think mixing a bit more green, adding that Cerulean again. If it darker, they it's quite dark there. It's trying to work
out where all goes without overlapping
certain sections. And I connect mainstem there. Then we can have small one coming down there
connecting that. Another one connecting they're coming down there. And then that can connect
onto the main stem
13. Finishing Touches: Let's paint that main stem now. I want it to be dark
again up at the top. Create some contrast, right? Right, connect. Very dark. Some strange organic
shapes and then I can come down, blend out. Didn't want to pick that color. And let's go to this Cerulean. Then it connects down there. We can do a similar thing. Here. We get a bit redder, so it matches the top. Here we go. Roughly matching the color schemes on the Buds that I'm
connecting them to. If they're green, I make
that Stems bit more green. If they're red or orange, I add a bit more red or orange. Now this section is
a bit more gray. So now I'm going to make a gray. Make The Stems gray darker where meet, so they'll make it
thicker and connect it. Then at the bottom. Think, I'm gonna make
it slightly Red. Dilute it more. Connected. Goes. And then in that section
there where it connects, I'll just make it a little darker and have these pits connect here. Then I'm going to use the
hairdryer to dry it off. As I've gotten
quite an important, this, a central, this flower. I going to mix a very
vibrant orange and yellow. The very simply just
Flower had in the center, put some pure pigment. Maybe just a splash of
water. Too much water there. Just to soften the edge a bit. Now we're going to dry it off, rub some of the pencil markings, and just maybe add
a few more details. But it's not totally necessary. Cleaned up the lines
are the rubber. And I'm happy with
how most of it is. And now we're the
most difficult part is knowing when to stop. I could stop now, but I just feel like adding
a few more details. Just could couldn't
do much harm. Now I think it's fine. Actually, I won't add
any more details because I always end up regretting it. To few small details can end up ruining
the main painting. I'm going to use. This
highlights this White Gouache. Just to how puffy of the accents clean up some of the
edges on this petal. But not much at all. Don't want to overdo it with
the white gosh. Few dabs. That's enough. That's it. Let's take the tape
off and have a look. A final review
14. Final Thoughts: Welcome back and congratulations
on completing the class. I hope you've had been watching. And if you hadn't already
given this painting and go now at the time to put what
you've learned into action. Let's take a moment
to reflect on what we've explored together
in this class. We've learned some of the
most fundamental techniques or watercolour painting, from brush control and colour Mixing to creating gradients, capturing the essence
of botanical subjects. Painting is not just about
replicating what you see, but capturing the
essence, harmony, and beauty of natural
world around us. So I hope this class
will help you unleash your creativity and develop
your own unique style. As you step outside
into the world, look at the flowers and plants with a renewed sense of wonder. Observe their delicate forms. Vibrant colors, and
intricate details, carry that inspiration
with you onto the paper, continues to nurture
your creativity, practice and let
your imagination saw capturing nature's beauty
in every brush stroke. Remember, watercolour
painting is not just about technical skills, but also about expressing your creativity and
personal style. I encourage you to continue
exploring, experimenting, and pushing your
boundaries to create your own unique
watercolour masterpieces. As we come to the
end of this class, I hope you feel
more confident and comfortable with your
watercolour painting abilities. Practice is key when it comes
to improving your skills. So keep on painting
and experimenting. I want to express my gratitude for each and every one of you. Your passion for watercolour
painting is so inspiring. And I'm honored to
be your teacher. If you'd like feedback on your painting, I'd
love to give it. So please share your painting in the student projects
gallery down below. And I'll be sure to respond. If you prefer, you can
share it on Instagram. Tag me at will Elliston as I would love to
see it. Skillshare. I also love seeing
my students work. So tag them as well at Skillshare after putting
so much effort into it, why not share your creation? If you have any questions or comments about today's class, all want any specific advice
related to watercolour? Please reach out to me in
the discussion section. You can also let me
know about any subject. Wildlife will see me,
me to do a class on. If you found this class useful, I'd really appreciate
getting your feedback on it. Reading your views fills
my heart with joy and helped me create the best
experience for my students. Lastly, please click
the follow button up top so you can follow
me on Skillshare. This means that you'll be
the first to know when I launch a new class
or post giveaways. Thank you once again for
being part of this class. I wish you all the best in
your artistic endeavors. Bail passion for
watercolour painting continues to blooming flowers. I look forward to seeing
you in future classes. Until then, happy painting
Will Elliston, Award-Winning Watercolour Artist
