Transcripts
1. What this class is about ?: How about taking streams
of granulating paints and turning them into realistic
sunny watercolor painting? Hello, I'm Maria, a watercolor
artist and instructor. In my classes, I usually start with breaking down
various techniques, providing exercises, and then guiding you
through practical scenes. However, this time, let's keep
the usual routine and dive straight into creating
a watercolor painting full of light and textures. This class is made for those already familiar
with watercolors. But don't worry, I'll be
walking you through each step, from the initial pencil
sketch to the final touch. We will focus on painting a realistic scene without getting lost in
unnecessary details. We'll capture the essence of
sunlight on spring greenery. And of course, we will explore the fascinating world
of granulating paints, turning water and pigment streams into beautiful textures. So you'll not only create
a watercolor painting, but also gaining skills
and techniques that you will be able to use for
many future paintings. Are you ready to begin? Join the class and
enjoy watercourse.
2. Materials: Let's start with
a brief overview of the materials I used for
creating this painting. The paper I'm using this time is the same one I use
for most of my works. It's arches cotton paper. It's cold pressed and
300 grams density. I've attached it to a plastic
board with masking tape. You can use any paper
of your choice, but I recommend using
textured cotton paper, such as rough or cold pressed. As I do, this will help to
enhance the paint granulation. Additionally, this type of
paper holds water well, and it's more resistant
to masking fluid. By the way, it's crucial to have masking fluid
for this project. And if you're unfamiliar
with this material, it's a solution that we
apply to the paper in areas that we want to protect from
paint during the process. It dries on the paper surface
and allow you to paint over it without worrying about affecting those
protected areas later. This layer is removed, leaving the paper clean. If you don't have it yet
and you're going to buy it, make sure that the fluid
is removable because there are non removable mediums
available as well. For painting, I'll be using a large round
squirrel brush for background and a couple of small synthetic round
brushes for details. You'll also need a white brush
for moistening the paper. Choosing your paints
here is crucial, as well as says the class topic. I'll focus on
granulation effect. Therefore, it's essential to
use paints with this effect. And it's all often marked with the letter G on the
tuboard or the pen. Today, many manufacturers
offer the entire series of granulating paints that break down into these
beautiful shades. However, I don't
really use them often, so I'll mix the desired color from the granulating
paints I have. They are potters, pink, cobble, turquise,
and Mars black. Feel free to use other
granulating paints, including pre made, complex color that you can find
in art supply stores. Additionally, I'll
need regular paints without this granulation effect. You can see the entire
list on the screen. Don't forget to prepare
a cup of water. Your palettes, paper towels
or a piece of cloth. A scrap paper for
testing colors. A pencil with on the
razor and a hair dryer. Once everything is ready,
let's get started.
3. Drawing Leaves: Let's begin with
the pencil drawing. Here's our Pota reference. And to be honest, I
love this picture. I've taken this reference, Pota, on the trail while
hiking in the mountains. It's funny how sometimes the
beauty is really all around, even under your feet on
the trail like that. We will begin with
the pencil sketch. I've attached the paper to the drawing board
using masking tape. I'm drawing on the
more textured side of my paper because
I really want to achieve this granulation effect, I highly recommend doing your drawing very
properly if you want, you could even use
a light table. You see my printed
version really corresponds to the size
of the feature painting. Therefore, I could
simply place it under the sheet of
the paper and trace the contours
illuminating the paper from the back using
the light table. Or for example, with U, just by placing it
against the window. However, if I have the time, I always try to take the
opportunity to practice drawing. It helps keep my
drawing skills sharp and enhances observational
skills as well. I will put aside my
photo reference, but I will keep it in
the view while drawing. And for your convenience, I'll display the reference
photo on the screen. I'll be using a regular graphic
pencil and two erasers, irregular one and a soft one. With complex drawings
like this one, I typically begin by lightly sketching the primary
outlines of the forms. And in this case, there
will be the areas where the plants
leaves are situated. By the way, I usually don't
really print out images. I draw normally directly from the computer
or my phone screen. I'll demonstrate
the initial steps and lines in the real time. However, I'll speed up
the video afterwards so that you can observe the entire process without
getting too board. Also, keep in mind
that you can adjust the play speed of this video
in the controls below. To begin, I identify those points that correspond
to the tips of these leaves. I also have a printed
photo of the same size, making it easy for me to roughly compare the
proportions and check if I've accurately transferred the main points to
my watercolor paper. Once those key
points are put on, I can determine the position of other elements relative
to those points. A significant part of the drawing process involves
careful observation and constant comparison between my drawing and the
reference photo. It's a continuous check to ensure that the lines
are well placed. I won't try to replicate
the drawing exactly, but I still aim to create it's quite
close to the original. This will often make me to do a lot of adjusting and eraser and it's a normal
part of the process. At the moment you
see the real speed at which I draw it quite slowly. Lines are also very
light because I'm not certain if I will need to erase those lines in the future. As the composition
will take shape, I will darken those outlines. You can see me
drawing a few leaves in different areas and I'm going to use them as reference points for
drawing the remaining ones. You can also start
from any part of the plant and just
draw them one by one. In this painting,
it's crucial for me to preserve the spaces
between the leaves. I'll also pay special attention to the coors of the leaves, try to see them as
individual lines and compare them with ones I
see in the photo reference. As you can see, I pay less attention to the
actual shape of the leaves. Botanical precision is not my
focus in this drawing here. You actually also can even choose to outline
some shadow areas on leaves to make it easier later to navigate through
all those lines. Here, for instance,
will be a shadow. There will be branches
here starting with them, could have been another
approach to do this. The entire process
of sketching with a pencil took me
about 20 minutes. However, it may take
longer or shorter, depending on your skill level and on the size of your paper. If it seems too time consuming, consider splitting the work on this painting
into two stages. For example, pencil drawing in one session and then watercolor
painting in another one. I continue my drawing this way. We drawing, remember
that it will determine the location we reserve for using
masking fluid later. Now, in some areas, I begin to darken the lines. We now I feel I'm running out a bit of space for
all these leaves. I see here it turned out a bit more compact than in the Flota. In this part I'll raise a little bit here because I'm not satisfied
with how this part looks. By the way, when you
have to raise a lot, a dry large brush
is just perfect for removing the eraser
leftovers from the paper. This way you won't
have to put your wrist across the paper,
smearing the pencil. I'll just the proportions
a little bit. Now, as you already
seen the process, I will speed up the video so we're almost there. I'll deck in the
lines a bit more. I make the contours
in a way that will help me to understand where to apply the masking fluid later. For example, in this part, there are many
intersecting elements, but I don't draw all of
them because my main focus is on the externals that are
relative to the background.
4. Drawing Shadows: Now it's time to outline
the future shadows. You can see that the shadow is not directly under the plant, but slightly angled because light source is somewhere here. I pay attention to the lines that connect the
shadow and leaves. For this, I'll compare the
position of the shadows to the existing elements that
I already have on my paper. For example, this shadow in relation to the
tip of the leaf. Or for example, these
two elements you see, they lie on the same
imaginary line. So I'll use them as a reference while drawing in general. Hopefully you already
understand the drawing process. I will speed up the
video a little bit. Once again, it's
also essential to remember that the plan
drawing that I've already made is not entirely
accurate in proportions. Therefore, I have to refer to the photo and to what I
already have on the paper. To create the correct
drawing of my shadows, I will move this little
leaf flower Yeah. To make it fit to
everything else. In this part you see there's
just a group of dark spots. The key thing is to
see the contours of the spot as we did
for the plant itself. That is, I'm not really
thinking about what's inside this spot now. I'm continuing in the same way. In the lower part
of the shadows. Right now, it might
seem like there are too many different
lines and elements. I hope you can still distinguish between the leaves
and the shadows. However, it will
become more clear once we apply the masking fluid. Well, I have to admit that
my shadow doesn't look precisely copied from the
original, but that's okay. The main elements are
still in their places. Now I'll darken the edges
of the shadows even more. It's important to
do this because the background
will be quite dark and I'll be working wet on wet with lots of
brush movements. And I want the counter lines to be visible through this
layer of paint later. Actually, we could
draw those shadows directly with the prush without preliminary
pencil sketch. I believe if I had chosen
a smaller paper size, I wouldn't have spent so much time on all the
details in the drawing. Well, yeah, at this point, it's already challenging to see the boundary between the
shadow and the leaves. But here, for example,
this is the shadow. Here is this illuminated
part of the leaf. For me at this
point, it's not very important to
distinguish those two. But if you think
that it might help you to see it more clear, you can lightly
darken the shadow, for example, to see better. Finally, I will also outline
the elements of the stone in the background here. There will be such an
interesting or of the shadow, by the way, it's
entirely optional. Generally, I believe that
the drawing is here to make our future watercolor
work easier for each person. This approach will be different. I myself, sometimes I
hardly use a pencil, and sometimes, like today, I even enjoy the process of
drawing pencil lines itself. Everything here will
be in the shadow. I know that this composition might seem challenging to you, and I know that it's because of lots and lots of elements. But in the end, I'm sure that
if you take your time and carefully place the lines on the paper, you can manage it. Don't hesitate to share
in the discussions how easy or challenging
this drawing was for you. Did you take a
risk to draw it in the similar traditional
way as I did? Or did you choose a
different approach like using a light table? Now the drawing is complete and we can move to the next stage.
5. Masking Leaves: All right, now let's apply masking fluid to the leaves
and highlights on the stones. This will help
preserve the paper in these areas when we will be
working on the background. I'm going to use
masking fluid by Winsor and Newton
in such a bottle. And I'll use an old brush that I won't mind potentially in. Please don't apply masking fluid with the brushes that
you use for painting, because even with
careful washing, there is always a risk
of damaging the brush. To apply the masking
fluid to the paper. I simply load it to the brush and draw inside the outline
of the future leaves. I try not to make the layer too thin so that it covers
this area well, and it will be easier
to remove later. However, I don't
make it too thick either because it will
take too long to dry. While doing this, I pay special
attention to the contras. After all, we spend so
much time to draw them right by doing the contre. I can also adjust the leaf
shape in some places, and you might even add some elements that
you forgot to draw. For example, notice that I'm drawing a relatively
simple leaf shape without a lot of
texture on the outline. Don't forget to check the reference foto to avoid
missing the necessary parts. And of course not to mask too much on the edges of the leaves. There are textual serrations. Generally, I could have added leaf texture at this stage
using the mask on the counter. You see, However, I decided
that in this painting, I will try to make the
plant with minimal means, without too many details. Pay attention to the
spaces between the leaves. Of course, there will be a
dark background in them later, creating this beautiful
contrast to the leaves. Yes, I've already mentioned this during the drawing stage. As you can see, this is also quite monotonous and
meticulous work, but it's worth it to
simplify the task. You can take a smaller
format of the paper and maybe crop the image slightly so you don't have
to draw the whole picture, just a part of it. I'll continue filling the
leaves with the mask this way then we will create a reserve for future
highlights on the stones. In theory, we could do this
work without masking fluid, and honestly I actually
prefer to do it without. However, in such case, painting the background
would be even more difficult because I'd
have to at the same time, draw a dark background along the Cos while trying
to keep the paper, because we need to make
this granulation effect. In this case, masking fluid
is indeed a good option. You will see this way. I can work with
wet flowing pains for the background
and not worry about the leaf shapes Well, it's almost done. Notice how in places where
the fluid is drying, it has changed color from such a milky color to a
more transparent yellowish. Now I'm adding a few
more branches and details I forgot during
the drawing stage. Next I will check if I
reserved all the areas. I think that is for the leaves. Don't forget to clean
the brush right away while the fluid
on it hasn't dry yet. And then move to the
final preparation step.
6. Masking Highlights: Here on the wets stones, I can see the highlights. I will add a masking
reserve here as well. This time to make it, I'll be using a toothbrush
and I recommend to practice it on a draft before doing
it on actual painting. Just to test how it works. For that, I put it
in masking fluid. Now I'll apply drops to
the surface this way. In the beginning, when
there is a lot of fluid, the drops will be quite large. Actually, I could have made them with the brush
normally as well. However, as you see, the tooprush helps in creating
many small drops later, which will give me
the desired effect. I will add a little bit more here at the top of the stone. Now I will wait for the
masking fluid to try, and finally we will be
able to begin watercolor.
7. Preparing Paper and Paints: All right, the masking
fluid has completely dried. Now it's time for
the stone texture. For this, I'll be using
granulating paints. These paints have larger
pigment particles and they tend to settle in
the texture of the paper, creating this sort of a
nice textured effect. I won't be using pre
mixed granulated paints. As you may know, various
manufacturers now produce entire series of complex,
interesting granulating colors. Instead, I'll be working with paints that I already
have in my palette. Cobal, Turquise, Mars,
black and potter spin. I've squeezed them
to the palette to mix them directly
for this work here. And I actually rarely use these paints in my general work, to be honest, for the granulation effect to show the pint needs
to be liquid. Therefore, I need appropriate
brushes for that. A white brush, firstly,
to moisten the paper, and I'll also use a
large squirrel brush for the main work
on the background. I'll start by
moistening the paper. I will work with the
entire surface of this sheet to make the
granulation effect visible. We not only need texture paper, but also a significant
amount of liquid. As I said before, that the granules of a
pigment can move freely. If, for example we paint with a thick granulating
paints on dry paper, the effect won't
be as noticeable. I slightly moisten
the paper, the paint, and the liquid that
I'm going to apply next won't be absorbed
and dry too quickly. Now I'm preparing a liquid
paint solution on the pallets. I'm simply mixing all the
three paints altogether. In your case, it could be
just one granulating paint paired with another color, like for example, Mars plaque and something, let's say green. Before starting, just try various combinations of
the paints that you have. Maybe you will get nice color. In my case, I get
this gray color, which I can adjust then
from bluish more into warmer reddish color right away with the paper still having a shiny surface.
I'll begin painting.
8. Stone Background: This background will
consist of two steps. First the overall texture, and then I'll
deepen the shadows. But both of these steps
will be done continuously. The paper will remain wet
and shiny all the time. Even though these steps are divided into two
separate videos, there are no pauses
between them. Okay, let's begin. Despite having reserved
highlights on the stones, I still want to
emphasize the light even more and leave some areas on the paper almost
untouched I'm creating, now this highlights
in some places, I will see how the
effects turns out later. I'm also starting
making some areas darker, adding more pigment. You see that for that, quite a lot of paint is needed. In addition, I will change the hue bit more
cobalt in some places, more black. In others, I start working exclusively
with granulating colors. But I'll add some other
paints along the way as well. I'm adding more black here. Now you can see how this
texture is appearing here. I'm using the tip of the brush
leaving this highlights. Different shades of the
texture are visible now. And really don't hesitate
to add a lot of paint. You can see how it lightens and the pigment particles settle
into the paper texture. You also can play
tilting the paper. I have a puddle of
liquid here and I'll try to distribute
it more evenly, allowing two paints to move. It looks really
beautiful. I love it. You can also collect
excess water with a brush or even a tissue from
the edge of, of the paper. It already looks beautiful, but as usual, I want
to add more contrast. This work is not
only about texture, but also about light. I will add more shadows, and I'm taking a warmer
mix of black and red, adding it here and there, and I really, really
love the effect. And now I will immediately continue adding
even more shadows, but it will be in
the next video.
9. Background Shadows: As I said in the previous part, the paper now is still
wet without a pose. I immediately start
adding darker shadows. I'm mixing black with
industrent blue to get this paint for
cold dark shadows. Have you noticed how
even black paint just becomes either due to
this granulation effect? If I really want to
deepen the shadow, I will need to add
something else, like transparent paint, that
will stay on its place. Well, hopefully now you can see how crucial it is to
use masking fluid here. I really can't imagine how
I would do this by just having to outline the contour
of each leaf every time. Now I want to add a few more
green areas on the stone. They will help me to connect different parts of the painting. I'm using the mix of yellow and blue that I also will be
using for painting leaves. I have a drop of O here. Why not taking very liquid paint so that it spreads on its own? And I will add some here too. Wow, I really like this part. And this blue here is
just so beautiful. Now, I will remove some
excess water from the edges. Now I'm thinking about where
else I can add shadows, and I'm going to
use the same mix of Mars black and Indian blue. The paper is still wet, so the pigments is also
still quite mobile. I'm a bit concerned
about this puddle here. The paper became wavy
and this is why I have this p of the paint here. I am aging A couple
more smaller details with a smaller brush now. It's just really amazing
how the pigment spreads here and the paint
is becoming lighter. In your case, the effects will probably be
completely different. I'm actually very interested
to see what colors you will choose for this subject and what effect they
will give to you. I remember that the paint will become lighter once it's dry, so I still try to add more
shadows here and there. I maybe also will add a few more shadows
when it's dry as well. Well, I like how the
background turned out and the texture
of the stone. I really like it here. Of course, I'd like to do something a little
bit differently, but if you tilt it like this, the paint will move, of
course, a little bit, but it also moves
like everywhere. I don't really don't want that. Of course I will
leave it as it is. Maybe we'll do a couple
of strokes like that. Well now I can dry it and
move on to the next step.
10. Removing the Mask from Highlights: Before removing
the masking layer, it's crucial to ensure that
the paper is completely dry and that it has cooled down. If you use the hair dryer, the paint color has
changed a little bit. But we still observe a
beautiful granulation effect. Hopefully you can see it. I really like this
color transitions and little particles. I'm going to wait a little bit for the paper to cool down after using the hair dryer to make sure that it's
completely dry. To check, I'm just
touching it like that, and if it feels
colder than the desk, it means that it hasn't
dry completely well. Given the amount
of water I used, it's quite likely now I made
sure that everything is dry. I'm starting removing
the masking layer in the slower part here. Remember we did the highlights. I start here because I plans to paint these leaf shadows
in the next layer. And some drop of masking
fluid landed in this area. And logically in the shadows, there shouldn't be such
highlights as for leaves. I will keep the mask
on them for now. If there are small
areas of masking fluid, I usually remove it with my nail just like
I'm showing now. Or if there are quite a lot
of such elements and they are quite small and there is a
risk of missing some spots, I will use an eraser. You see I'm using
its like flat part and I carefully
removed the mask. Now it's time for the shadows.
11. Painting Shadows: Now let's begin to create these textured leaf
shadows on the stones. For these shadows, just
like for the first layer, I have mixed a
quite liquid blend of Mars black and
indontrent blue. It results in a dark gray shade. As you can see, the pencil
lines are still visible. Thankfully, I want the shadows to have granulation as well. It will continue the texture
effect on the stone. I slightly changed
the shadow tone by adding a bit of
turquise paint. For example, I'm working
with a small brush, but it allows me to load
quite enough of a liquid naturally. If you drawn those serrations on the edge of the leaves with
masking fluids, the shadows should also
be a little bit textured, but in my case, it's simpler. Now, I'm going to mix even a slightly lighter
greenish paint. You see, I started with the
shadows and not with leaves, because I want to darken
some areas between the leaves and it's much more convenient to do while the masking layer
is still there. Here I'm using a bit of
greenish and lighter tones, again, to make the
spots more interesting. And I'm making the shadow lighter in the bright
area of the stone. I constantly blend the
paint on the palette because it also tends
to granulate even here. I want the effect to
appear only on the paper. When I paint the shadow, I load a lot of
liquid in this area to make the paint
more movable as well. Well, we talked
about it actually. We can even tilt the paper a little bit to help it to move. Yeah, I know. Now it will be another monotonous
stage of work. May be a little boring
for you or not. You will tell me in
the commentaries, hopefully now you can
see why it was that important to have those
outlines really dark. Because if I had drawn them
with a lighter pencil, I wouldn't see anything. Now, I just need to repaint
or redrawn in them. This would be much
more complicated. The higher and closer
to the leaves, the darker and bluer
the shadow becomes. In my case, the bit is getting lighter as it dries. I really like the
color of that shadow. Just a little bit more
to add and to do here. And then I'm going to add some
shadows to the upper part.
12. Adding More Contrast: Now I can further refine the
shadow in the upper part, adding some more
defined details. I'm still using the same mixture
of Mars, black and blue. It's dense and quite dark paint. I mention details
here and there, creating shadows for contrast and for some character
of this rock. As you can see here, I'm
working on dry paper, but next I'm going
to slightly soften the edges of the spots with
water to make them smoother. I'm needing a little
bit more here. While the paint hasn't
completely dry, I just blend some edges with
clean water to soften it. But actually, if you
really liked the first, the original background
layer that you created, maybe you can choose not to paint all these shadows at all. This step is really optional. I'm a fan of contrast, so I'm doing it in the same way. I just continue. I paint and I smooth the edge paint and
smooth, smooth and paint. A couple of final touches
and I think we're done. Now, I can dry the painting
and move to the next step.
13. Removing the Remaining Mask: As we did before.
Let's make sure first that all the paint
has completely dried. Now I'm carefully removing
the masking layer. In my case, it peels
off like a film. You might need to use an erasor. Again, maybe I have some paint flakes left here after removing
the masking fluid. So I'm brushing them
off. Who is this? Now we can finally start
working on the leaves.
14. Painting Leaves: All right, let's
complete this part. I'm going to use a small
synthetic brush for this. I will need plenty of yellow
paint with a touch of green. I want to recreate the vividness that I see in the photograph, capturing this essence of brightly illuminated
spring greenery. I will also add some royal blue for the places where I will
need less transparent paint. Because I'm going to vary the shades by
adding more yellow, more blue or more green. I'll be painting
from left to right because I find it more
convenient for myself. But you can make it
in a different way. I make sure to load enough paint so that it
doesn't dry too quickly, because I paint on dry And I'm going to switch
the colors and I want to ensure smooth color
transitions within the leaf. So now I'm leaving a
couple of light areas, white paper for the wet
reflections on the leaf. I'm gradually still in each leaf area changing
the hue from time to time. In the brighter parts, I'm using a lighter
transparent paint. And of course I don't
forget about the highlights for the leaves in
the upper parts, I'm going to use a
dancer paint to achieve a slightly different tone
and color in the shadows. I'm going to base it on a mix
of yellow and royal blue. The result paint is
still light, but it's, it gives a less
glowing appearance compared to the yellow areas. I'm adding a few drops of paint to some spots
that are not dry yet to darken the greenery, I'm adding more blue to the mix. The idea here is to play
with different shades. In the end, I'm going to add a shadow on top of these leaves. But now I just continue the
process for the entire plant. And yes, this subject
really requires patience. And for the leaves, I'm going to add a
darker paint right away, and I'm going to continue this protest for the
lower part of the plant. I will demonstrate it in the next video segment in
an accelerated manner.
15. Painting Leaves - Part 2: Well, here we continue
the same process. Once again, I'm
transitioning to a brighter, almost pure yellow color. In general, I'm trying
to vary the tone, the transparency, and
the color of the paint. Now, I actually took a slightly smaller brush because it feels more
comfortable for me. In the end, I darken the paints in some areas. If you accurately
did the drawing, it should be easier for you
to find the reference for the color on the
photo reference. I'm painting more intuitively
in some places since my drawing wasn't 100% accurate
to the photo reference. By the way, before starting
with the greenery, you could actually have applied masking fluids for these
highlights on the leaves. However, I really prefer not
to do unnecessary actions. I'll just manage
it just like that. Well, almost there. And we only need to dry and to add some shadows
and final details.
16. Shadows on Leaves and Final Details: This first green paint
layer has completely dried. And now I want to add
shadows to the leaves. I'm going to use the
green that remains on the palette from the
previous layer as a base. And I'm adding
some intetrin blue into it for a darker tone. For instance, here
the leaves are in the shadow and they
are definitely darker. Also in these areas, there are elements in
the shadow as well. There is a shadow
cast on the plant from some other element
as you can see here. It's elongated here. I'm not sure if I'm going
to paint it like that. I'm putting the shadow like this and smoothing the
edge from one side. And doing so I'm trying to split the leaves
from each other. I continue adding
shadows here and there carefully
and with no rush. I'm not adding too many details. You can see that I create
quite large flat strokes. Since there are many
of these elements, it still creates this voluminous effects that I'm looking for. I hope you can also see
how the plant becomes slightly more three dimensional. I make the shadows in the
leaf more like blood. And where is the cast
shadow from the other leaf? I leave the edge of the
shadow clearly defined. And sometimes I just
invent shadows. I'm not always
relying on the photo. My goal here is to add volume without
unnecessary details. For example, here I almost
don't draw any leaf veins. In this area. It's not very clear to me how
things are arranged. So I will just add a
little bit of a shadow to make this section look
less flat, let's say. And the paint that I'm using
for this is quite liquid and transparent because I really want to preserve the
effect of the light. As I said, I tried to add only the necessary
minimum of details. Well, in my opinion, paying attention to
the areas that seem and just trying to visually separate the
leaves from each other. Well, I think I can stop here. All that's left is to dry the painting and remove
the masking tape.
17. Conclusion: In this step by step process, we've created this
beautiful stone texture using granulating paints. We also worked on light
contrast and the realism without unnecessary
details before removing the masking
tape entirely. Make sure to completely
dry the paper. This will keep the paper flat. Here's the final result. I have to admit I really
like the outcome. I hope you will also
take on such a subject. And I'm very curious to see the combinations of granulating paints that you'll choose. And don't forget to share your artworks in the project
section below the video. And also feel free to ask your questions if something
is unclear for you. If you share your
projects on social media, don't forget to take me
and use this hashtag. I look forward to seeing your results and
getting your feedback. I hope that you've
learned something new and that this class has
been helpful for you. See you in the next
one. Bye, bye.
Maria Smirnova, Watercolor artist
