Transcripts
1. Welcome To The Class!: Hello, everyone. My name is Will Elliston and welcome
to this watercolor class. Have you ever wanted to capture the majesty of nature
in your watercolors? Well, if so, you're
in the right place. Because today we'll discover the essential techniques to paint a breathtaking
mountain landscape. From capturing the play
of light on rocky slopes, to the subtle gradations
of the sky and trees. You'll learn the skills
necessary to betray the awe inspiring beauty
of a mountain scene. I've been a professional
artist for many years, exploring lots of
different subjects, from wildlife and portraits to city scapes and
countryside scenes. I've always been entranced by the possibilities
of water color, but when I started,
I had no idea where to begin or
how to improve. I didn't know what
supplies I needed, how to create the
effects I wanted, or which colors 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
organizations such as the International
Watercolor Society, the Masters of
Watercolor Alliance, Windsor and Newton, and the SAA. Watercolor 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. Whether 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 if this class is too challenging
or too easy for you. I have a variety of classes available at different
skill levels. I'd 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
encourage 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 out of
painting in order to have fun. I'll also provide you with
my watercolor mixing charts, which are an invaluable tool when it comes to choosing
and mixing colors. If you have any questions, you can post them in
the discussion thread. Down below, I'll be sure to read and respond to
ever think you 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 immerse ourselves
in the tranquil beauty of mountain landscapes and unlock the secrets of watercolor
stroke by stroke.
2. Your Project: First of all, thank you so
much for choosing this class. I'm very happy that you're here. Joining me today we're going to paint a majestic
mountain landscape. And I'm very excited about it. Mountains offer
endless inspiration and artistic possibilities. I've planned out a step by step approach she can
follow along with. But mountains are diverse and there's so much room for
personal interpretation. Maybe you want to focus on the dynamic interplay of
the light and shadow, or perhaps you'd prefer to
emphasize the rugged textures. There's no right or wrong
way to go about it. Let your imagination soar. 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 watercolor. 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 underdrawing correct so that you can relax and have fun learning the
watercolor 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, so 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. Supplies I tend to 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. They're 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. Like most of the materials
we'll be using today, it's a lot to do
with preference. I have 12 stable colors in my palette that I
fill up from tubes. They are cadmium
yellow yellow ochre, burnt sienna, cadmium
red, Alizarin crimson, ultramarine blue, cobalt blue, silian blue, lavender,
purple, dian black. At the end of the painting, I often use white guash
for tiny highlights. I don't use any
particular brand. These colors you can
get from any brand, although I personally
use Daniel Smith, Windsor, Newton Holbein paints. Let's move on to brushes. The brush I use the most is
a synthetic round brush, like this Skoda Pla brush
or this Van Gogh 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. They're also quite affordable, so I have quite a few
in different sizes. Next are the mop brushes. Mop brushes are good for
broad brush strokes, filling in large areas and creating smooth
transitions or 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. They're perfect for
adding texture or creating dynamic lines
in your paintings. You can even fan them
out like this to achieve fur 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 based 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. A water 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 want to add a smooth
line or remove some paint. I also have an old
rag or T shirt which I used to clean my brush. Cleaning off the paint
before diving it 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 dropper
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 hair dryer is useful
to have for speeding up the drying time and controlling the
dampness of the paper. Lastly, masking tape. This of course, is just to
hold the paper down still onto the surface to stop it sliding
around whilst painting. Also, if you plan on
painting to the edge, it'll allow you to create a
very crisp, clean border. That's everything you
need to paint along. I encourage you to experiment
with new things all the time and see whatever materials you might want to try out. Now let's get on
with the painting.
4. Tips For The Sketch: Like everything you want
to sketch for a painting. Especially something so complex as this scene with lots of
little different details. You have to break
everything down to the most simple shapes
when you look at it. What's the first thing you see? The first thing I see
really, is a triangle. For a soft pencil, I'm just going to draw down that triangle that now we build. On top of that, we've got
a stepping stone, a guide. So you can see
that that triangle isn't a perfect triangles. Something coming out of here. It's a bit of a bent
triangles curve here. Then on the other end,
it comes out a bit more. It actually looks like it's three different triangles
that goes out there. Something like that. Maybe this is where your artistic
touch comes into it. Because you don't need to follow any particular reference. You can have a
collection of different references like I have and mishmash your
own composition. Trees and trees, again, look like weird
triangles in a way. These pine trees, That's all you need to put
for the drawing. Of course, when it
comes to painting it, we'll do more details. But when it comes to
mapping out composition, we don't need to fret too
much about the details. I hold my pencil
like this quite far to the back because I don't hold loads of pressure
onto the paper. I want to be quite
loosen, suggestive, that's how you get the most important
part down onto paper. That's basically it now. It's just a matter of
time and concentration, just going back
with a finer pencil and filling in the details. That's just a time thing, what you want to
commit to yourself, but you could start the painting
straight away like this.
5. Blue Sky: To start things off easy, we're going to start with
the expressive underlayer using very light tones. And I'm just going to use
water to wet the paper. In some areas, I'll
wet the area up here. We're painting the
background or the sky at the moment to create a nice soft edge that transitions to the
white of the paper. We have to pre wet
the paper first. I think I'll start on this side first. It's going to be the sky. Just thinking about
what color to paint the sky on this side, I'm going to use blue. Silian blue is my favorite blue. Tends to be my favorite
blue for the sky. Silian blue, but I just
use it as a base color. I just have fun of other
colors like maybe I want to incorporate a bit
of cobalt in there. Ultra Marine, I think, oh, do I like that to edit? I just do that process in
my mind of picking colors, feeling whether
it's right rather than looking whether it's right. I think that's a
Okay place to start. I'm just going to
start adding that in. You have to start somewhere. I'm just going to
get on with it. Like I say, I quite like the
idea of this fading out. So I'm just going
to start there, then it'll fade out. It'll have a nice soft edge. Hopefully it won't go up, but I'll keep an eye on it. You can see that it's
still pure water there, so it's going to
gradually fade out. When it's dry too, I can just bring it
in there maybe now. I think for the time being,
I'm happy with that. I can always go back
to it later if I want. I do a bit darker there
where it meets the mountain. But other than that, I think I'll be strict of myself and leave it for the time being. I'm going to move on to
the other side now, which
6. Golden Sky: Instead of having blue
on the other side, I want to make it quite dynamic. I think I'll have some yellow
actually on that side. Cadmium yellow.
It's quite vibrant. But I do like vibrant color. Maybe I'll mix a bit of
yellow ochre into that. Just to tone it
down a little bit. I think that's okay. I think I'll water it down.
Dilute it a bit more. Where shall I start? It
doesn't really matter. I suppose there,
straight into it. Maybe go into that soft
edge again up there. Bring it down here. Let's paint a bit
of a sun, a circle. Negatively paint a circle. And it might indicate
a bit of a sun there. I'm being careful not
to go over this line, but it's not super important. I just haven't
completely decided what color I want to
paint the mountain yet. But I've got a feeling it's
going to be quite light, so I can't paint over it yet. Again, fading this yellow out
into the wet of the paper. I don't want it to
be a clean circle. If things look too perfect, they lose their magic. You actually have to
create some imperfections, even if you have to force it. So I don't want it to
be a perfect circle. I break away a bit
on that corner. I think this part of the sky is pretty much done
as well for the time being. Again, we can always come back
and interfere with later, especially when it
merges to the mountain. I'm just thinking about up here whether I should
do anything more. I think I will go
a bit higher up actually because that's quite
low compared to that side. So I'm going to extend
the pure water up here and go back in with
this blue just a tad. I think that will be okay. Use a tissue, be scrunch up into a little point, clean
the edge a bit.
7. Rocky Underlayer: Now what next? What other under
layers can we do? Maybe I can do the
under layer of this, these rocks down at the bottom. I'm going to stick
with this yellow Oka. Maybe put a bit of
this burnt sienna, which is a brown. Yeah. Pronounce a bit brown, bit more of that yellow Oka. Bit too vibrant. Actually
I'm going to put the smallest bit of black in there just to tone
it down a little bit because we're going to have a lot of vibrant
things in this painting. If everything is vibrant, nothing in particular will pop
by toning down some areas, we allow other areas to, so depending how well your drawing is traced
out, sketched out. This is a bit like
painting in numbers. Like I try and do with a lot
of my painting processes, I try and get the sketch as
clear as possible to paint. I try and section
everything and make clear sections are going to
be painted in different ways. Like the rocks, the mountains,
the trees, the sky. Of course, it's difficult to sketch out gradients like we're going to have a
nice gradient here, a few gradients here. You can't sketch with a line, gradients just by
the nature of it, but everything that has
a sharp edge we can control and sketched out. I want to take a bit of
this Alizarin cribs in just this rock up here that color incorporating
colors that aren't natural. I like to do that. Of
course, I love nature. You do see lots of
colorful things in nature. But I just like to
add vibrant colors, even if they don't exist
in the particular subject. May be careful to stick
in the lines here, because I want there to
be a nice sharp contrast between these sections. Again, I suggest
if you're able to, if you have a phone as well
as a laptop or computer, I don't know how you
watch these classes, but I advise having the final painting available to look at whilst
you're watching this, so that you can see what
exactly I'm doing and how it changes and why
I say certain things. Because sometimes it's
difficult to explain why I do something before it's happened because I'm putting
something down, preparing it for a later stage.
8. Continuing The Underlayer: It's okay to be
abstract of colors. Paint exactly what
you want to paint. And if it doesn't turn out
well, then that's fine. You can just practice and remember your mistakes and move on and grow. And
that's how we learn. I stick out some of that dark a tissue,
clean my palate a bit. I'll get rid of that tissue, I'll get a new one out. I think I'm going to use a hair dryer to make
sure all the sky is dry. Before I start painting the
underlayer of the mountain, I'm just going to
do a green bushes under layer or a few
bushes down here. Now I'm going to
use a hair dryer. Now I'm going to start doing a light wash down the mountain. And it will be very light because I don't want
to be overpowering. I'm using a bit of Lizarin crimson because
it's a light pink. I'm going for, I'm going to dilute it a lot because
we can always add to it, making sure my palm is
clean and that's dry. I'm just going to
paint this area in. I'm using a lot of pure water because it's easier to start light and then add more
pigment when you need it. And it's pretty much impossible to go the
other way around. If you add too much pigment, it can be very difficult
to get rid of it. Again, that's as far down as I think I'll go. You can start as it dries. Start experimenting with texture by flicking it with pure water, even maybe a lot of precision. And a brush that
isn't overloaded, you can start just tapping some blue blue in there. Just so that it's
not a plain wash, it's got something
else going on. So when you look
at the mountain, you can see obviously
a triangle. And you've got a few
lines going this way. Then within those lines, they go the other way. It'll make more
sense as we go on, but you don't have
to be very precise. You can really use your imagination and still get away with promising results. Right here, I'm going
to use a tissue and suck up some
of the underlay, because I want it to be
quite vibrant there. And maybe here too, I think I'll use
the hair dry again.
9. Starting The Mountain: Now, these streaky lines here. I'm going to come back to
at the end with white wash, because I want to have nice, vibrant colors that mix into each other a bit like we did with the
turtle painting. By using a brush and going
in between these lines, we stop it from combining
and doing all the magic. Now we're going back up to the top and playing a more with the textures, the
rock formations. I'm using, that Sarin crimson, again, making it slightly brown, maybe toning it down,
graying it a bit. I want to make sure I have
a nice tip on my brush and basically start filling
out the different sections, and then experimenting a bit of different tones
along the way. You can fill a section like that and then maybe
got a bit of green. You can fill that
end with that green. Green and red go quite well, because they're
complimentary colors. Oh, create another little peak up here with the
tip of your brush. I think my brush
is losing its tip, so I'm going to change to a brush that's got a better tip. Ironically, it's a bigger brush, but because it has a
finer tip, it's better. It's thought to
occur the other way. And you can suck liquid out of some parts and repurpose
it somewhere else. And in a minute, I'm
gonna incorporate some more colors
like blue into here.
10. The Rock Face: To begin with, all these
elements look quite abstract, but when you start building
on it more and more, it starts to make
a lot more sense. A few splats there, really the tones don't matter so much. As long as the shapes there, you've got a lot of liberty with how you paint and
what areas you do paint. I'm starting to involve
a bit of blue now. That's too much. I clean
a bit of that off. I want it to be a bit of purple. Actually, we're really not using that thick
pigment at this stage. In fact, I doubt I'll use any thick pigment until
we get to the trees. We're using the
full tonal range, but just for the mountain, as it's further in the distance, we're not going to
get strong tones because of atmospheric
perspective. You can also use a like
brush if you want. You can use this as an exercise to use lots of different
types of brush strokes. It looks like I'm doing
something specific, but I'm really just
having fun creating different lines and textures. Now I'm going to
be a bit bolder, going to wet this area here, all the way up to here. Now that I'm using blue, we can think about
what complements blue and that's orange. Go back to my burnt sienna, which is a type of orange. I'm gonna come round here, we have that orange
and connect it. Maybe a bit more blue
is needed out here to go better read in there. I'll come over.
11. Warm & Cool Colors: And a bit of a vibrant, quite a lot of this
vibrant yellow. I want to add a few
small splashes of color. Yeah, in fact, I'm going
to do a few splashes of plain water right in the middle there just to add more texture. Maybe even go back to
this Serilian blue and dropper splat of blue there. Hopefully it will wash out. I'm coming back with
this vibrant enter I want to incorporate will merge these mountains
into the background but still keeping it very abstract and
lighthearted and fun. I'm gonna use a tissue
just to bring out some of that water up there
and make it bluer. Maybe doing a little bring that yellow up a bit there. Going back and forth,
back up there again.
12. Varied Tones: I've been wanting
to experiment with this new paint that I
got from Daniel Smith, iridescent electric blue, and I going to put a big blob
of it there in the middle. Wow, what a lovely
color that is. Then I'm going to incorporate it into all the other colors
that I've got going on. Have it fade out here at the bottom here. Maybe get some green
involved into it. And you can see
how we're starting to incorporate both sides now starting to
merge them together. I can bring this
all the way down to the bottom where it
meets yellow down here at the bottom here. I'm going to use a tissue and
make it very light. Let's see what happens if I
put a bit of red in there. Flick a bit of red
right in there. It's too much but case
is fun, experimenting. Connects the top down to there.
13. Finishing The Mountain: Okay, mixing some of the blue blue with the serlians. Painting the tops of these trees where it connects down there. A few splits of water to make
it look a bit more organic. Let's get this orange, mix it some yellow. Be a bit bolder here. I want to make it a
bit yellower rather than orange. Make
it a bit lighter. I, it's going to cover up the sky
with the scar board. Do a few spots like that set and it's getting along the top rim to make it
a more definite silhouette. I think for the time being
that's all we have to do in that section.
14. Distant Trees: Just paint some distant trees here that fade to the
kind of distance. Just obscure little shapes in the distance. And maybe I'll have
some blue side to tightening to paint
some of those trees. And putting blue
directly on top of the yellow of course
makes them green. Get the hair dryer out again. Now I'm going to start
painting the trees. Now I'm going to start painting the trees from the distance to the foreground and from left to right as well being abstract because the mind of the viewer will
understand these as trees. Anyway, they're not going
to be anything else. They're not going
to be, for example, the plane or anything else. You just have to suggest
that they're trees rather than detailing every
single aspect. And I'm picking up various different colors while I do it. I'm not just sticking to the
same color all the time, leaving a few gaps in between. While it feels natural to want to hold the tip of your brush
just like that and go in, it actually creates a
more organic feeling to hold it further away.
15. Foreground Trees: How I like to start these
trees is using thick pigment, with not so much water
quite to begin with, and thinly painting
the branches, leaving lots of nice
gaps in between. I pretty much go through
all the trees like this, not painting them in fully, just leaving gaps and painting
with a thick pigment. They will come back once we've covered the
trees that we want to paint and spread all
this pigment out. In an interesting way, you see if you started off
with a diluted pigment, it would be, it
would be quite flat. You need a full range of
tones to keep it exciting. And having dark pigment mixed with pigment
or consistencies. I did say dark consistencies mixed with light,
weak consistencies. It creates a contrast
and visual interest. It's not just with trees. I like painting this way, any using the full
range of tones. Now as you can see,
I'm adding fuel water. Basically, I'm going back
over these trees and agitating it a bit to activate
what we put down before. And all these thick
pigments will melt and blend together
in a very attractive way. You can pick up more
pigment now like I did with the red and
dab it in the wet parts, Even more thick pigment here. I'll just add a bit more water, a bit too thick, and a
bit of Viridian green. Now I'll go back
from the top and just fill in some of those gaps. I always still try to
leave white gaps of paper, but I shouldn't have to go back to these trees afterwards.
16. Varying Tree Colors: Let's create a green tree here. I'll start off with
this yellow Oka because we've already
got a bluish background. So we'll look green just when it dries and mixes
with the blue background. Fix some green, so curdled. Go back to the blue, to another distant tree in the blue there. That's true. So at the moment you
can see already we've had a mixture of cool
colors for the trees. We started with a purple blue, then we went into pure blue, and now we've got green
turquoise in between, you can have fun exploring different range of the cool
end of the color wheel, all the way from purple to green or yellow
on the other side. You can go back and forth because they're all
on the cool side. They all work
together very well. And you can even
do a little p of the opposite color to give it a nice contrast,
that is orange. Then maybe an orange
tree just to mix it up, just because I want to try and incorporate as many lovely
colors as possible. No, thank you very much, and paint a few details
under the trees.
17. Dry Brush Marks: Using this because you can't see my other
half of my palette. So I'm just creating
dry brush marks, making my brush quite
dry so I can be a bit more looser with the
marks that I'm creating. Let's see if my
hanging this black, it makes the text
just pop a bit more. I think that's the
trees pretty much done continuing to
work my way down. And I'm going to start adding a few more textures to the rock
formations down here. I know you're gonna do
this quite casually, just painting on
top of the rocks, cleaning my breath and then
softening the tops of them. Use it, something
that's scratchy. I have this handy, but we
can also use a tough Beck if you want dry brush. Dry brush is good for rocks too.
18. Starting The Reflections: Filling this bit in with under lair because we're
starting to play paint the lake or the body of water Doesn't
have to be a lake. It could be a
reservoir, a lagoon. I guess I'm going to clean my water. Just correcting this tree a bit because it's a
bit heavy at the top. Back to doing the reflection, I'm going to use this
iridescent electric blue again. I'm going to put it into my serilian blue pan because
it's very similar in color. I quite like doing that, mixing similar colors
into the same pan. It just means there's always
going to be a unique color, but that's only
if it is similar. So now I'm just going to pre wet some areas on the paper where I want
the water to flow. Then filling it in of Green Incorporated. There maybe a bit of a green here too with this abstract section. I don't mind if it, it
gets a bit messy with the edges. It doesn't matter. I'm leaving that bit completely
white 'cause I want to. Nice of vibrant yellow to
reflect in the water as well. We can start painting
the other side actually.
19. Adding Ripples: And what I'm doing
is basically crating little zigzac shapes,
curvy, zigzag shapes now, mixing some deeper shades. Right there gonna be quite bold now and plod down. That's a thick pigment. I'm going to most
yellow point up here. Very vibrant yellow
right to the edge, and then incorporate
some green into there. This would be better
if I have it tilted, but it's been difficult to
film whilst being tilted. That's too much for on mix it down here,
is that too much? Probably just one streak of yellow here. I want to have a bit more
of a purple area too. So that's what I'm
gonna do here. We're getting close now. A few more random
textures, I think.
20. Adding Highlights: Now, while that's drying, I'm going to start
adding some highlights. I got to be careful that I
don't touch the wet bits. I go straight for the brush, or I have actually
white in my palette, that I keep the same
consistency as the tube. So I don't actually need
to use the tube today. And I'm gonna restore the weights that we
lost of that wash. There's various places
you can do this and you can add texture dry brush. Some of these white lines
are quite difficult to see now because the pencil
is quite light. Going in between the trees
can be quite tricky. Of course, what I could have
done is used masking fluid. But the problem with
masking fluid is it, again, separates the wash. So all those colors wouldn't combine if they're
in different areas. And dry, dry brush texture of this helps add to the
feeling of snowy rocks.
21. Adding Birds: Not much longer left. I'm just going to add a few more reflections and
then paint some birds. And then that should be it. The same on the other side, may make it a bit more Turkoisy, roughly painting
reflections of the trees. Now I'm gonna use
some dark pigment, just a paint in some birds, I'm here, maybe there's a couple of spots there. Dark splats again,
like distant birds. Now to dry it off. Last time you heard only rocks and that's the painting done.
22. Final Thoughts: Welcome back and congratulations on completing this class. I hope you had fun watching. And if you haven't already
given this painting ago, now is the time to try it. I hope you all enjoyed
delving into the world of mountain landscapes with me
through various breaths, strokes, and exciting colors. We've explored the depth and
vibrancy of nature's beauty. We've used it as
an opportunity to hone our skills in
blending colors, creating depth, and
capturing the essence of towering peak and
a reflective lake. How will you approach
this painting? Will you take a more
subtle approach, going for a softer palette? Or maybe you feel
like being bolder, infusing your brush with energy, expressing the dynamic
nature of the wilderness. Remember, watercolor 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
watercolor masterpieces. As we come to the
end of this class, I hope you feel
more confident and comfortable with your
watercolor 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
watercolor painting is so inspiring and I'm honored
to be your teacher. If you would 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, tagging me at Will Elliston
as I would love to see it. Skillshare also love
seeing my student's 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 or want any specific advice
related to water color, please reach out to me in
the discussion section. You can also let me know about any subject wildlife or scene you'd like me
to do a class on. If you found this class useful, I'd really appreciate
getting your feedback on it. Reading your reviews
fills my heart with joy and helps 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. I hope you learned
a lot and inspire to paint more in
this amazing medium. Until next time, happy painting.
Will Elliston, Award-Winning Watercolour Artist
