Transcripts
1. Welcome To The Class!: Hello, everyone. My name is Will Elliston and welcome to my
Skillshare class. Today, I'll be
guiding you through my painting of a
snowy winter scene. Whether you're new
to watercolor, or already have some experience, you will be able to learn
something new from this class. I'll be going through all
my essential techniques, so even if you're a beginner, you'll see how to best approach
painting snowy scenes. Join me whilst we
explore a variety of fun and expressive techniques. I've been a professional
watercolor artist for many years now, exploring many
different subjects, from wildlife and portraits, to cityscapes and
countryside scenes. I've taken part in many
worldwide exhibitions, and I've been lucky
enough to win awards from world-respected organizations
such as Winsor and Newton, The International
Watercolor Society, The Masters of
Watercolour Alliance, and the SAA Artist
of the Year Award. I also have collectors that buy my paintings around the world. Watercolor can be
intimidating for beginners, so my aim is to allow
you to relax and have fun learning this
medium step-by-step. Hopefully, by the end, you'll surprise yourself
with a nice painting. If this class feels too
intimidating or too simple, please check my other
classes as I have them available
across all levels. My approach to
watercolor starts off loose and expressive
with no fear of making mistakes
because we're just creating exciting textures
for the underlayer. Then as the painting goes on, we'll add more details, bringing the painting to
life and making it pop. I try to simplify
complicated subjects into easier shapes that
encourages playfulness. Snowy scenes are particularly
fun to do with watercolor because we don't have to add
white paint for the snow, we just preserve the
white of the paper to become the snow. I've chosen the scene
that is adaptable for different levels
of experience. You don't have to
paint it as detailed as mine if you're not
comfortable with it. We'll explore how to create
different techniques, choose colors that
go well together, and how to build the
atmosphere in your paintings. When you enroll in my class, I'll give you the
high-resolution image of my painting to
use as a guide. Today's focus is about
painting rather than drawing. I have included
templates you can use to help you sketch out the
drawing before you paint. I'll also include
my color charts, which are an invaluable tool when it comes to choosing
and mixing colors. Throughout this class, I'll be sharing plenty
of tips and tricks. I'll show you how to use
mistakes to your own advantage, taking the stress out of the
painting and having fun. I'll explain which supplies I'll be using so you can
follow along exactly. I'll also cover how to choose
and mix harmonious colors. I'll be splitting everything
up into short videos so it's easier to take in. You can also pause at any moment if you want to take more time. If you have any questions, you can post them in the
discussion thread down below. I'll be sure to read and respond to everything
you guys post. Don't forget to follow
me on Skillshare by clicking the Follow
button at the top. This means they'll
be the first to know when I launch a new
class, post giveaways, or just have an
interesting announcement to share with my students. You can also follow
me on Instagram to see my latest works. If you'd like to create
your own snowy work of art all whilst learning fun and exciting
watercolor techniques, please click enroll as I'd
love to have you in my class. Now let's begin.
2. Your Class Project: First of all, thank you so much for enrolling in my class. I really do appreciate it. We're going to learn a
lot about watercolor whilst painting this
atmospheric snow scene. Try not to be
intimidated by the scene as I will break down my
process into simple steps. It's best to watch the
whole thing through first, just so that you're better
prepared for what to do. Then give it a go and try
painting it to your own pace, referring to the class again
for reference if needed. You're welcome to
copy my drawing and follow it exact or
experiment with your own. I will put my painting
in the resource section so you can use it as a reference
throughout the process. There is also a
template you can use to trace and transfer
it onto your paper. Don't feel guilty about tracing when using it as a guide
for learning how to paint. It is important to have
the under drawing correct, so that it does not inhibit
your ability to practice and learn the watercolor
medium itself. Whichever way you
use this class, it would be great
to see the outcome and the paintings you
create in this class. I'd love to give you feedback, so please take a
photo afterwards and share it in the
student project gallery. You can find the gallery under the same Project
& Resources tab. On the right, you'll
see a green button that says Create Project. Tap that. Once you are there, you will have the option
to upload a cover photo and a title and write
a little description. I would love to hear
about your process and what you learned
along the way. Once your project is uploaded, it will appear in the
student's project gallery. You can view other
projects here. I'd highly encourage you to like and comment
on each other's work. We put so much time and effort into creating our paintings. Why not share it with the world and help support each
other along the way? Now that you have a good
idea of this class, let's get stuck into it, starting with the equipment
and materials I'll be using.
3. Materials & Supplies: Let's go over the materials and supplies you'll need
to follow along. We'll start with
the colors I use. Unlike 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 ocher, burnt sienna, cadmium red, alizarin crimson, ultramarine blue, cobalt
blue, cerulean blue, lavender, purple, viridian,
black or neutral tint. At the end of the painting, I often use white gouache
for tiny highlights. I don't use any
particular brand. These colors you can
get from any brand. Although I personally
use Daniel Smith, Winsor, and Newton
or Holbein paints. Let's move on to the brushes. To keep things simple. In this painting, I'm only going to use a
small selection of brushes. First is this mop brush. Mop brushes are good
for broad brushstrokes and filling in larger
areas or washers. But they also have a tip
for some smaller details. They are one of my
favorite types of brushes. Next is this, a
Escoda Perla brush. I use various sizes, but for this painting, I'll use Size 8. These brushes allow
for more precision because they have a finer tip
and last quite a long time. For even more precision, when painting final
touches or highlights, for example, I use a
synthetic Size 0 brush. All brands have them and
they're super cheap. This here is a sword
brush or a rigger brush. It's quite long but thin. It's only used for
very small details, much like the Size 0 brushes, but it holds more
water and pigment, saving time and
effort refilling. The only drawback is it's more difficult to control
as it's more flimsy, and that's it for brushes. You're of course, welcome to use your
own favorites as well. Onto paper, the better
quality your paper is, the easier it will be to paint. Cheap paper crinkles easily
and is very unforgiving, not allowing you to
rework mistakes. Good quality paper, however, such as cotton base paper, not only allows you to rework mistakes over multiple times, but because the pigment
reacts much better on it, the chances of
mistakes are a lot lower and you'll more likely
create better paintings. I use arches because it's what's available
in my local art shop. Next, some various materials that
will come in very handy. A water spray is
absolutely essential. By using this, it
gives you more time to paint the areas you
want before it dries. Also, it allows you to
reactivate the paint if you want to add smooth
lines or remove some paint. Lastly, masking tape, and this of course
is just to hold the paper down still to the surface to stop it from sliding around
while as we paint. Also at the end it'll maintain
a very nice clean border, and that's everything you
need to know to paint along.
4. Coming Up With a Composition: I'm going to be using two pencils to come up
with this composition. The first one is this
traditional pencil that has a 4B lead inside, which is a nice soft lead
so that we don't need to worry about rubbing out any
marks if we make mistakes. It can just allow us
to be free to come up with simple shapes to
build our composition. Then I'll be moving on to
this mechanical pencil, which also has a 4B inside lead to fill in the details when it comes to
that stage later on. There's nothing more intimidating
than a white canvas. The first thing I'm going
to do is just fill in a rough horizon line. It
doesn't need to be correct. Just to get rid of
the whiteness of the paper giving us a
starting off point. I'll probably have
something going on here, a hut, I think, I usually have a hut
in winter scenes and then maybe a secondary hut here. Just keeping it simple. Just
two circles at the moment. Maybe we can have trees
roughly coming down there and something else here. Even though these lines won't be obvious in the main image, it's just a good
compositional tool because it will allow
the painting to have visually more movement, even though you can't see these
lines in the final image. I'm going to have
something here, some pine trees because it's
of course, a winter scene. Loosely marking in
the roof of the hut. There's some people
here, two people maybe. You can have reference images of the elements
you want to paint. I've got a few references
of images of huts. I'm just forming a
composition around that. See the way I hold my pencil. I'm holding this in a very loose manner so that it can be very fluid and circular. I think for this beginning
stage of mapping out the shapes, we're done. I think I'm going to change
to my pencil and holding like this not like that so that I
can get into some details. Starting here, I'm going to just do rough pine tree shapes, the outlines of
them to begin with. That's the tree outline done. Let's try and work out how
we're going to do this hut. I'm going to leave some
white here for the snow. Let's have this hut coming
down here the roof at least. I'm making sure
these building lines are perpendicular because
they're man-made structures. All the trees can be organic and a bit more free but
anything that's man-made like a building or a vehicle does have to be
a bit more constructed. A window here. I'm planning out this
image in my head. I think there's going to
be a glow of light coming from this hut and the rest of it will be very dark to create a nice contrast
with the snow. Using Zs or Ss to imply perspective is a
useful technique too. You can practice that in
a sketchbook just drawing out S shapes that gradually get bigger and
bigger to imply depth. Let's have a person
here, two people. It doesn't need to
be very detailed. It's just implying that there's
going to be people there. But I don't want the
people to necessarily be the center of
attention so I'll just keep it minimalized
for the time being. Now I'm going to add quite a few details just for the sake of the people who want to do
a more detailed drawing, but this painting
doesn't have to be as detailed as
I'm going to do it. You can do this
painting quite loose. Whatever style you're used to, you can attempt it
at your own pace. I'm just doing some grass, various grass or twigs poking through what
will be the snow. These bits of grass
can get a bit shorter as another way to
imply perspective and depth. The grass is quite long here, it's medium, and then
it's short here. Then another hut. Trying to keep a simple
perspective for the hut, nothing too detailed
or accuracy even, some rectangular
lines and boxes just to imply wooden hut-like
shapes, I guess. It doesn't need to
be that correct. Few circles for
glows, little lights. Because out of context, this might look a bit strange, but I'll put an image of my final painting on the
screen every now and again, just so you can see
where the context of what I'm doing lies. I have some whooshy, I guess you can
call them clouds, and I'll have a bear tree here. Its lost all its leaves. These are quite
abstract lines but I'm not actually drawing
anything in particular, I'm just drawing lines that
imply space and depth. To draw the tree, I'm
just going to draw a main branch and then following
that up the other side. Then maybe it separates from
the main branch and creeps too and we got a lot of other branches
coming from that one.
5. Starting the Painting: Before we even put
brush to paper, let's have a look at
the reference image. You can use my finished
painting of this one to look at where the
lightest areas are and that's going to
be the snowy roof, and the snow on the ground, and also the sky. But with the sky, I'm going to layer it
in with the trees. I think the first thing
we're going to paint are the roofs, the snow on the
roof of the ground. I'm going to make some
bluey green color because I think that's nice
color for a snow shadow. All we're doing is putting
a light tone here, we don't want to
put much pigment. I think that's it for that roof. We can always add a bit
later once it dries if we don't think
it's dark enough, but I think that's fine. Little bit darker this one. I still see the line there, making sure that is
not disappearing. Then this side of the roof is
going to be a lot lighter, because that's going to contrast
with the sky behind it. Maybe a couple of salt
granules there too. I'm just going to pull
away some pigment here, I just think it's
a bit too dark. This is why it's
important to watch. Well, not necessarily important, but it's a bit better to watch
this through to begin with if you're following
along step-by-step. Because a lot of the times I do corrections
or make mistakes that you wouldn't
necessarily have to do if you watched it
with hindsight. Now to paint the
snow on the ground, I might pre-wet some areas, using a tissue to
pick up the splatters that go in areas I
don't want them to go, first because I'm just doing
quite a lot of spotting and I'm going to use this sheet
just to cover some areas. It's purply blue. I moved to a bigger
brush, get darker here. I will be quite expressive here, just quite creating
various textures by sticks of splits
of pure water. Just mixing around purple, blue, leaving some white
gaps every now and again. Few splatters of
yellow oak I think. Use either tissue to pick up any water that's flowing off. I flick because it
puts this pigment down in a more organic way. By organic, I mean it
looks a bit more natural. If I use the brush, it's difficult to mimic
the randomness of nature. Even though it was quite
dark the snow have filth, but when it dries it
will dry a bit lighter. Also when we add
the darkest darks, the trees and the huts, that also will make it
look lighter by contrast. You can try and manipulate
a sense of perspective by adding some S-shape
or Z-shape lines. Always using the tissue to
draw out excess liquid. That's why it's
good to have your painting on a bit of a slope, because it brings
the pools of water down and you could
just drain it off, because if you don't, the
pools will be created somewhere in your painting
and they'll dry unevenly. Now I'm going to add
few more sprinkles and I'm going to wait
for this to dry. It might take a little
bit longer to dry once you sprinkle salt on
so you don't have to. The salt is only very subtle and I tend to do it just
for experimentation, is very hit or miss. It's a bit of a risk to do it. I'm going to use a
hairdryer to speed this up.
6. More Under-Layers: With salt, it could
be difficult to tell when it's truly dried. If you try and rub it off before it's dried
it will smudge. I've been using a hairdryer
to really make sure it's dry. I use a knife to
just scrap it off. Try and get rid of all of it
because you don't want it left on there damaging
your brushes. The next thing I'm
going to do is create the glow from the hut. To do that I'm going
to mix an orange. I'll mix it on the paper
like I do a lot of times. Just put in a bright
yellow then some red. Because obviously, red
and yellow make orange. Then brown. Brown is actually an orange. It's just a burnt orange. That's what burnt sienna is. I'm going to start putting
some burnt sienna in there. Then I'm going to use a tissue, roll it around so
there's a small point and then just dab it
somewhere in the center, just for one bright
light in the middle. Then we'll paint
around that later. While that is drying, I waited a few minutes, I'm just going to add
a few more lines. I've made sure it's dry enough so that the lines will
completely spill out.
7. Painting the Sky Part 1: For this guy, I'm going
to use my mop brush. I'm going to start here and
work my way across this. We're going to use similar
colors to the snow at the bottom with blue and purple, a bit of yellow thing going on. It's obviously going to
be darker at the top, and then light as it comes down. Whilst it's drying we're
going to add different times, various times we're
going to add some trees. Depending on the time
that we add them, they're going to fade out. Obviously, the ones
that fade out more will be more in the distance and the ones that are
closer will be crisper. I've mixed the colors that
I plan to use for the sky. I've got some blue here, some purple, a bit
of yellow ocher. This is what was
remaining from the snow, but also here I've mixed a greenish-bluish
pine tree color when it keeps on drawing
will add the trees. You have to prepare that because it's all a big rush when we
start painting in the sky. I just covered these, the main part here and I just
left the trees and the sky, but now I'm just going
to use my water spray just to moisten the paper. I also hold this my hand
ready for when I do flickers and I'll have a
tissue close by for if there's any
accidental splatters. I did my first stroke. I can see it's a bit more
purple than I'd like it, so I'm going to add
some blue to that. You can draw it down. You can flatten it a bit. Put more purple here. If you think it's going
to dry, you can spray it. I want it to be fully
white there, so do that. It's easy to overwork the sky. When painting sky, you
got to think in advance. It's easy to look at the sky when you first put down a line and you think that's not right, but give it time. It should dry much
differently to how it first looks
when you put it down.
8. Painting the Sky Part 2: I want it to be lighter here so I'm going to
just use a tissue to draw surrounding
then spray it again. More blue up here I think. I splash it also because
if I put a brush stroke, it will be too much. Now I can stop tilt
it back up again. I'm going to just
put a few trees that will just melt into
the background here. I'm not even putting
the whole tree just a few tips or peaks. Right here I'm going to try
and bring a border here. Well, I have a Cloud here
that's using this to do. This color is quite dark but I'll think you'll find as
it dries it'll lighten up, especially as we put the darks of the trees
here and the huts. I don't want to overdo the sky so I'm just going to finish
off by bringing it down here. I might add a few more
splats as it dries, but I'm going to
use the hairdryer to speed up the process. Once it was drying, I figured I might as well
just fill up the sky here, so I'm going to
reactivate that part. Tree. Probably a bit too much there so I'll bring that around. Doesn't matter if it's messy. This will only be a
subtle thing in the end. It's just the next step will
be painting on top of this, so I just want to get this
under layer completed first. Now I'm going to let this dry.
9. Painting the Trees Part 1: Now it's time to
paint the trees, which will come down to the
roof on the ground here. To do that I'm adding
very thick pigment. It looks black but it's
actually just ultramarine blue, purple, and a bit of green. I'm just setting up the painting so that when we come
back with water later I can allow watercolors
do its own thing. If I had to simplify my
method, do a few words, it would be just to
set up the painting so that I can allow the watercolor to do
as much as possible. I use this piece of
cardboard or plastic to make sure my pigments
are very thick and dark. I never put black on here, but it looks black because
all the colors mixed together and create that black. I'm using a dry brush, I'm making sure my
brush is very dry, so the pigment just creates
a bit of a texture, and these textures just apply the leaves that
are on the trees. Now here is where the
magic starts to come in. It's going to apply
some pigment. I'm going to use purple, but I'm going to
bury it each time I go back to my palette, maybe I'll pick up
a different color. I'm just going to let
the pigment interacts by itself with the water
I'm putting down. Then I'm going to bring it right to the edge of this roof. You can spat some water in there just to help the
watercolor interact. You can use my
color charts to see what color to make the trees. Color charts will be in
the resource section.
10. Painting the Trees Part 2: I think we're going
to make it flat because I want some of
this pigment to go uphill. It's easy for your
brush to be too wet. You have to draw
out some liquid out when trying to achieve
dry brush strokes. See, so it's too wet. That's why I have a little
towel next to me or tissue. If you suck all the water out, and the pigment is
still too light, you just need to make sure
your pigment is thicker. That's why I use this because it allows me to
have a thick pigment, well, so do dry brush. I struggled a lot at the
beginning with trying to do dry brush because either the pigment was too
light or too wet. To recap, we tried to take
that edge of the hat. You see how that's
looking very white now. A few minutes ago, before we painted
that, it looked like it could be a bit too much. This is drying now, I can
add a few lines that will just burn into it, bleed. Trying to show you this, how I use this. I use this rather
than my palette because the palette has lots of pools of water and I don't
want this to be watery, I want this to be thick. Don't be scared of
using thick paint. You create interesting
textures by waiting until it's 90 percent dry and
then going over it again.
11. Experimenting with Colours: I can't overestimate
how important, or overstate how important
the color charts are, because just the
knowledge of what your colors can do makes
life so much easier. You can put a color that is
completely out of place, and just by knowing
what its opposite is or what it mixes with
on the color charts, you can correct that. For example if I put
a red mark there which is completely
out of place, there's no red on a tree
like that in nature. But I know that green is the opposite of red
on the color charts. I can just wipe that
over and it grays out. Then you can see how the sky is looking like now and the snow, whereas before it looked like
it might be a bit too dark. Let's get back to the dry
brush for the tips at the top. Think as it comes over here, I'm going to have
it go a bit brown. Then because I know
my color charts, I can balance that color
out with a lavender. They look well together, we do a figure of eight. Just to move areas
of there to there, and areas of there to there. This is all about having fun. Experimenting which colors go where there's no
strict rule about it. Just creating a variety of different textures by
being quite abstract. All these colors mixed together actually create a gray up close, you can see so many different
colors are in there. But when you just look
at it by squinting, all these colors
are quite grayed. Of course, gray is made
up of every single color. That's what gray is. I'm aware the snow is
coming into play here. We're going to have to
bring it down here. But I think this could
be a checkpoint, and by that I mean, I know this tree is
going to be darker. I could overlap that later. I know there's going to be
lots of texture down here that we can go over as well. Just roughly. Bring it
down to this horizon line. Before I use the hairdryer
to completely dry it off. I'm just going to use a
few of these thin lines to mimic some of the trees
as it blends out into them. Now, let's use the hairdryer.
12. Using Thick Pigment: Now I'm going to
go back over here and just start like we did with the trees adding
the dark bits. I'm going to add some
dark bits to the house. By adding these marks
so thickly now, I think they'll make the
painting a lot more interesting when we go back over them later because it's an idea of
the color scheme as well. Now this might be
a complex painting with a lot of
different techniques, but hopefully you can
still learn a lot from it, even if you think it's
a bit intimidating. Two people here that I'll
leave to deal with later. Even though this painting
isn't aimed for beginners, I think beginners can still
learn something from it. Creating a few lines there
for perspective to a depth. I'm going to create
a shadow here. That's too dark. That's okay because
I can use some water just to weaken it
and bring it out. Some shadows here
in the distance just to create a bit of depth. It's a bit too much, great, so that I can create some
glows inside this house too. Using red, then coming
over with yellow. That runs very strong, so we're going to
be even stronger with the yellow to
balance it out. So yellow ocher. Most of this, 99 percent of it will be covered in black
again, not all black, but a dark pigment of some kind. Painting to where
the snow arrives. It looks a bit too
colorful at the moment, but that's okay because
we will tone it down when we come with the black. Again with a thick
pigment again.
13. Adding More Trees: I'm going to start
painting this tree. Few types of thick
pigment as always. A bit too dark, so we're going to add
a bit more water. I think I want to add a bit
more texture to this roof. On the other side of this hut. I'm going to paint the
background of this figure. That one can be
dry brush texture. Because there are a few
more dry brush strokes. Some snow ridges. These are few dots to help
with the perspective.
14. Painting the Hut: Now I'm going to paint this hut. I'm adding burnt sienna, thick. Burnt sienna, which
is reactivating what we'd put down before. Then, the opposite of burnt
sienna is ultramarine blue and I'm using
that to contrast it and between the both of
those, it'll make black. Adding a few drops
of ultramarine. You can see [almost looks
black, but it's not. Black is just ultramarine
and burnt sienna. Start mapping out
that window here where the glow is coming from. Taking lavender here, which is cobalt blue, cadmium red, and a bit of white. Cutting out shape
of these figures. You can always tidy them
later with gouache. Just like to say, I haven't
actually used black yet. It's all been mixtures
or other pigments. You rarely have to
use black itself because as you can already see, burnt sienna and ultramarine
blue already go so dark. Maybe these, now
it's dried a bit. I can integrate
these people a bit better to the background. Don't want them to look like
they're fully stuck on. This bit might be a bit tricky. Trying to paint these panels in, leaving a few white
gaps in between. I think the first few I can go on with
gouache at the end so you don't need to
worry about that.
15. The Other Hut: Now while that's drying, I'm going to do
this one over here. Adding a bit more definition
to the snow drifts. After reviewing that, I
think it just needs to be a bit darker and a bit tidier. I'm going to go over it again. Now, I going to do
some trees here. Like always, good to start
with some dark pigment. Starting with the main branches and then we'll come off them to create the smaller
branches later. I can do a few flicks
of water actually because I want the
branches to be too clean. Maybe slightly some autumn
leaves still on the trees, so I splatter a hint of them. I'm using my rigger
brush for this. It's very useful for thin lines. Are too thin ones here.
16. Making Corrections: Two leafless trees go up here. Before getting too carried away, I think I'll let it dry. Take a look back and see
what the next step can be. I'm going to add a bit more
of a curve here on the roof. I'm going to wet
that area up there and draw a little curve. It needs to be a
bit darker here. Not sure what the reasoning. I just feel. That's what I feel. Adding a few random black marks adds a little bit of
definition for some reason. It's a little trick even if there are nothing
in particular. Some twigs coming up the ground. Let's create a few more weave
and patterns in the snow. I think we need to make the
snow look a bit whiter. In order to do that, we have to add a few
more darks like this to indicate where
the shadows are.
17. Making it Pop: This is dark but if I do
a few spatter like that, wait a few seconds, then rub. You get a bit of a few
light pops underneath. So we waited a bit
and there we go. You have to wait for it to activate the paint
about 10 seconds. While you're waiting you
can do other things, like run a line down there. Distorting those figures a bit because they're a
bit too obvious. Quite like the idea
of these branches or these twigs or bushes
that are poking up here. Take a few more of these areas where my wet canvas, wait a few seconds and then rub. One big tree here. It is a bit too thick that light when decision to
do the tree there. So I'm going to take
that away I think.
18. Adding Highlights: Next I'm going to take
my white gouache. Just do a few highlights. Just a few dots in
the right places can imply a lot more detail
than you actually put down. We can use a bit of
dry brush right here just to really pop the
highlights of the snow. I could have put back
in these panels. I can even put it on top of
these trees we put down. When you start reaching the
final stages like this, it can be hard to know
when to call it done. But you can start to be
aware of when it's happening just because you start
looking for things to do that aren't really necessary. What I tend to do when I
reached that stage is just to disconnect for the painting
and come back to it later. If there's nothing that's
absolutely vital to do, then I'll call it done. I think that's what I'll do. I'll take the tape off, see if there's any
more corrections to do and then we'll sum
up the painting.
19. Final Thoughts: Welcome back. Now this painting is finished, let's have a
close-up look at it. I hope you have a painting of your own to look at as well. You may have found the snowy
seem to be challenging in some parts and that's
completely fine. Because after all,
we're here to learn and it's by pushing ourselves that we become better artists. Watercolor is an elusive medium that can have a mind of its own. In that respect, it can often be
frustrating to work with. But the key to painting well, it's not so much to fully
control the medium, but to manipulate it in a
way that allows it to do its own thing and to
form its own unique, captivating textures. Sometimes it works,
sometimes it doesn't. Even the best masters make mistakes and create paintings
they're not happy with. What's important is that
you actually gave it a go. If you'd like feedback
on your painting, I'd love to give it. Or if you'd like any advice
related to watercolor, 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 @willelliston, as I would love to see it. Skillshare also love
seeing my students work. So tag them as well
at Skillshare. After all that effort
we put into it, why not show it off? Remember, please click
the Follow button up top so you can follow
me on Skillshare. This means you'll get
a notification as soon as I publish my next class or have important announcements like free giveaways or sharing some of my
best student artwork uploaded to the project gallery. Thank you so much again for joining me in this class today. Please leave a comment below
in the class discussion area if you have any questions or comments about today's class. If you had any
subject, wildlife, or scene you'd like
me to do a class on, by all means, let me know about it in the discussion
section as well. If you found this class useful, I'd really appreciate
getting your feedback on it. I hope you learned a lot and are inspired to paint more
in this wonderful medium. Until next time, bye for now.