Watercolour Nasturtium: From Sketchbook to Final Painting

1. Introduction: Watercolor and Inc is a technique I love. I remember being fascinated by the paintings by Patrick Spotter. I've been practicing this technique for a while, and now I want to share my knowledge with you. In this class, I'm going to show you, first of all, how to set up your study page, how to really study the flowers and the leaves in the different parts of the plant so that you have a thorough understanding of your subject before you start your final painting. Then I will show you quickly how I do some thumbnails study, and this will be just quick sketches, nothing to be worried about. Oh. Then I'll show you how I transfer the drawing into a good watercolor paper. After that, we will start with the color mix. I will show you exactly which colors I use and how I mix them. There will also be a little tip for you to remember which paint, which mix is in which well in your color palette. Then we start inking the design and first we will do the outline and then the details inside. Then we will start applying the washes and I will show you step by step how I apply each wash. Then we will review the painting, and finally, we will add the final details. By the end of the class, you will have a completed nsturtiu painting and also a deeper understanding of the painting process all the way from sketchbook to the final painting. This class is perfect for beginners who would like to try the joys of watercolor painting. Intermediate artists who would like to advance and refine the skills, so maybe learn a new skill like the ink and watercolor painting. And anyone who craves a creative outlet and sense of accomplishment. I have included some class downloads for you, which you can find by clicking the link below the video, you will find the tracing, the ink drawing, a picture of the finished painting, reference images, color mixes, and also a pigment comparison chart. In case you are using different paints from the ones I use. I am excited that you're here. If you're ready, let's get started. 2. Class Project: The project for this class is, of course to create an Astortium painting. You can start from a sketchbook page like I did and do your thumbnail sketches and then move on to the final composition. You can also use some of the reference pictures maybe that I provided you with. Or you can use the line drawing I have given you, so you can just use that drawing and you don't need to worry about anything else. You can just follow along using that. Once you complete your painting, don't forget to post pictures in the project section, so I can give you my feedback if you like. If you have any questions, don't hesitate to ask. I'm always here for you. 3. The Study Page: In this lesson, I will show you how I sketch the flowers. At this moment, I'm drawing a side view of the flower. It's important to draw different views of the flowers, front side and also different stages. For example, when there's a flower bud, or a fully opened flower and so on. And in this case, I will show with a side view that this flower has a really particular peculiar shape. So at the back, for example, the top petals extend to form a so called spare SPU R, which is where the neectar is. And the f the petals of the anastrotium, are different. There are five, which is which means is a zygomorphic flower because it's got different number of petals, an uneven number of petals. They are different. The top two petals are different from the bottom three petals. The bottom three They have a thickened bases and they have peripheral outgrows, which are not in the top petals. Here, as you can see, I'm drawing the flowers seeing from the front. Again, I start with measurement and I do a rough circle. And then inside the circular start during the petals and everything that I can see. In this case, because the petal are not fused together, you can see the sepals as well between some of the petals. Then you can see the reproductive apparatus of the flower as well. Always try to be realistic and take measurements It's very important to draw the different views of the flowers, but also the different parts because when you're drawing a flower as complicated as this one, because let's face it, it's not one of the simplest flowers to draw. It's a really good idea to study it in all its parts because then you will know the structure when you go and paint or draw your final composition. Even if you don't see some of these parts when you draw your final composition, it's important to know where everything goes, where everything is. It will help you to make the drawing more realistic. As you can see, I'm really studying the flower and I'm looking at it from different sides and try to get a feel for all of the parts of this flower. Then what I do is because the petals are different, I will draw the single Petos as well. I always like to draw petals anyway like a single petal. But in this case is even more important because then you have a record of the difference of the two petals. This one is the one with the. Then later on, I will draw the other one, which is just the simple smooth petal. And always write out the measurement as well. This is the sepals structure, which looks like a little star. Again, I take some measurement and do a circle first. Then inside the circle, I will start drawing the sepals. And these flowers have another interesting feature which I didn't know about until I started studying it. The statements are different. I mean, they are different sizes. You have bigger, medium, and smaller statements, and I've never seen this before. I'm not sure if there are other flowers that have this characteristic. But while I was doing it, I realized that some of the statements were bigger than others. Um, so I will sketch the statements as well in a few minutes. But it's quite interesting to find out, really, things like that. Here I'm just sketching the the pedal. As you can see, it's very different well, very, but quite different from the other one. It doesn't have the outgrowth and it's quite smooth. Here, I'm just taking another flower apart. I don't really like to do that to the poor flowers, but it's important if you want to study the flower in depth. Here, I will just open the two petals that are fused in that spare, and then just separate the reproductive parts of the flower basically to study them a bit more in detail. This is when I noticed the statements were of different sizes, and I draw the the smaller one and the bigger one. But I normally draw them enlarged. This time is twice the sides and I usually write times two next to it, just to remember that this is actually twice the sides of real life statements. I just take a note here that I found that the statements are of different sizes. In this particular flower, I had found two bigger ones, three medium and three smaller ones. Then here I just take some quick cool studies just to have a record of this as well. The petals are quite wrinkly. I take pictures just to make sure that I have reference images for when I paint the final project. But I also do a very quick cool study. This is not You know, it's very different from the final work that I normally do. But just to have a rough idea of what the petals look like. Sometimes I like to do these cool studies with color pencils as well. So it's up to you as your sketchbook. You can do where you like. You want to try and usually I do some pencil studies, just graphite, which I think I will do in this page as well later on. But at the moment, I'm just jotting down this color study. I use my two brushes method, one brush to lay down the paint and the other brush to soften the edges. That's it. That's the study page. I will continue to work on this page, as I said, maybe just adding some graphite studies. But more or less, this is my study page done and then I can carry on with a final composition and a final painting. 4. Thumbnails: When it comes to doing the val composition, I always like to do some some sketches. So I made this visual journal for botanical artist because I like to keep all my sche findings in one place. So take a new page. And That's right. I'll write natrotium here. And then I normally leave this space for my notes and for the findings, things that I like to jot down and keep for future reference. And in here, I do some thumbnail sketches. So I do some really rough type of sketches, nothing too complicated. Maybe one landscape. And let's see. I could need something simple. I could do something like that for the leaves, and maybe some flower beds here. Bigger flower. I feel is a bit a bit complicated this one. Let's try something like this. The flower here. Maybe here. As you can see, I don't do any detail at this stage. Maybe something like that. This type of composition, maybe like this, the flower here. So maybe I'm not sure this would work. Let's try a different one. Something simple, maybe. I leave on this side. Flower on this side. Another leaf may be seen from the back on this side and little flower bed, maybe another leaf at the back somewhere there. This way looks more simple and not bad, I think the composition. So, I think I quite like this. What I'll do is I will develop this a bit more, and then we carry on with the project. 5. Transferring The Drawing: To fix the p. In here, I'm using a low ta tape. So when you take it off the page, it won't tell the paper. So try to not to lose. To use a low tape at this tape. In this part, I changed the leaf ale bit. I made it a little bit because this part of the flower of the sp was the margin of the. I'm not sure if I can show you here. It's almost touching and I don't like it as a compositional arrangement here. I made the leaf a little bit bigger just slightly, it doesn't really matter if it's only slightly bigger, but it's important for the composition that you don't have the kissing lines. That's what they called. If you notice things like that, then you can adjust it. If you want to know more about position for your paintings. I have a specifically on composition, which is called composition for floral painting. You can have a look there. I think this is done. I'll show you. I use a little bit of a stronger pencil line so that you can see it on camera because otherwise it will be very difficult for you to see. But generally try to keep light and now that we have this, on to the next stage, which is the inking. 6. Colour Mixing: I have now erased the pencil lines from the drawing, and I have scanned this, so I have a copy of the drawing just with the ink lines. And now I will proceed to mix the colors. So I click the palettes and I'm going to mix the colors again by using the color study that I did in my sketchbook. I'm going to use the recipes here, and I start with a yellow. So it's cardium yellow deep. Will make quite a bit of color because it's a good idea to have enough a list for each layer, but it would be nice to have enough for the whole painting. You don't have to remix it and it will be always the same color because every time you remix it, inevitably, you will get a slightly different color, it's not the end of the word. You can have a little tiny difference, but if you struggle with making the same color, then it's good to have a good amount of mix to start with. This is one. Then here, I will add a little bit of Qa qu magenta, which is this one here. These are from Oda. A too little. Always add a little bit at the time. I'm going to taste this color. I get some paper. This is going to be my lighter orange. Then I'm going to do another we with a darker one. I've added more red to this mix, we have a darker orange for the darker areas, and then I'm going to mix the green. For the green, I'm going to use this one for the buds and the stems and this one for the leaves. We have per green, lemon yellow, and quinoa. I'm just going to add some water here. To loosen it up a little bit. That's the lemon yellow from Daniel S Meat, but you can use a green yellow from Winter in Newton like a lemon yellow from Winter in Newton is fine. Now we need to add the Queen Qdromagena to tone it down and make it a bit more realistic. This is the Queen Quiromagena from Windsor Newton. Always add the red a little bit at the time or you get brown. I think this is okay, actually. It's always looking more like when it's in the well, so keep checking on your paper. And now making the one for the leaves. We have t and lemon yellow, and a little bit of windsor blue, red shade. Now I will do the color for the front of the leaf, which is this one here, which is permanent green. The lemon yellow, qua magenta and a little bit of windsor blue red shade. It's basically G. I put G Windsor blue red shade. I needs a little bit more wind blue. But always add in very small amounts because this is a very potent blue. Okay. I think this is okay. I'll be my colors, and then I will use the other whales to dilute it and maybe change it a little bit. 7. A Tip For You: If you like me, I have problems remembering which mix is which. I use this little trick. I use transparent magic tape, and what I do is, I have my mixed color and codes in there. I put the tape here, and then I For example, this is the first one is mix A. I write A, and then we have This one is mixed A. I'm already forgetting. This is mix C which is more yellow. That's A, and then this one is for the buds and stems. That's G. Then we have that's the top of the leaves. That's a mix H. And then we are for the back of the leaf, which is the abaxial and is mix, which is g p the winds of blue red shade. That way, even if you leave your work, and then you come back at a later stage and you don't remember which one was the green because the greens in the palette they look alike in a way, sometimes which one is which. In this way, which is your green for the stem, which is your green for the top of the leaves, which is a green for the back of the leaves, and also the oranges. This is just the way I use. You might have a different way to remember your colors. But I just wanted to tell you just in case you like to adopt this method. And now we can proceed to paint the first layer. I'll see you in the next lesson. 8. Inking Test: Now that I have done all this work on the study page. But there's one more thing I want to do because I would like to make a little painting from this study. And I want to do this painting as an ink and watercolor. So if you have watched the other classes that I've done, that I like this technique too. I'm going to use the pens, the micron pens. I'm going to start with a 003 and see what it looks like. The I like to try usually on my sketchbook before I go on to work on the final project because this way I can test out the technique. I even if it's something that I normally do like the normal watercolor or this that I've done before, it's always nice to have a test run. I take it as a warm basically. Athletes do a different type of warmup. I do this. I'm just going to try this. I'm going to do the contour of the petals. I normally like to do something like a little bit of a broken line because I don't like a continuous line. It looks too much like a cut out. And it's okay to make mistakes here because this is just to taste really to try and see what you like to do. Sometimes I try color pencil in here as well and sometimes I just the watercolor. This technique, I explain it in some detail in my other class about ink and watercolor where I paint some cosmos. But it's basically a matter of lifting your pen and making this broken line to start with. I'm going to move the camera a little bit so you can see better what I'm doing. You have a more direct view and just finishing the petals. As you can see, I just lift and make some small dots. These flowers are the petals are all wrinkly. It's nice to have this texture like this. The pets, let me see if I can show you. They have all these ridges. They make all the light and shade. In here, I can do something like that, just to convey all the folds that the Petos are. This also will give a sense of direction of the Petos If you find working within a little scary, it's just a matter of practice. Take your sketchbook and just give it a go. This type of technique. A bit. I'm using this sketchbook because I made it myself with HS paper. When I do my tests in here, I note that the final result in my final project will be more or less the same because the paper is the same. If you use a different type of paper, then you might see some differences when you actually work in your final project with your best paper. I know it's a bit of an expensive practice to do. But I really like the fact that I know I can use this and then I know the result that I will get in my final project rather than being a surprise. In here, we have some of the outgrow of the petal. Okay. Then I can start giving it a little wash with water color. 9. Inking the Outline: Now we're ready for the aching part. I'm going to use my micron pain 003. I think this is better than this 01. But I'll try it and see how it goes. I'm going to start since I'm right handed, I'm going to start from the left side and I'm just going to put this here. I put my hand on the page too much. I'm going to do like I did in my sketchbook. Broken lines. That is not continuous and it doesn't look like it's cut out. It's all a matter of just lifting and maybe doing some small dots. Lifting the pain, doing little dots, breaking the line every now and then. I like this thickness. Okay. So do the veins in the same way. And feel free to move the paper. It doesn't have to stay always in the same direction. Maybe I'm going to add just one more. This is more or less the structure of the veins. If you feel like it is completing the design, you can always add another one. I usually try to keep it as close as possible to the real structure that I can observe. But this is, as I was saying before, a scientific illustration. If you want to add a couple of things that are not there, it's okay. Just to the ten. It's important to rest your hand the forearm completely on the table and then just move your hand. Depends on the movement that you need to do, but you need to try not to do it with your hand lifted like this. You have a good f. I'm going to do the rest of the outlines. I usually do the outlines first and then do some shedding inside. I changed the angle of the camera here just to hopefully show you a bit better. As you can see every now and then, I lift the pain and just to some little dots or very small dashes. If you have a paper that is a bit rough, it will be even easier to do this type of work. All right. We done the outline and I have corrected certain things in some places. And sometimes like in here, for example, let me see if I can put it. If you can see, but the incline doesn't follow the line. But that doesn't matter. It doesn't have to be completely exactly the same as it was with the pencil. You can change it a little bit or if the pen goes a few millimeters one way or the other. It's not going to be the end of the world. That's why we keep the pencil lines light, so we can erase them afterwards. The next step is to put some shading and some inking on the inside, and we're going to do that in the next video. 10. Inking the Inside: Now that I have completed the outline, I'm going to do a little bit of inking on the inside. I'm not going to do too much on the leaves, I think because I don't like when it is too heavy on the ink. But I'm just going to add some lines more or less the same technique as before. I just do some des. This was the vein. A bit of a little bit of ink here and there, just to give the idea of some darker areas. Maybe a bit here. And I work on the diction of the leaf in the in the veins. Something like that. Maybe a little bit here. Then this is the leaf at the back. I'm not going to do too much here. I think I'm going to leave it a bit lighter, just to give an idea of that is far away. Just a little bit in here like this. This area is a bit in shade as well. Maybe a bit here. In the flower, we can do a bit more here because there are some folds and always try to go in the direction of the growth. With the petals, you can do quite a bit because they're quite. They have lots of folds. So just do a few lines here with the side of the bed. Yes. Then in here, we have all the folds and things because the flowers are not opened, something like that. Then here again in the d side, and a little bit on this side. And this little leaf, a little bit here. There's a tiny little flower band here. Then this leave has got a little bit of shadow in this area. Just two dashes. You can practice sc paper or in your sketchbook. Just to get a feel for what the lines should be like. If you want to have another class on ink and watercolor, you can watch that as well to see with another flower, what it looks like to do the inking. 11. Inking the Inside Part 2: This leaf there's not much shadow in here because it's hit by the light, but maybe something underneath. Here, the flower. But I'm not going to do too much in here. Just a few dots in here, not too much. Then here, there is a little bit of a shadow. I just realize I missed a little bit there. So because the p is folding where we can see that part. As you can see, this can happen, but you can just as. And I get just a few dots to show that the petal is folding. Then inside the stems, I'm not going to do too much. They're quite thin. What I do is just a little bit of a line of small dashes here and there on the side where there is more shadow. In my case is the right side. All right, so I think we are ready for the next stage where we're going to add the watercolor washes. But first, what I do is I wait for it to. Then I'll erase all the pencil lines that can still be seen. Then I will actually scan this as it is just with the inclines because you never know how you might want to use it. It's nice to have a version of your ding with the inclines. Then when you do that, you can carry on with the watercolor washes, and we do that in the next videos. 12. First Wash Leaves: We are finally ready to start with the first layer, what I'll do is I try different sizes because they are smaller and bigger spaces. I have here my Winter Newton brushes, one, two, and three, and then we'll see which one is best. The leaf, these leaves are quite big. I'll try with three f and I'll get some clean water and I will dilute this color first. I'll start with a lighter color even on the flowers because there are lighter places here where the light hits the petals, it's quite light. You can always make it darker. With the flowers, I start with this, then I'll try the diluted vasion as well. Always try because you can never tell how strong it is in there. That's light enough. Then for the top of the leaf, we add this color. C I put at drop here water and dilute some of these. Might not be enough. So I will add a little bit more. Let me see. Going to start with this leaf. If you prefer to do a painting where the color comes out of the incline, you can do that as well. It's up to you. I'm going to do this where I stay inside the lines, so to speak. The first layer is going to be just a flat layer or a I'm not going to worry too much about shadows and anything like that. I normally do my paintings like this. Sometimes I start with a wet on wet. But when it's like this, the first layer is going to be just a light wash on the dry paper. Now, this leaf is seen from the front, but it's quite small, so it's st lighter than the other leaf. I'm going to use lighter g that I mixed for the stem. For this one. I'm still using my number three brush. I just have to be careful on the edges here. Will use this green for this small but that is not open yet. And also for the sepals here. No Then for the back of the leaves that we use last mix here. Again, I diluted quite a bit, and these are leaves seen from the back. I actually I'm going to use. More water here. I just picked up a little bit of water with my brush because I'm going to leave a bit lighter just to give the idea of the depth that these are the back. The same here. Diluted wash for this. Then this is also seen from the back, but it is a bit closer. I'm going to do a less diluted wash for this one. S 13. First Wash Flowers and Stems: So I'm going to do this flower, the sty wash with a light yellow. Look at the wash on the flower bed as well. Just make sure that the other color is before applying the other one next to it. I've added a bit more lemon yellow to my lighter mix in here because the sepals become yellowish color, orange, almost like the flower, you see here. It depends on the age of the flower as well. I'm going to use this color here for the sepals. They also have some tiny green parts. What I do is I use a little bit of this green for the stems and mix it here in the at the tip of the spare and let the two colors mix. Then maybe add little tiny s of green here and there. T since it's still, it will mix and give that effect. That is yellow greenish. Then for the ser, we just use the color green. I might just change my brush to a smaller one. Let's try number one. I've done the first wash now. What I'll do is I wait for it to dry. Then I'll check my pictures because I took some pictures of the leaves and flowers, and I check where the lights and darks are, and I'll do another layer just to emphasize a little bit with the light in the dark. Then after that, we can proceed with the details. 14. Second Wash Leaves: The first layer is now completely dry. I'm going to apply a little bit of a second layer just to basically show some darkened lights. What I do is I use my number one Winter Newton brush, and then I'll the mix for the top of the leaves, the mix and it's still diluted but not as much as before, a bit less diluted. And I use my two brush system where I apply the paint with one brush and then use the other one to smooth the transition. So I'll put a little bit of a shadow here because the leaf is folding. I'm using a reference photo for this. I basically smoothing the edges of the paint with the wet brush. I just wet my brush and dry it a little bit. Then here there is a bit shadow. Put the paint down and then smooth the edges with a damp brush, not wet. Then if you can see that it still is pushing the color, you rinse it again until it's clean because it will pick up the green pigment. I can see I'm if I can show you this picture here. Two pictures of all the parts of the flower because this particular part of the flower is now dead. Basically I have some different ones, but it wouldn't be the same. I always take some pictures for reference for the lights and darks. Although I mix the colors using the fresh material. There's a bit of shadow here as well. Maybe a little bit here. So always rinse the brush when once he's picking up the pigment. Make sure it's always clean and just dump. Then if you think these areas are too light, we can always add was, again, a light wash to bring it all together. This here is the lighter leaf, so it's seen from the front, but it's lighter, so I'm going to use the mix for the stems. Maybe add a little tiny mix from the H. That's the mix from the stem, and I add a little bit of this is to bring it together. This has a little bit of a shadow here. You just smoothing edges of the paint. Really make it nice transition. Maybe there is a little bit of shadow there. Since this is now damp, you can just drop a little bit of the color as well to make it a bit. Here is quite light, so it. These are okay. Now we can do the leaves the scene at the back. Actually, I'm going to leave these at the moment. I'll do this one. Then I will compare how light compared with the rest of the painting because I want to leave this lighter. I'm going to do this one here. In here there is a darker area around this side. For me, the light is always coming from the left, being right handed. There is ale bit of a ridge here because at the back, the veins are a little bit raised. There's a little bit of shadow next to the veins. Here is very light in this area. There is a little bit of a shadow here. Okay. So let's that for now. 15. Second Wash Buds: And I'm going to do the flower bud. So here is quite light. We have a bit of shadow down here where it is curving. I bring a little bit here. And on this side of the spare on the right side of the spare, which is in the flower body is still green. You can still lift the color as well. If you think it's a bit too dark, with a damp brush, press it on the color and it will lift it. Then for the little bad here, we do the same, we do the shadow on the right. Keep your brush if you use this technique. Then there's a little tiny one here. I do the same thing. 16. Second Wash Front Facing Flower: Okay, so we can do the fold here in the flower now. So in here this petal is closer to the center of the flower. Okay. Realized here there is a little bit of cara, maybe it was in my finger. I didn't wait probably long enough for it to dry. What I do if this happens, I have this brush from the Billy show collection, which is called the deradictor. But you can use any stiff synthetic bristle brush and just gently go over the paint and remove it. We remove it. Just be careful because some pigments stain and they won't come off. But this one was okay to remove. I should have done it earlier, but I'm going to put this here now and just carry on. Under this pedal, there is a bit of a shadow. Here the pit of is caving. So again, there is a little bit of a shadow in there. It's in the center of the petal, then it becomes lighter as the petal goes towards the light. I usually go over the whole petal because it makes it more and it darkens it a little bit as well because you're pulling a little bit of the pigment. And again here. It's a bit. There is a fold here. Basically, just where the folds are, you use the color and then you just make the transition with the brush. It's quite dark in the center. Then on this side, the petal is in the shadow as well. Again, I go over the whole petal just to make it easier to make the smooth transition. Then there's a little bit of a fold here. You can use your ink marks to guide you the folds in the shadows are. And always look at your reference photo or if you're painting from a live flower. Just keep looking at your reference and keep adjusting. All right. I think I leave the flower now this flower and then move on to the next next one. 17. Second Wash Side Flower: I'm going to do this one, the flower seeing from the side. There's a darker area here with the petal folds. And then in here as well. So this area here is quite light, so I'll leave it lighter. There are some here or this bit. We have some shadow. And then in this. Yeah. Yeah. And the flower bud is quite that came here. Let's go this little folds as well. All right. Now we can proceed with the stems. 18. Second Wash Stems and Sepals: All right. The stems are quite thin, so there's not a lot we can do. We just have to work very carefully. And I use the same technique as before. Place the color where the shadow is and then use the other brush for the transition to smooth out the transition. I'm still using my number one brush here because the tip is quite small. But in the final details, I might ah. There is a little bit of a shadow here. Under the petal. You don't have to do the whole se the same time the whole length. You can do it ale bit at the time. Then again, here, there is a little bit of a shadow from the leaf. We can make this da afterwards. If we don't think this is, that can be corrected. I don't do too many details on these two leaves and then here. We do the same thing as the others. Then I add a little bit more detail in here. We got a little bit of shadow here. In here, we have a little bit of green as well, so I'm going to get some of the green for the stem and just add it here. I think we're done for this layer. I it and then come back and have a look at it and see if I need any more details anywhere. A 19. Reviewing the Painting: Now that I have finished the second layer. I can see that these leaves are a bit too light. Also, I think I would like to add a bit more color to the other two leaves. What I do is I do a wash and I will use the color for the for the front and for the back. I'll dilute it a little bit. Then I will just do a wash on top of this. Just a flat wash. I think I'm going to use a bigger brush. I'm going to use a number four, and just do a flat wash. Because I think it's just too light the color. I'm going to leave just the part without doing the wash because that's lighter. Okay. You know, just reinforce the d here. All right. And then this one is the back. They'll do a light wash on these leaves as well. Then here, I just reinforce a little bit. The shadow. The brush is not too wet, it's almost like a dry brush technique this one. Then in here, we have the little stamens. The color dri ale bit. I think what I do is e a smaller brush. I'll use a numero. Just do the statements. 20. Details: With the number zero brush. I just do a little details here in there. In here, I will reinforce the shadow to show this petal is on top of this one. I still use the same technique. And do the same in here. Add a little bit of the darker color just reinforcing the shadows, make it a little bit. D. Okay. When the brush is almost dry, you can add a little bit of color in the place if it's where it's too light. It's almost like coloring with a colored pencil because it looks like there's nothing on the brush, but there a little bit on this pencil as well. Basically just going checking all areas that need a little bit of contrast and shadow. The contrast really is what gives you the effect. I think we finished with this. You can leave it one or two days, just to look at it with fresh eyes afterwards. See if there's anything else you'd like to add any more details. But I think it's fine like this. Then you done. You can scan it if you want a digital copy of it, or you can just hang it in your wall and admire it. I hope you have enjoyed this class and see you in the next one. S. 21. Final Thoughts: Congratulations on completing the class. I hope you have enjoyed it, and I hope you have learned new skills that will be useful for your future projects. Don't forget to post pictures of your paintings in the project section, so I can give you my feedback if you like. If you have any questions, don't hesitate to reach out. I will try to answer as soon as I can. If you have enjoyed the class and if you have liked it, please leave a good review because that would be really helpful. Also, don't forget to hit the follow button. You will be notified as soon as I post a new class. I hope you had fun and I will see you in the next class. By