Painting watercolor on Aquabord // Watercolor Lilies

Painting watercolor on Aquabord // Watercolor Lilies

Hii everyone today I have a battle to
show you that went on a few days ago with me and this aquaboard. Have you
ever tried painting with watercolor on aqua board? If you’re used to painting on
paper I can tell you it’s not easy. I painted on it a few years ago back in
2015 I painted these two owls and this goat. Some of my patrons on patreon asked
me if I could do a tutorial on how to paint on it and I said yes of course but
I’ll need to practice on it first because I remember how difficult it was
when I painted these paintings. So I painted these irises just to reacquaint
myself with it oh wow I found it so difficult. I battled my way through the
entire painting only because I wasn’t used to it and I was trying to paint on
it with the same techniques that I would use on watercolour paper. Aquaboard has
an acid-free textured clay surface that’s supposed to absorb water like
fine paper. They say it’s supposed to be like painting on cold pressed paper.
Well for me I can assure you painting on this is nothing like painting on cold
pressed paper. It has, in my opinion, two benefits over painting on paper. One you
don’t need to frame your painting behind glass which can be very expensive and
two it gives you the ability to lift and remove the paint to a far greater degree
than paper does so if you mess up you’ll have the ability to be able to fix it.
I’m about to show you how I struggled through this painting. Some of the
footage I’ve sped up because there’s a lot to get through and some of it is at
normal speed. I talk all the way through so that you’ll know what’s going on. Ok
let the battle begin. Here’s my Aquaboard. This is an 11 inch
by 14 inch panel. it says on the back here to flush out
the surface of the panel with some water just to release trapped air. So I’ll do
that now. I’ve just got a flat brush here. I’ll paint some water over the
top. That’s a layer of water all over the
top. I’ll just let that sit and dry now. It dried. I’ve got my drawing on here now
and now I’m just removing some of the pencil lines just to make them lighter. I’ll mix up some gray paint this. is
French ultramarine and I’ll mix some burnt sienna with it to get my gray
that I like to use. This is the burnt sienna over here. This is the simple gray that I
like to mix and I use it in a lot of my paintings so it’s French
ultramarine mixed with burnt sienna. I’m going to use that gray to start
painting this Lily on the left-hand side here. Now I’ve got no idea what I’m doing
I’m just putting the paint on hoping for the best. This feels totally different to painting
on paper and what I found when I started working on this I was trying to paint
like I was painting on paper. I didn’t alter the way that I normally
paint and it just wasn’t working for me. Everything’s okay at this point but the
further I get into the painting the more difficulty I found myself in. Here I’m trying to soften the paint edge with the damp brush but it wasn’t
working for me the way it does on paper. I was having difficulty – with the clay
surface when I wet it the color changes. It goes a soft gray color so I
was looking at that and looking at the gray of my paint and was getting very
confusing for me. So then I thought I might change the color of the gray and
make it a bit bluer so here I’m just trying to blend it and I’m not having a
great deal of success. Now I’m putting some yellow down
in the throat of the lily. Now I’m fiddling with the wash that’s here. It’s
not dry. I don’t know what I’m doing to be honest. I think I’m just trying to
blend the paint here but I’m fiddling with that wash and I’m just making an
awful mess. I should have let this dry and I just kept fiddling with my brush. I struggle on. I don’t know whether I’m
trying to take the paint off or put some more paint on or what I’m trying to do. I let it dry and I’m putting some more paint on to try and fix up
that patchy mess that I made. I think here I’m trying to get rid of that dark
line that I’ve got running along the edge. So now I’ve got the hairdryer on it
to try and dry it. I found it didn’t dry and every time I touched it the
paint wouldn’t lift off so then I thought I’d leave that and I’d start on
the edge of the lily here. I’ve just got the gray mix here that seems to be
working okay for me now. I just wet the board where I’m working thinking that
the paint will bleed down over the wet surface but no that doesn’t work the way
it does on watercolor paper. I’m just putting a bit of water there. I’m
thinking if I can just get that edge to bleed in from the edge when I put the
paint on but no I just couldn’t get it to work. So now I’m trying to put
some color on this side of the lily. I wet it first for some reason. I
don’t know what I thought that was going to do. Now I’ve got my scrubber brush out
and I’m taking off a bit of paint. Putting on a bit more gray paint here.
I thought it was too patchy. Trying to blend it using a tissue to try and blend
it more. No it’s just terrible. I was having so many problems with it because
I was trying to paint like it was paper and it’s not paper and it doesn’t act
like paper so I had to work out a way to make this work. I had to change the way
that I was painting. I’m still trying to work on the wet surface here and that
just wasn’t working for me either so I wet that surface. Now I’m putting
some ultramarine blue in there thinking that that’s going to help. I put a little
bit of the blue over here too thinking maybe that would make it look better. Coming down here with more of the gray. I’ve been a bit bolder with my colour.
There so I thought I’d leave that one and I’d get some color on these other
two. This is the grey. It seems to have a bit of blue in it. That dried so
I’m putting some more color on here just on the dry board thinking to myself
there’s no point in wetting it because it’s not going to behave like paper. That
was a bit of yellow that I put on top of the grey there. I’ve got my little brush now
taking it out to the point, running that along the edge. I feel like I’m starting
to get the hang of it now but then I quickly lose it again because I keep
trying to paint like I’m painting on paper. I want that paint to bleed over
the wet surface and just refuses to do it. So I was
frustrated with myself at this point so I turned off the camera. Then I went to
here and started painting some of the green thinking that that might start to
make it look better. Here I’veI got Sap Green and I’ve got some Winsor
lemon that I’m putting in it. I’m layering the paint now one layer over
the top of another. I’ve decided there’s no point in wetting the surface the way
I normally do with paper so I’m just going to have to paint wet on dry. What I
found really quite difficult to come to terms with was the way that the paint
kept lifting back off the surface even after I dried it with the hairdryer. I
was also trying to soften paint edges the way I normally do on paper and I
wasn’t having any success doing that either. Normally when I paint on paper I
put the paint on the surface and then when I want a soft edge I can quickly
wash the paint out of my brush and use the damp brush to soften away the paint
edge. That just wasn’t happening on this board. What I found when I did that on
this board was that I’d start to lift the paint off that I’d put on there
underneath. So I’m just layering the green paint taking it up into the lily trying to blend it. Doing the best I can.
I started using my older brushes. This is a Winsor and Newton Cottman brush.
They are a cheaper version. I didn’t want to use my good
maestro brushes on this surface because it’s textured. I think I began with
my silver black velvet brush and then I started using a maestro liner brush but
I quickly put them away when I thought to myself that they might get damaged on
this surface I’m moving ahead onto these ones over
here. I’m still struggling I have to say. I just found that the washes didn’t
go on evenly. they were patchy all the time and it just wasn’t behaving the way
I was used to it behaving on paper. I think that was the hardest part and then
constantly struggling with the paint lifting back off the surface whereas on
watercolor paper the paint will sink down into the layers of the paper and
this doesn’t happen quite so much. That can be a very useful thing when
you’re painting but at other times when you’re not used to it
it was really difficult. I’m starting to get a bit bolder with my color
because I know now that I can remove it if I need to but I tend to keep working
back into the wash and then I start to lift the paint off. This is SAP green
that I’m using. I didn’t want to start mixing greens because I thought I’ve got
enough to deal with. That was a bit of Winsor lemon I think. I’m layering that SAP green again
over the top and again it’s just all patchy and that’s not the look that I
was hoping to achieve. Ok so we’ll just take a breath now and
I’ll give you some normal speed footage. so here I’m just layering the paint over
the top of the previous wash I can’t remember how many layers this is now just trying to build up the color I’m
trying to put it on so that it doesn’t go on patchy so I’m just trying to work
out where to stop the SAP green paint here just looking at my reference photo
as I paint now I’m trying to soften that paint age without removing the paint
that’s already there underneath that’s what I kept finding every time I tried
to do something like that I’d start to remove that paint underneath now I’ve
just got water on my brush it’s all kept going with the set of green down here I’m still not happy with the patchiness
of it so up here I’ve got some fellow yellow
green I think this is by Daniel Smith I think that’s what it is so now I’ve got
to try and blend that color into the gray area so that it’s a seamless blend
between the gray and the green so I’ve taken the paint out of my brush I’m just
using water trying not to disturb that gray that I’ve got there already I think
it just needs a really delicate touch because you don’t want to keep lifting
off that paint that you’ve already got on there so here I’ve got my little
liner brush and I’m just painting on some perylene green I think it is it’s
going to paint the tip of this billion now I think this is SAP green that I’ve
got on my brush this part here is easy because I’m just painting straight on I
don’t have to do any blending or anything no got some darker paint I think that’s
probably perylene green that I’ve got again now I’m just using a damp brush
just to smooth that color out so here I’ve got the liner brush I’ve got the
tiniest amount of paint on my brush there’s hardly any paint
I think it’s SAP green then I’m using just painting on those lines that are on
the side of the lilies I think I’ll have to come back onto this
one with the scrubber brush just to remove a bit of that green paint so just
a little bit of paint on my brush something I’m just going to jump over
here and put some color on this last Lily so this is the gray that I mixed up
at the start of the video the French ultramarine and the burnt sienna mixed
together just take it down this side if I was painting this on paper I would
drop some something like Windsor violet or something like that into that gray as
it was drying just to create some interest in the color but I can’t do
that on this surface now this here is a horrible patchy mess so I found that if
I use my eraser over the top I could rub a bit of that paint off and it just
softened everything it was almost like using a scrubber brush but the paint
still stayed there but it just softened it all so I found the erase are quite
helpful so here I’m just putting on some more of that gray paint I’m just trying
to get it on as smooth as I can without disturbing it which is not an easy job
to do and down here I’ve got the SAP green paint again doing this same thing let’s take it down the stem and up here
I have to think about how I’m going to blend that in so I’m just going to get
some of the cella yellow green I think yes just trying to blend those colors
together if I use my damp brush now I can just push that paint up into the
grave as I said I have to be careful not to disturb the gray otherwise I’ll lift
it off I’m jumping over here onto this leaf now this leaf gave me so much
trouble I’ve battled it to the end you can see how patchy that paint goes on
it’s not like the way I would put it on on paper if I was working on paper I
would have dampened the whole leaf with water and then I would put the pigment
onto the damp paper and I’d let the water on the paper do most of the work
for me I just can’t do that on this surface coming back to this leaf now I
tried to segment it leave the little veins showing so I just painted it in
sections this is how I would normally do it on watercolor paper but I found as I
went further along it just wasn’t going to work either I just found with his
sleeve I got too dark then I had to take some paint off and then I had to keep
putting the paint back on and then they’ve got too dark again so I took
some paint off and I was just going backwards and forwards I battled it the
whole way I’m still not 100% happy with it the way
it ended up but I wasn’t going to fiddle with it anymore because I thought I’m
just going to just get in a mess again so I got it to this stage that it’s out
and I left it for fear of ruining it I just let that dry for a little while I
just came over here onto this last iris and started to fiddle with that again so
unlike paper on this surface you have the ability to continually remove the
paint you can remove highlights take it back to white if you need to and that
can be a wonderful thing but it can also be a hindrance so I found that it was a
really good thing at times but other times I was just battling it trying to
keep that paint on the surface so here I’m just darkening up this right-hand
side of the lily so here I’ve just got a damp brush and
I’m just starting to remove some of that green paint just come straight off to
create those highlights it doesn’t even have to be a scrubber brush this is just
a normal watercolor brush that I’m using insist a flat brush you can see it’s
just removing that paint and these are well and truly dry these were painted a
couple of days ago it just comes off so easily
and as I said that can be both good and bad so it’s just a case of understanding
the surface on which you’re painting that’s what I need to get my head around
that this is not paper it’s not going to behave like paper and I have to change
the way I paint and it wasn’t easy here you can see how easy it is to take that
paint off the center vein and as I said this is not a stiff brush what I should
do is paint this painting again on some watercolor paper just to compare the two
surfaces let’s see which painting I like better so I’ve done a bit more work on land
leaf now I’ve just got my liner brush and I’m just starting to bring a bit of
the darker color in I think this is the perylene green that I’m using so this
leaf has had many many layers of paint on it I’ve scrubbed it off in places and
I’ve put it back on and I’m still not 100% happy with it but I just got so
tired of trying to make it work so here I’m using that brush to take some paint
off I felt it was too dark it was too patchy so I’m just trying to smooth it
out with his brush and take a bit of paint off it says any water on my brush
I keep wiping it on a tissue so I kept going with it and now I’m just painting
with my liner brush just some of that perylene green and this is where I
pretty much decided to leave it I just got so sick of fussing with it so there
it is that’s my finished painting that now needs to be sprayed with some
varnish I like to use Krylon spray-down ish so when I’m in the mood I’ll sign my
name and then I’ll get the varnish out and varnish it to protect it what did I
learn after painting on this again three things number one I need to remember to
believe in myself and not quit because I almost quit and I think that I got there
in the end number two I love painting on paper for me nothing compares to
painting on good quality cotton paper and number three I am going to need to
do quite a bit more practice if I’m going to teach others how to paint on
this surface if you’ve painted on aqua bored yourself let me know if you have
any tips in the comments below thanks for watching I hope you enjoyed watching
me struggle my way through this painting please hit the like button
if you did and don’t forget to subscribe and I will see you soon with a new
struggle tutorial I’ll see you soon with a new tutorial


  • Silvia Iocolano says:

    Ciao sei fantastica io ti seguo dall'Italia ma purtroppo non riesco a capire le tue spiegazioni in inglese ed anche con i sottotitoli faccio fatica. Non sarebbe possibile fare in modo che ci siano sottotitoli anche in italiano? Grazie

  • Mary Ann Rathjen says:

    I appreciate your courage to press forward and work through the differences between aquaboard and good paper. Actually the tutorial was excellent for someone who has never painted on that surface. All in all the final painting was beautiful and well worth the struggle to finally get there.

  • The Art Hive says:

    I found I had these same issues when I tried painting on a canvas Iโ€™d primed with watercolour ground.. the lifting of the colour underneath was extremely frustrating!! -Not like watercolour paper at all, so well done for seeing it through to the end! The finished painting still looks gorgeous though! ๐Ÿ˜Š๐Ÿ’œ


    Iโ€™m a rookie at watercolor…..I honestly donโ€™t know how you got through this….. what I have learned is that patience is essential if I am going to continue to water paint. I think it is beautiful. Thank you so much for these helpful tutorials, they are much needed. Have a blessed day ๐Ÿ™‚

  • Benny B. says:

    Thank you for your wonderfull videos๐Ÿ’, greetings from Hamburg๐Ÿ‡ฉ๐Ÿ‡ช

  • Doppelgรคnger says:

    Perseverance to the end; Iโ€™d have tossed it! ๐Ÿคท๐Ÿปโ€โ™€๏ธ Tested Aquabord a few times on the small squares, found it best to lift highlights & their values slowly after the paint had dried. Would not use it again; attempting to master watercolors on one type of canvas is challenging enough for me. ๐Ÿ™„

  • Mary Algar says:

    I was feeling your pain 5 minutes into the video. I think I would have enjoyed the uncensored version, which I'm sure contained a few expletives! Despite the obvious frustration, the end result is still a lovely painting.

  • Mary Algar says:

    I have not used this Aquaboard and am not in a hurry to do so — unless your future videos on this convince me otherwise. Like another commentor, I didn't like painting on canvas primed with watercolour ground. It did not behave at all like watercolour cotton paper.

  • Sandi Sloan says:

    That stinks that it was so difficult and to see you struggle, but Iโ€™ll tell you this is so stunning, your incredible…Iโ€™d hang that in my front entryway…love love it…

  • robert bickel says:

    For watercolor I use Crescent Premium Watercolor board, #5115, hot press, 30" x 40". I cut it to whatever size I need. They make cold press also. I live in the US and deal mostly with Dick Blick for my art supplies. These people have it all. Like yourself, I tried to find a replacement for Arches watercolor board, and this is what I found. Wet the back when your painting, to help with buckling. Enjoy your show.

  • Rosana Soares says:

    Thank you, I was uninspired. Love your tutorials !

  • Alison Hendry says:

    I understand how you must feel it is a failure, but oh so many would give their eye teeth to have their work be as good as your failures ๐Ÿคฃ๐Ÿคฃ. It is a fantastic composition and wonderful use of light and colour. It is truly a really lovely piece. You just have that frustration layer of icing on it. Check out Daniela Werneck. She paints almost exclusively on aqua board. Her work is Jaw dropping and oh so full of heart wrenching and heart warming story. Having her be a part of our water colour society in Houston is an honour. And she is SO nice!
    You have inspired me to give this aqua board a try. I like a good fight. Scottish blood in my veins never dies. Thanks for posting.

  • Ivy Bailie says:

    Louise, I recently had the same experience with applying a special gesso to stretched canvas so that it would act like paper. Paint lifts right up, wetting the surface was worse. The piece was to be a practice for a commission. Thank goodness I had sense enough to try it before hand.

  • Paula Bush says:

    Thank you so much for sharing! I felt your frustration, but the end result is just gorgeous! I love it and would hang it over my fireplace in place of honor…๐Ÿ’š๐Ÿ’š๐Ÿ’š๐Ÿ’š๐Ÿ’š

  • Don McNevin says:

    Well done you! I have some watercolour board here, I was wondering while watching, what about inks? Liquid acrylic? I don't think Gesso would make that much of a difference.

  • onna addis says:

    I found gouache worked better. But I had the same problem with fredrix watercolor canvas you just keep moving the paint everytime time you touch it. I only like it most was forinks done very loose as abstracts. IT HATES BRUSHES! GRR. Right? I aplaud you for going on. Brusho worked well.. Shake it on spritz it and let it run. No brushwork. (Also maybe pastels as for the tooth) i found this aquaboard and gator board to be more like using Yupo. Still a beautiful painting for your struggles. Good job!

  • Steve Pence says:

    Is aqua board and illustration board the same?
    If they are you might think of shifting your ratio of paint to water, making your paint thicker and using
    a dryer technique I not sure this will help it just a thought. When I have used illustration board I am using an airbrush, where the paint is a little thicker.

  • Celeste Kat-Hy says:

    Yours Lilies are gorgeous, I admire your persevered. Thank you very much for this precious lesson…
    Yes if you make them once on the paper.
    Xoxoxoxoxoxoxoxo ๐Ÿ’• ๐Ÿ•Š ๐Ÿ˜‡

  • IG Fine Art says:

    So nice work my friend..๐Ÿ™‚๐Ÿ‘Œ๐Ÿ‘จ๐Ÿปโ€๐ŸŽจ๐Ÿ‘๐Ÿ–Œ๐Ÿ˜Š๐Ÿ‘

  • Xiaotong Wang says:

    Would you say that the Aquabord feels a bit like cellulose (wood pulp) watercolor paper rather than cotton?

  • Becky VanMeter says:

    Ali Cavanaugh makes it look so easy. I know it's all about getting use to the new surface, but it helps us all realize just how frustrating taking up a new thing can be.

    What helps me immensely in this video is your courage to press on, your calm collected approach, and never giving up!

    You should charge us therapy rates, since it's so calming!

  • Jeanne Marie Booth says:

    In the kindest and most gentle ways what I better understand from observing the "battle" is, for me, that though there be some application for the clay board it certainly is nothing like that for which I am working toward.

    Thank you for the admirable example of taking up a challenge and, to the end, being willing to learn the ways it commands. As I am engaged in learning how to best translate what I see in the watercolour medium I am going to accept that riding two horses in one ride is beyond the scope of my capabilities (and my level of patience).

    So it is that IF and WHEN I reach the point of it being worth the while to pursue I shall opt for adhering fine cotton watercolour paper to board. That point is so far in the distance that I cannot see it for the horizon line. It is here I find the encouragement and support to keep my eye on that horizon line and to begin to stop thwarting my learning curve by judging my inch by inch progress when I am a remedial level (at best) student.

    Brava dear maestra!

  • dora evatt says:

    Glad you stuck with it , in the end you continue and they are beautiful. Thanks for showing that even the great at times struggles

  • Cindy B Tanner says:

    Oh my goodness! Thank you for the warning never to buy aquaboard.

  • Dawn Nickols says:

    You…. are amazing. <3

  • Patricia Teal says:

    I have been wondering about these boards for sooo long… thank you for showing us and persevering through! I think it looks amazing in the end!

  • Eve U says:

    As much as you struggled through this, you still made it look somewhat effortless and it came out absolutely gorgeous! I am barely a beginner and can only hope to paint something that is at least recognizable some day. Thank you for sharing and I love the outcome.

  • Silvia Sunesen says:

    Lovely colour and composition despite the battle . Thanks for the information regarding aqua board. Your opinion and struggles mean a lot

  • Cecillus says:

    I loved your running commentary on this one!

  • Lulis del Castillo-Gonzalez says:

    This is absolutely gorgeous!! I appreciate the running commentary! I mounted a watercolor (on arches) onto a wooden square and got the same end result without the pain!

  • G Wiz says:

    I love this! Totally stunning! Would love to see it done on paper.

  • Zinfollini Grazia says:

    Wow Louise, you are insuperabile (i don't know how to say it in english๐Ÿ˜Š)

  • Bruce Osborne says:

    Thanks Louise. I'll sur to NOT try this one,

  • Maria Kellner says:

    The aqua board doesn't like glazing for sure,looking at you struggle ,it even left a bloom like patches, it may be okay with gouache maybe,tfs you won in the end.

  • Maria Kellner says:

    I have some lifting preparation from w+n I must try it to see if it does the same,I have glued watercolor on a board ,I felt it did the same ,but not to that extent the aqua board may be treated in the same way with a lifting preparation.

  • lindsay mitchell says:

    This is a wonderful study for my needs and I indeed did learn so much from your efforts here. While I will not be using Aqua Board after seeing your struggle I did as a beginner in water colors learn technical skills for water colors and also to recover a painting when I feel unhappy with a mistake. Please keep posting your lovely studies and thank you.

  • Louise De Masi says:

    Let me know if you have any tips for painting on Aquabord. Thank you!

  • Anne-Marie Sassenak says:

    Thank you, Louise, for your battle with aqua board on your studentsโ€™ behalf! Very informative. ๐Ÿ˜˜

  • Carla A. says:

    Louise I could feel your pain and struggle with this painting. Well done for seeing it through as it really did turn out to be very beautiful! I am very grateful to see how you struggled with the Aquaboard as it appears to be very similar to watercolour ground which I do not like. It would be very interesting to see how you feel about painting those lilies on paper and the results you get. Thank you for this excellent tutorial!๐Ÿ™๐Ÿ’š

  • Debra G says:

    what you see as failure many of us would cheer to paint those lilies like that, difficulties aside, they are gorgeous. thank you for sharing, Louise ๐Ÿ™‚

  • Robyn Atsidaftis says:

    Hi Louise… I could feel the texture of the Aquaboard as you painted…funny that.. I see what you were saying…but just loved watching you paint…and that you show that even you as a fabulous artist …have small issues when you paint…does make me feel a smidge but still it turned out as a gorgeous piece… may try the lillies for my bedroom.. can I ask what paper you normally use …thanks for sharing…much appreciated… x

  • Suzanne Palmer says:

    And I thought I had a hard day at the office! As always a pleasure to watch even if sometimes I was wishing I could go over and serve you a glass of wine ๐Ÿ™‚

  • Michelle Wainer says:

    Wow. I really felt the frustration you were having, but you pulled it off beautifully!

  • Livingstone says:

    Louise… Your pressing on is inspiring! You didn't quit… And the results are stunning! Love how your "out of the box" thinking brought you to using an eraser…! Any way, what a great lesson on learning how to use a different surface then what your comfortable with… yet still making a beautiful outcome… Be encouraged… You worked masterfully!
    Also… Qq Could this type of board use more of a " flushing" or "rinsing" of water before you begin? Like placing it under the faucet for a good bit, then letting it dry, before painting…? Or would it not make a difference on this surface…?

  • Jane Newman says:

    I think itโ€™s absolutely beautiful โค๏ธ

  • Sharon Hauser says:

    Wow ~ youโ€™re a real trouper. That was very informative in so many ways. Thanks much for sharing ๐Ÿ’๐Ÿผโ€โ™€๏ธ

  • firecracker says:

    Would you say that it might be a good surface for a beginner

  • firecracker says:

    I think it's beautiful

  • Barbra Loveless says:

    Thank you so very much for sharing your struggle with this aquabord! I've actually just gotten a big one to try out and, had I not seen your video, I'm sure I would have been so frustrated I'd have pulled all of my hair out. I've only used these with graphites, contรฉ, and charcoal thus far. I would have done exactly what you were trying to do, as if it were paper. Thank you for the warning. Knowing I'll want to treat it more like water soaking into a clay pot rather than cotton paper will go a long way. I'll do my highlights last, once everything is dry… Maybe try varying amounts of water I'd never try with less than 300 lb. paper, maybe I'll try working "backward" & experiment…And yes, I concur with the others. You've still done a beautiful job of it. ๐Ÿ’œ

  • Maria Varga says:

    Beautiful painting as always. But they are kalla lilies, not irises. This one (I believe) is called zantedeschia aethiopica. โ˜บ๏ธ๐Ÿ™ˆโค๏ธ thank you for your great videos!

  • Julie Davies says:

    Absolutely beautiful, it was worth your struggle! Donโ€™t think I will be trying it any time soon though ๐Ÿ˜‚
    Louise please can you how us how to paint skies and clouds? Do you ever paint backgrounds? Love, love, love your tutorials, thank you for sharing x

Leave a Reply

Your email address will not be published. Required fields are marked *