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You're very welcome, I'm glad you liked it! :-)

Don’t forget to watch the class and post a picture of your painting 😊

Thank you, you’re very welcome and I’m glad you find my videos helpful :-)

And I think you should try! 😊

I’m so glad you found it useful :-)

Thank you, I’m sorry you couldn’t follow it to the end, I should check Affinity and see if it’s possible to do something similar there

Thank you, I’m glad this was useful :-)

Thank you, I hope you’ve enjoyed the class 😊

You’re very welcome 😊 I’m glad you found it useful

Thank you so much!

You’re very welcome ☺ I’m glad when people find my videos helpful

Yes, so far I find this to be the only way to have a good sketchbook. I usually make larger books, but this will be easier to travel with 😊

@@katiagalanteart Definitely. And the more bulky sketchbooks are a bit intimidating as well.

Hi! I haven’t really separated my color palette but I probably use around 15-16 colours too. You’re right in saying that some colors (such as some violets) can’t really be mixed? And I have a violet from Daniel Smith which I like to use. And other colours are a bit of a pain to mix. But generally I do try to mix all the hues I need from my limited palette 😊

@@katiagalanteart I think that the most difficult to mix colours are cobalt teal and cobalt violet that are complimentary btw. You can mix something very close to their hue, I mean cobalt teal with cyan and cobalt violet with Q.Violet R/S but you won't end up with the exact same bright hue. This is not of course something easily detectable on a finished painting but it is tricky to mix these exact hues and why bother at the end of the day... Same applies to the Gold Ocher that can be mixed but the mix is usually brighter than the Ocher it self. It is not easy to make the exact muted warm colour of Gold Ocher and I can't see a good reason for not using a single pigmented version of this colour. Whatever is the case the best mixing colours are IMHO the Phthalos. All of them. You can easily have a ultra minimal palette if you include the Phthalos. Phthalo Blue Green Shade and Red Shade, Phthalo Turquoise and Phthalo Green with the addition of a Warm Red, Q. Magenta, a Transparent Orange ( I like the PO71), PY150 any Lemon Yellow and Transparent B. Sienna or transparent oxide red PR 101 and you can mix all about everything. But I never go for such a limited palette.

Absolutely! Not sure if I asked you before, but I was wondering if you use winsor & newton or another brand or if, like me, you use different brands …

@@katiagalanteart I use different brands but my go to colors are Rembrandt by Talens with the addition of some Renesanse pans and my own made watercolours from raw pigments. The reason why I prefer Rembrandt is because they have a very consistent quality, (Rembrandt are artists grade watercolors) they are available in 10 and 20 ml tubes and they are more affordable than W&N. In order to get an idea the Rembrandt 10 ml tubes cost here from 6,30-8,10 euros, ( depending the pigment - some are more expensive) and the 20 ml from 9,60-12,40 while the W&N ones cost 8-13+ euros for 5 ml tubes that most of the times don't even contain that much paint! There is a huge different in the price per ml for the same quality of paint and pigments. I use also some of the Van Gogh ( again by Talens ) colors for backgrounds as they are even cheaper, highly pigmented and light fast. These are also better than the average student grade watercolors and I don't see any good reason for not using them to make backgrounds by the time that I paint sometimes in very large sizes. Talens is a very good company and their colour quality is very consistent. I know exactly what I get as I use their colours for almost 30 years and I never had any lightfastness problems with them.

@@creativecolours2022 thank you, I’ve never used Rembrandt but I will definitely try them. I use mostly W&N and also Daniel Smith and Schmincke and yes they’re rather expensive…

Thank you so much. Yes that is the only way to improve: practice. One of these days I’ll do a video where I show my first “botanical” paintings and you’ll see how different they were 😊

I agree 😊

I’m so happy you enjoyed the tutorials 😊

I’m so happy you liked the videos, I really hope I can keep posting as I’d like to spread the love for botanical painting. Thank you for the compliments and for watching, have a lovely week 😊❤️

You are very welcome 😊 I’ve started using the miniature brushes because my uncle uses them and he loves them so I bought these brushes too. I love them because in my opinion they are really good for detailed work and they hold quite a bit of paint, I must say, I work quite dry, I’m not very good with wet on wet techniques and have much more control with wet in dry and these brushes are perfect for my technique. I think it’s very personal with brushes and I have tried a few different ones but keep going back to my trusty miniatures 😊

@@katiagalanteart Thank you for clarifying what these brushes are for as you've saved me a good amount of money. I paint as well the details with a wet on dry and very controlled technique, but my first washes are always wet on wet and rather juicy washes. ( not exactly heavy washes but quite wet ). So it seems that the miniature ones that are specifically made for details and very dry brush technique wouldn't be so suitable for my painting style as I'm looking for some brushes that work for both techniques. I mean for wet on wet and "dropping" paint on a wet wash, and then wet on dry or very dry brush technique for the finer details. I'm just trying to buy only the most suitable for my painting style art materials so I research a lot before purchasing something that I haven't used before. That is the reason why I've asked after all.

@@creativecolours2022 well I'm glad I could help! 🙂 Have you tried the "normal" series 7 by W&N? I only have a number 1 brush but the brush is longer than the miniature ones and it could be good for your technique. They are still on the expensive side I think (at least for me 🙂) but you could try one of those ones. I've also tried the Princeton brushes which are used by other artists who prefer the wet in wet technique. For botanical work I don't use them, but they are OK for more loose work...

@@katiagalanteart Yes I have tried the W&N Series 7 but they are not as well made and pointy as they used to be. And now are at the very expensive side of brushes. Here in Greece the W&N Series 7 number 4 costs 38 euros to get an idea! I switched to some synthetics as the Loew Cornell Ultra Rounds and I 've ordered the Billie Showell ones up until I'm able to locate and buy the Tintoretto 334. This is an Italian brand btw and they manufacture fantastic brushes, very pointy ones with great snap, but they have a serious problem with their distribution. I wouldn't say that I was impressed with the Princeton ones. I tested them at some point but I wasn't impressed. I wasn't impressed either by brushes like Escoda that are overhyped and as such overpriced. Generally speaking it is a thing to find the balance between a well made brush and the price. There is nothing worst than buying a brush and then afraid to use it because it cost you a leg and an arm. No to mention that if you paint a lot the brushes need replacement, sooner or little later even if you are very careful and you mix with another brush.. The pointy brushes that are suitable for details become blunt at some point.

Yes, I find there are very few colours that I like to get ready mixed (and I still mix these with other colours). Over the years I’ve accumulated around 50 different paints but in the end I use very few

@@katiagalanteart That is my case as well. There was a time that I used to buy and test new colours like crazy but at some point I downsized my palette to just 16 colours all single pigmented and most of them primaries. IMHO the phthalo colours ( all of them ) are the way to minimize a colour palette because they have great mixing properties.

I’m not sure why other don’t recommend it, I like because it’s transparent and vibrant. The lemon yellow pigment is PY175

@@katiagalanteart Thank you for the information. PY175 is not the most lemon-ish yellow though. I use the transparent version of PY184 and I find PY175 slightly warmer in its hue. It is not so bluish/greenish cool as PY184. It is not exactly a mid yellow but is not either a cool one. Just an observation now that I'm looking on these colours' swatches side by side. PO71 is a fantastic mixing colour. It can brighten dull reds, it can mix grays and chromatic blacks and any sort of browns when mixed with the blue colours, warm all the yellows. It's a very versatile colour.

Thank you for the suggestions 😊. I do sometimes use blue and oranges to mix neutrals, even burnt sienna is quite good. Maybe I should do another video with these alternatives or a series of videos on mixing greys 😊

@@katiagalanteart Great idea! :)

Hi, the paper I used for both the small sketchbook (the color recipe book) and the larger one, is Arches 300gsm hot pressed, which is the paper I prefer for my botanical painting 🙂

@@katiagalanteart Thank you. I've asked because the different types of paper show the colours differently as well. I'm not talking of course about the camera that is something completely different. In fact my problem is that I haven't found yet the camera or the scanner that can depict accurately the colours of a watercolour painting without considerable amount of editing. But this is a completely different thing.

Absolutely! That is the reason why I use sketchbooks made by myself with the same paper I normally use for painting. It’s more costly but at least if I do some test painting for a project I know it will be the same result. Even the little strips of paper I use for the test are scraps from my sketchbook making so that the results are the same. As for the camera and scanner, unfortunately I haven’t been able to find a good solution either. I suppose if you use a DSRL camera you could play with the white balance but I need to test that…

@@katiagalanteart There is no such thing as a camera that can depict accurately the colour depth of watercolours not even the DSLR ones, or the mirrorless. I've tried both and I didn't get any better results than those that I can get with the camera of a mid range smartphone. All photos need some editing afterwards and on regard of the editing it is also very important to have a very high quality screen. But even if you do have the best of editing it is again a bit futile because you never know what screen the final viewers of your images use. The tiny screen of a crappy smartphone or the generic pc screen or whatever else they find more convenient. So there is not point to spend huge amounts of money to buy the best of equipment and try to achieve the perfect image results cause there is no such thing as perfect images on the web. There are a load of things that affect the final result.

You’re very welcome 😊

You’re very welcome, I’m glad you found it useful 😊

No problem at all 😊

You’re very welcome 😊

Yes I really like it

My copy is written in English

English, italian and spanish

You’re very welcome 😊 I’m glad you find it interesting

Thank you, and thanks for your support ❤️

Hi, unfortunately the class was taken down by Skillshare because they thought not enough people watched it, I’m uploading all the lessons here, sorry it’s taking a while to complete but I’ll put the entire class on my channel 😊

@@katiagalanteart I'm so sorry; I didn't realize Skillshare curated in that way. Thank you for the information, though! I'm subscribed to your channel, and will be watching for updates (as well as checking out your other SS classes).

@@angiesvoice thank you, yes they've changed their policies a lot leaving many teachers unhappy. I have uploaded all the lessons so you should be able to find them in my channel now. If you have any question don't hesitate to reach out 🙂

No problem, it’s my pleasure 😊

Thanks, I found it helped a lot when I first started

Thank you, I love that one too 😊

I’ve tried different ones but the hand held it’s still my favourite