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10 Things I Learned from the Watercolor Florals Masterclass

Early October last year, I learned that Emmanuel Silva was offering a watercolor florals masterclass. I have been following his Facebook page and he paints realistic watercolor art. I really wanted to learn how. Flowers are the subjects I paint the most and I wanted to paint them realistically so I enrolled.

Classes were conducted online through zoom. There were six reference photos to be turned into a watercolor pieces. At least two 4-hour sessions per week were devoted to the lesson. In case I missed a session, videos of the lessons were saved in a Google classroom which I have a lifetime access. The advantage of being present while the teacher paints was that I could ask questions which he could instantly answer. We did have a messenger group where one could also ask questions to the teacher or chat with other classmates. Before each session, the teacher posted the reference photo, his pencil drawing of the reference photo and the materials to be used.

The first piece was the terry flared tulips. The special feature of the piece was that there was a crochet doily on the table and it required the use of a masking fluid. A masking fluid is a liquid you can paint on an area that you do not want to be colored. The fluid leaves a thin film on the paper that prevents pigment from seeping which can be removed when it dries.

This was the first time I used a masking fluid.

This was how it looked when removed.

I clearly missed some parts that were supposed to be masked. I had a clear masking fluid so I thought I masked them all.

Because I missed some areas to be masked, I got specks of the background in the petals. The doily also looked like it had some rips because of the unmasked parts. Let us just say that this is part of the charm of my piece. Ha! I continued following Sir Emman’s video until I finished it.

I gave this artwork as an exchange gift in a Christmas party with other artists. Another artist can now nitpick on my mistakes. Ha! I am a brave one. I should have thought this through when I chose a work as exchange gift.

The next piece was white peonies on porcelain. The special features of this painting that I must be able to work on were the white blooms, porcelain jar and the velvety fabric.

I botched the fabric.

This was the first time I learned about glazing in watercolor. Glazing is adding a wash over an underpainting. The underpainting sets the tone of the piece and when it dries, another transparent wash is painted over it to get the final color. Final color pops. In my case, I forgot to let the underpainting dry. When I applied the wash, the underpainting was wiped off with my strokes. Arggh.

Lesson learned. I just painted it the way I would paint it had I not taken the class. I need to be mindful of the mistake next time.

The third painting was the one with yellow daffodils. The special feature of this painting were the yellow daffodils, earthenware jar and the wooden table.

Knowing how I botched my cloth in the previous piece, I was careful this time around.

I realized also that I do not have that much yellow pigments in my watercolor selection of tubes.

For now, I just have to make the most of what I have.

The fourth piece was the white glory bush. The special features of this piece are the dewdrops and the dark, shiny leaves. This is my best output in the masterclass. (Ako lang ang judge, guys. hahaha ) After this, I felt like I can start painting all the reference photos in my files all these years.

I was amazed how the dark shiny leaves were done-just quick strokes, pure pigment and lots of confidence- that it would turn out okay.

This photo is the proof that I really did this painting. Hahaha

I love the bokeh effect of the background. (Buhat bangko moment haha)

The fifth piece was the one with roses, peonies and mocks. This is the only piece that the teacher did not use a masking fluid to protect the blooms. I tried to keep the background as light as possible that when I left it to dry I thought I had wax paper over it when I glanced over it.

Instead of masking, the teacher used a wash of the background and lifting the paint in the blooms part. Lifting the paint is done by removing the wash with a clean brush and clean water.

Of the six reference photos, this is the piece I wanted to paint the most. I like the colors and the dreamy feel of the piece. Of the six pieces, this output is the least that I like. I was not precise with the lifting of background to make way for the blooms. I missed a few spots because I can no longer see the pencil marks. I was painting by following the teacher’s strokes. I was also not that careful with adding another layer of wash that it does not look as flat as I wanted it to be. Maybe I will go through it some other time and correct my mistakes so for now, this is how it looks.

Christmas time came and I don’t know why I was swamped with things to do. The holiday came like a blur but my heart was happy. I was only able to do the 6th piece by mid-January. By this time, the masterclass was long over and I was trying to get my painting groove back as I have art pieces and commissions that I still have to do this year.

The sixth piece was an assortment of blooms in a glass jar. The special features of this piece were the varied blooms, foliage and the dark green background. I did not check the color guide in the google classroom. I just followed the video and when I did not have the perylene green pigment, I just mixed the greens that I have so I ended up having a lighter shade.

I still forget about the wash covering the pencil marks that I no longer got to see which parts I was painting. I was following the teacher’s strokes and just hoped for the best.

I have finished all 6 paintings and I am writing down what I have learned so I won’t forget.

1. Ultramarine blue and burnt umber make grey. Before the masterclass, my most used pigment is titanium white. In all the pieces, we did not use any whites or blacks. It makes sense not to use white because the paper is already white. Before, I used titanium white to correct my mistakes (like a correction fluid?! Ha). Now I know better.

2. Wet the back of the paper. Making sure that the back of paper is wet when painting is an assurance that the piece lay flat and that the paper expands and stretches well. I used to be a tight painter. I used to paint with small brushes and paint small strokes at a time so I can avoid the warping so I seldom have a wet paper. Now my problem with buckling is solved with wetting the back of the paper. I just have to make sure I am using 100% cotton 300 gsm watercolor paper.

3. Wet the front surface of paper before painting if you want gradient. If you happen to notice my previous pieces, I usually fill my paper with subjects. I do not have a background because my background tends to have streaks because I do not wet it beforehand. Now I get beautiful gradient as background.

4. Get a colored masking fluid. Schmincke has a blue one. I should get that before I start doing watercolor paintings on my own. I have a clear one and I tend to miss some spots because I thought I already applied it.

5. Angular brushes are wonderful tools. I used to be a round brush person. Size 2 and 4 natural round brushes are always in my arsenal. Now, angular brushes are my frequently used brushes. It is easier to create defined edges and lines with angular brushes. Brushes are expensive but I think I need a few more. I have yet to decide what sizes I need next.

6. A good drawing makes a lot of difference in realistic paintings. The teacher gives us access to the reference photo and his drawing. It is really hard to achieve a realistic watercolor floral painting without drawing the subject first. The botanical parts require precision to be realistic. I still use grids in drawing. It must be nice to learn proportions by constant practice without using grids. I hope someday I will be able to do that. I should try to sketch every day.

7. Use the darker pencil when doing the final drawing. My drawing was often unrecognizable after painting the background wash which made it difficult for me to determine which part I was painting. I should use darker pencil over the sketch. Also, when I removed the masking fluid, the sketch was removed as well. In the video, the teacher would patiently redraw the initial sketch while I just draw half-heartedly. I was too eager to paint that I just do a rough sketch over the initial detailed one.

8. Patience is great virtue to develop. There are art pieces that took the teacher more than two sessions to finish. There are a lot of waiting to dry, wetting, changing water and testing the mix. Plus, there is also strategizing what steps to take: should masking fluid be used, which area to mask, what pigments to use, which parts to start painting. The teacher would say be careful in this area you might paint over the highlights or this pigment may be difficult to lift. In my mind, I would say, “Nah, I like to be reckless.” Not really. Sometimes, I was just not patient enough.

9. Learn the properties of the pigments. I only learned recently about transparency, granulation and staining colors. Different pigments have different chemistry that I am still not familiar with. I do not do swatches of the pigments that I have. I should try to do that because it helps to know them and not repeatedly commit errors. Pigments are also expensive. It would be a waste to just randomly mix colors without prior understanding of the outcome.

10. Learn, unlearn, relearn. There were things that I used to do with watercolors that I need to unlearn in order to be open to new learnings. I might relearn them in the future and find my style and techniques. My art is the amalgamation of everything I learned, unlearned and relearned. My ultimate goal is finding joy in what I do. And there is joy in finding ways to be better with what I do. Thanks to this masterclass.

Here’s hoping that I would be able to paint more this year!

Hues of Hope: The 4th National Watercolor Convention and Juried Members Exhibition

I joined the Philippine Guild of Watercolorists this year.

I was a member of the Facebook group even before I officially joined the organization so I had a feel of what the organization is like. There were many demos and paint along activities all geared towards the improvement of one’s skill. I like that.

When they had call for submission of artwork for a juried exhibit, I wanted to join. The deadline seemed achievable for me so I started planning my piece. The theme was “Hues of Hope” and it is open for artist interpretation.

We all need a tiny speck of hope in this pandemic. I am partial to botanical subjects so I tried to recall what sparked hope for me. I remember my cousin, Azenith, who is still actively working in the frontline in fight against COVID-19. At the beginning of the pandemic, she was stationed at the city’s command center. It was a bare hall since it was setup just for what seemed like a temporary space for emergencies. The mood was somber with looming uncertainty in the atmosphere. She started to bring flower arrangements from our garden to brighten the space. I asked her to send me as many photos as she can for future reference photos. This was in 2020. Little did I know that I would use her photos as inspiration for the exhibit.

These are some of the photos she sent me.

So I created my artwork based of her photos.

I am a tight painter and I do not like spaces. Ha! So the 15″X22″ were filled with pigments.

This is the piece I submitted.

It was a juried exhibit and there were only 55 paintings chosen for the physical exhibit. I am happy that my painting was chosen!

I was thrilled.

The exhibit opened on September 2, 2021 at LRI Design Plaza in Makati City. The opening program was done online due to quarantine restrictions.

This is my first physical exhibit and I won’t be able to visit. I requested my friend to visit the physical exhibit and he sent me these photos.

Hues of Hope is not just a juried exhibit. It is also a watercolor convention. The organizers had lined up a month-long activities-filled calendar. I registered as a participant to get access to the valuable content that would improve my watercolor skills.

I purposely availed of the access that expires by the end of September to force myself to be present in every activity.

No regrets. All the the activities are worth more than the convention fee I paid. I learned a lot and I am excited to apply them to my future art pieces.

Here are the things I learned:

1. I paint with too many strokes. As a tight painter, I am fond using size 2 brushes even with a full sheet watercolor paper. I would take me a week to finish a piece. Imagine my relief to finish a still life painting in 3 hours. This was my output for an on-the-spot still life painting activity. I should try harder to showcase the transparency of watercolor.

2. I can let loose. This is my first paint-along output with Mr Gejo Jimenez doing the demo.

3. I need angle brushes. Ha! It is amazing how Mr Emmanuel Silva did his brush strokes effortlessly and the result was realistic florals. He was using angle brushes. I was following his strokes and mine did not turn out as good. As a botanical painter, I always use small round brushes to get it right. I should practice more.

4. It feels good to be around likeminded individuals who share your interests. Whenever I could, I would join the group zoom activity. These were the on-the-spot painting contests. Even if I did not have a chance winning against these people, it was the fun atmosphere of painting with others that drew me to the activity.

5. I should not be afraid of painting figures. I always choose botanicals for subjects because figures scare me. The demo from Mr Art Cunanan helped me ease through subjects that I avoided. As long as an activity does not affect personal safety and health, it is always good to try something new.

6. I should not be afraid to commit mistakes. In the demo by Sir Uhky-Uhky Estremos, he talked about telling your story, knowing your intentions, not to fear mistakes, to feel good and be happy.

7. I can paint with my left hand. In one fun on-the-spot painting contest, we were all required to paint with our non-dominant hand. The organizers made sure that the non-dominant hand was used by checking them beforehand. We were made to write with our left and right hands and masking tape was placed on our non-dominant hand so that it can easily be identified in the video that we are using it all the time. I even signed with my left hand. Thus, the wobbly signature.

8. I can try to be spontaneous. It is amazing to see how fast Ms Yuko Nagayama worked on her piece! She said that arranging the composition took 60% of her time since she paints using real objects in front of her as reference.

I can relate with Ms Yuko when it comes to not cleaning the palette.  This is my palette.  Much of the green was from the large piece I did last month.

9. Familiarize the subject I am painting. Mr Jayson Yeoh said that the shortcut to being good at what you do is practice, practice, practice. Practice does not really end. His strokes were quick and I saw the abstraction but his whole piece magically transformed before my eyes. Honestly, I thought I wasted my paper trying to follow his style but I am glad I did not give up so easily. I am happy with my output.

10. I must try painting portraits again and again. I watched Mr Dino Pajao and Mr Gilbert Miraflor’s demo but I always avoid painting people. Finally, I tried Mr Dan Macapugay’s demo.  I hope I remember  tips on color combinations for skin tone and leaving whites. I need to practice, practice, practice the drawing part. This output does not look like the reference photo. Ha!

There were a lot more demo artists and talks other than those I mentioned above. I love how the artists talked about their art process as well as the life lessons on being happy, sharing your talent, continuously learning, telling stories, knowing your intentions, being spontaneous, knowing yourself and a lot more. I love how humble they all are. They do not rest on their laurels. They do not shove their achievements to your face. Instead, they let their works speak for them. It is truly inspiring to hear them speak and observe them work. I hope to apply everything I learned to my work and in my life.

I am truly grateful for this convention. The convention activities came at the perfect time. I had something to keep me at home and keep my mind off the rising COVID statistics in my city. Hospitals were full. Oxygen supply was scarce and I was waiting for the 2nd dose of my Sputnik vaccine to arrive. (I got fully vaccinated on September 27!) The convention was my saving grace- Hues of Hope, indeed! Thank you to all those who worked hard to make this convention a success. I felt like I found my kind of people. Thank you for the new Facebook friends, art inspirations and life lessons! My heart is full!

The convention ended today, September 30, but the physical exhibit is still ongoing until October 31, 2021!

And in case you want to join us in PGW,  this is the link:

How I Did Three Versions of One Painting

There is always a story behind every artwork I do. Sometimes, the story would be “I just like to paint this” and sometimes the story presents itself like this piece.

My friend wanted something to put on her wall so that she has painting as a background for her Zoom meetings. I think this request came last year and I only fulfilled it this year. I saw how she set this up in her office. I guess it was no longer for Zoom work-from-home background. Oops, I delivered too late.

Her instruction was to paint something nationalistic. She also wanted something she can readily mount on her wall. This means that I have to paint on a canvas using acrylics. Acrylic is not really my first choice of medium. I am primarily a watercolor artist. I had to rely on what I think would work with my acrylic painting skills. I had to plan what would represent a nationalistic painting given the limited subjects I have done before.

Planning this painting required much thought. There is a theme I need to convey: nationalism. This made me think about the history and culture lessons in school. Ha! So this was my thought process:

1. There must be flowers. I like painting flowers. Maybe, I should paint sampaguita.

2. How about the Philippine flag? Why should I paint a Philippine flag when she can actually hang one on her wall? Ha!

3. How about animals? Carabao, tamaraw, tarsiers, Philippine eagle, perhaps?

4. If I put flowers and animals, is that nationalistic enough? I should put a person with hand on the chest to show respect for flag.

This is what I initially came up with: a field of plants strategically positioned to look like a Philippine flag with Mt. Mayapay in the background. I pushed to paint a person with hand on the chest. I browsed through my friend’s Facebook photos and decided to put a woman with the same dress as her. I added the sash because I saw in one event of her office that they used sash for their honored guests. The woman in the painting does not look like my friend though. I just painted a random face that is formed from my brushstrokes. I figured that she may not want her face in a painting that could be seen in a Zoom call. I added the Philippine eagle because I wanted to fill the space with different subjects.

The red plants are mayanas which supposed to be bounded by a fence made of T’nalak weave of the T’boli. I had trouble replicating the pattern using acrylic so I made a decision to change it to green plants, adding dark blue as shadows. I added white fence as border to make the color pop. On the foreground, I painted white orchids.

It was supposed to be a field of sampaguita but I have not seen a field of sampaguita ever. I do not think it will look like an all-white field. I think it would be patches of greens with specks of whites for the flowers.

I showed the progress of the painting to my friend to check if this is what she had in mind.

She was kind of uncomfortable with the woman I painted because she identifies with her even if the painting did not look like her. (“I think that is me.”) I understand how she might feel awkward because it would seem like she displayed a portrait of herself in her office- a government office, that is. She said she does not mind changing the person into a painting of her son.

So I changed it to a boy in a barong.

But I am not happy with the way I painted her son. The advantage of using acrylic is that I can change and correct it by adding layers of paint. So I changed it again to a woman with her back turned and facing the views.

I think it is nationalistic to nurture and be proud of the beauty of our country.

And that is the story of this painting that has layers of paint underneath. The textures produced on the surface became the visible proof of the heart and soul I put into it. Cheesy much? Ha! The painting was already sealed with a fixative. This is the final piece.

That ends my short art talk. Hehehe! Till next time!

My COVID Stories: I Keep on Painting

We are now a year into this pandemic. I am currently anxious. It is not because of the surge in the number of COVID cases in the country. (Thankfully, the active cases in my city have declined.) It is because I currently have a lot on in my plate right now. I have embarked on a major personal project and I can’t wait for everything to be completed. While that project is still in the works, I take a breather by writing about my art. I have a list of pending commissioned works and the list is growing. Let me take this opportunity to thank all my friends who support my art. I am deeply touched and inspired by all the love you have for the art that I do. I know I am a slow painter. Rest assured, your requests are in queue.

To tick off a lot of pending commissioned works on my list, I started working on my friend’s requests. She wanted four paintings: succulents, fruits, dolphins and an abstract portrait of her daughter. This request was made a long time ago. Like many of those who ordered commissioned works from me, I always tell them that it takes time for me to complete something. Lucky for me, they are willing to wait for their commissioned pieces. Thank you!

I started with the easiest to do since I have done this several times before: succulents. However, this is the first time I am painting succulents using acrylics on a canvas. I am always open to new challenges.

Since I noticed that I really did not know how to estimate the amount of paint to put in my palette, I also simultaneously started another painting so that I could use up the excess pigments I squeeze out of the tubes. Acrylics dry fast. I didn’t want to waste them.

I started painting in the first week of December of 2020. Then, Christmas frenzy happened that I finished this during the first week of January 2021.

The next painting is the dolphin painting. I had to decide if I wanted them jumping over or swimming under the sea. I chose under the sea because I wanted to paint corals, too.

This was supposed to be just like this.

But then, I suddenly wanted to put sun rays illuminating what was underneath.

When I posted this on Facebook, my friend, Grace, said that it looked like a Christian Riese Lassen painting. I googled and his paintings were awe-inspiring. I should have known about him before I started this piece so I could have studied his techniques. But, there is also an advantage of not knowing beforehand. I got to express my vision for the piece the way I imagined it.

This was the piece I was doing along with the succulents and dolphins.

With the 3rd painting for my friend, I visualized abundance so I put as many fruits as I can. I also placed leafy greens in between. Like many of my paintings, I have this need to fill the empty spaces. Is this a reflection of my life? I fill emptiness with art, experiences and memories. Naks! Actually,  I just like to paint something. I am not yet comfortable with plain backgrounds.

While studying some painting techniques, I learned about underpainting. Underpainting is a monochromatic layer of a painting to define its tonal values. This is how the old masters did their paintings before. Think Titian or Vermeer. I am not comparing myself to them but underpainting makes sense because I sometimes apply several mixtures of the pigment to get the right tone. With the underpainting, the tonal values are already set underneath.

This is how it looks before I apply the right colors…

… and this is the result. I liked how it looked that I wanted a photo of me with the painting.

Before I started the 4th painting, I remembered another friend’s birthday. She wanted me to paint calla lilies for her. She has been patiently waiting for me to create a piece for her. We are talking years of waiting. Painting flowers is my kind of break from the challenging commissioned pieces. Painting these calla lilies was a welcomed respite from going through all the details of the previous commissioned piece. I already sent this to her. I am glad she liked it.

A child’s portrait was the last commissioned piece for my friend. I told her I don’t paint portraits because my final painting might not really resemble the subject which is her daughter. She was okay with an abstract version. But then again, I do not do abstract. (For now. I still cannot understand it. Someday, I hope I learn how to do it.) So I decided I just paint it the way I know how.

There were many permutations of the face until I finally settled on the last piece. The people in my house said it was close enough and I also sent it to my friend. She was happy with the piece so I am relieved.

As I said earlier, I always want to fill the spaces with objects so I painted her as a flower girl in a garden. Some objects are not done in the correct scale. Those birds may look bigger than they really are but I did not fuss about it anymore. It is my imagination anyway.

It is ironic that I made 6 acrylic paintings for the past 3 months when I am primarily a watercolor artist. And recently, I finally joined the Philippine Guild of Watercolorists.

To give honor to my first love- watercolor, I painted 6 landscape postcards in watercolor. Thanks to generous friends who allowed me to use their travel photos as references.

I read something like this somewhere: If I complete 2 paintings every week, I would end up with 104 paintings in a year! As much as I want to be a prolific painter, how do I paint 2 pieces in a week when I can only complete one in almost a month? Ha! I really paint according to my moods, feelings and with a lot of free time. I do not paint under pressure and I paint when I am happy. But then again, my art may evolve someday though. My moods may change. Till then, I keep on painting.


How I Painted My Biggest Piece to Date and Why it Took Me Almost Three Months to Display it

Or maybe we should call this the post with the longest title!  Ha!

My art journey is slow and steady. I do not get to do art as much as I like this year but whenever I find pockets of time, I try to do one piece.  To keep the inspiration burning, I try to immerse myself in the creative world by visiting museums and exhibits in between leisure and work trips.  I also try to observe my surroundings, be in the moment and find inspiration around me.

I found that pocket of time in August, right after my trip to Baler.  This idea has been brewing in my head for some time. I wanted a piece of my own art in my own wall. I already bought my A1 size watercolor paper in June. My plan was already in motion. To visualize an A1 paper, it is 8 times the size of an A4 paper. Arrange two rows of four A4 paper in portrait orientation to get an A1 size paper.

So for a size that big, what should I paint? No question, it has to be something botanical.  I have files of plants and flowers I wanted to paint. I always check those files for inspiration. I decided on succulents because it is an ode to my inability to grow them.  I have tried growing them several times before. They always die. Painting them is the best alternative.

Painting a large piece requires me to allot space in my dining/office table.

Painting is really therapeutic. It feeds my soul so I always take my time. I do not hurry.  It is a pleasurable experience for me so I savor the moment.  (Ang drama ko! Haha)

What I enjoy most about painting succulents is that there are different varieties. It was an exciting process to paint the details of the different varieties.

Painting can be a cerebral process when you try to decide how you are going to add depths to the piece and where to add those specks to show texture and dimension.

Painting is an exercise of planning skills.  Since I taped the edges of the paper unto my table, I covered the piece with sheets of bond paper every time I was not working on it. I always emptied my water cup and placed my palette away from the table to avoid mishaps.  (Imagine this scenario: a lizard walking on my palette and over my painting. I do not want that to happen.)

I also used these pieces of paper to cover painted areas to prevent myself from touching those areas.

Painting tested my EQ, which I know I barely have. My initial plan was just to finish this with a white background.  This is supposedly the finished painting.

But no matter how I want to avoid mishaps, this happened. No use crying over spilled paint, right?  

So I added other details little by little.

I added more succulents until I was finally done with this finished piece.

I sent this to the framer and I finally have my own painting in my living room.

Well, not quite.

Since this is a watercolor painting on paper, this was framed behind a glass to protect it from the elements.   Large painting + glass= heavy painting.  So I kept the painting on my sofa reinforcing it with pillows. I was still trying to figure out how to hang this heavy painting.  I thought of buying brackets and additional screws but I was not able to find time to go to a hardware store.

Let me say that painting can be a test for AQ- Adversity Quotient. I recently learned about AQ from my smart friends. An adversity quotient is a score that measures the ability of a person to deal with adversities in his or her life.  I must admit that I have a really low EQ but I think I have a reasonable AQ score.

So here is the story. The painting had been sitting on my couch for weeks. My aunt kept asking me when am I going hang my painting but I was busy so I never had time.  One fine Sunday, my friends came for a visit. We were waiting for another friend.  (I feel like I am writing a blind item of some chismis column! Ha.) When the friend came he/she went to sit on the couch.  Our dog, Christian, was barking hard because he saw a new face. I directed him to smell the new visitor so he would feel at ease but instead of smelling, he jumped at the visitor prompting the visitor to lean back. Then I heard the cracking sound of my breaking heart chos of the glass.

I looked at my friend’s back and I saw no blood.  I was relieved.  My friend was apologetic. I told my friend not to worry about it too much as I do not have attachment to things.  Attachment to people, yes.  Chos! (Notice my effort of not identifying my friend.)

This is where my high adversity quotient comes in. (Buhat sariling bangko moment?)  It was easy to just have it re-framed but I would still have the same predicament as before. How do I hang the heavy frame?  Many watercolor artists have the same dilemma as me. How does one frame the painting without the glass? Glass is heavy and it adds glare when you tried to view the painting. A quick Google search led me to a painting technique-  apply cold wax. Cold wax is a substance often used to oil paintings as a medium and sealant.  Apparently, you can use it for watercolor paintings.

So when I went to Japan, I looked for cold wax from an art store there and they did not have it.  When I went back to Manila, I also went to Fullybooked and Art Bar but they did not have it.

I finally found an online store that carries it. Yay! I also bought a fixative as a backup.  I had work for the month of November so the wax application was put on hold.

Finally I found some free time in the first week of December so I worked on applying the wax. At first, I used a cleaning cloth to apply the wax but it seemed like the product was absorbed by the cloth .

So I used the best tool in the world- my hands. It really was easier to use my fingers because I could feel which part of the surface still needed to be waxed.

Waxing made the colors pop and it protects the surface from the elements. Plus, I did not have to buy brackets. The painting was light and easy to hang.

 Look at that!

I have finally decorated my living room for Christmas and hanged my painting!

All’s well that ends well.