Abstract Acrylic Cow Painting | Robert Joyner | Skillshare

Abstract Acrylic Cow Painting

Robert Joyner, Making Art Fun

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9 Lessons (48m)
    • 1. Introduction Video

      0:34
    • 2. Step One: Charcoal Sketches

      4:12
    • 3. Step Two: Acrylic Sketch

      5:56
    • 4. Demo Part 1

      3:32
    • 5. Demo Part 2

      5:56
    • 6. Demo Part 3

      7:25
    • 7. Demo Part 4

      4:29
    • 8. Demo Part 5

      9:35
    • 9. Demo Part 6

      6:46

About This Class

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Put some style and excitement into your creative painting process by enrolling in this easy-to-do cow painting using acrylics on paper. Discover how to build an expressive & abstract style painting starting with a basic charcoal sketch.

What you will learn:

  1. How to use a basic charcoal sketch to express details & spot potential problems
  2. How to add personality and expression to your art
  3. Tips for creating loose brushwork
  4. Why painting in layers is so important
  5. Using outliner brushes to add linear interest
  6. Tips for using white
  7. Negative space painting to define key edges
  8. Why under painting your subject is so important
  9. Techniques to create colors that ‘pop’
  10. Why doodling & sketching is more important than painting finished art

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Transcripts

1. Introduction Video: Hi, I'm Robert Joyner. I'm excited to share how to pay a fabulous abstract helping me. And to do it will use good old prolix, some loose brushwork and a whole lot of fun. And once we're done having formed charcoal exploring colors, then we'll create that final masterpiece, that beautiful abstract Cal painting that only you can create. So I hope to see you on the inside. My name is Robert Joyner. Love painting cows and I love painting loose. Thanks for watching. 2. Step One: Charcoal Sketches: this course is all about cow. Mm. So we will start with a basic charcoal sketch, getting the new the cow a little bit and then work our way into a final painting. All right, so lesson one, I have some £90 wrong paper here, some compressed charcoal. So this is not a composition sketch is intended for you to take time and explore and find the details, find the shapes and features that interest you and then scatter them around the page. Maybe I just kind of start playing around with, You know how that year funding years could be shaped. I'm not again. I'm looking at what's there, but I'm not necessarily trying to copy exactly what I see. Look at things, let's say with this ear and put mawr of a feeling down. So play with the ear song. That's kind of fun. Now I'm looking at maybe the nose, so I'll look at that kind of nose area, make those connections on what you like, and then also what it is. That could be a problem. You know, sketching relieved that this kind of stuff, you know, I always feel like there's a lot more going on than than just drawing the cow. I'm actually get looking at features of subjects, and I'm finding the things that appeal to me for overtime. My cows have developed to the point now where they're so abstract. There's so many features, probably leave out more features and details of a cow that I include in my work. But a lot of that has just developed by simply these sketches and and playing with the subject over time. So they really help you and your developing. Ah, your style, right? And I'm looking at the white down her face. So I'm kind of squinting down now, and a lot of these blocks of colors merge. I can kind of look at that shape a little bit more. I want to interpret that shape because I know it's gonna be an important part of the drawing and the painting. Well, I want that to be really good. I want that to be interesting and it needs the work. I'm just looking at those angles. That's not bad. When we got the year, they're not worried about it. You know, I noticed now that there's a lot of symmetry, their symmetry doesn't do much for me. An art. I think it's distracting. Kind of splits the viewers eyes and it doesn't allow for the eyes to room. If I were to say to take the shape right here and change it Okay, so I move. You're that shape here. And then maybe I bring this Wilmore there something like that. I just kind of changing dark in this a little bit and add more of an interest in the dark down here. That looks a lot better than let's say, having the shades being the same. The face is important. It's gonna be more about the face and not the entire body. So I want O identify those potential problems now so that I can as I move forward, don't worry about him anymore. I think the sketch was very beneficial. I was able to not only connect with shapes and lines and find the things I really love, and then the the rest can do whatever it wants to do. I don't need to include every detail, every shape. I just like to get the gist of it. Get on down the road. OK, so let's do just that. I'll pause it right here. This move into some across sketches 3. Step Two: Acrylic Sketch: sketching whether it's charcoal. In this case, I'll do acrylic very important away that connect with color and color changes. Everything's we're not just dealing with charcoal and paper. Now. We're dealing with a value tone and using our brushes. You know, I typically start with that charcoal getting to know it. Introduce some acrylic sketching, so I start to play with color a reservoir. Clean water. There have, ah good old palette color. Ultra blue Elizabeth Crimson cat orange, green gold This is a Naples yellow raw number. Titanium white. I have a large round fan brush, medium sized fan brush. I have a very small around or detail brush there, and then these were some of my favorites. These air called out liner brush is there very long, very soft and kind of floppy, and these are really good for adding a linear interests. But you can also turn them sideways and cover a lot of ground, and this is a small outline, er okay, so I've got the large and those in the brushes I'll use throughout the course of this green gold, the yellow. I just put something down here that's a nice, intense color, like that that's just a base. There'd I'm not trying toe create an exact shaped or or anything. I'm just putting some color down to get excited about color. Now I'm gonna move into the raw number. I kind of see how those mixed together go into the Eliza in crimson kind of mix it into this yellow green gold ish is going to play with some browns, and that's kind of pushing to the red side. Then that's fine, because I've got that kind of reddish value or color going. They're just gonna make some white just just to play with this nose area loosely playing with that shape. Now, I'm gonna do that again. Severally like that. That area, like the news like that color pink to I'm working with and I just still working in the pinks. I want to just dark in that up a little bit. So I'm gonna go into the amber touch of the red. It just kind of dragon that into where you're the shadows will be that works. I could maybe pull some of that shadow on the darker pinks into you know, this area over here it's like the shadow is kind on this whole side of the news. So maybe all who started over there and so what color is interest me here? Maybe I'm gonna dip into this orange, maybe a little bit of white loaded up. Now I want to work with some lines so I can kind of look at what I have already go. Yeah, I can kind of throw some line work there so that that can represent the shape of that Brown as I'm looking at it on her right side and just playing with that ear. Of course, that's really big, but that's all right. Someone kind of get a little bit of kind of a grayish mixture. I just used ah, little bit of the ultra white titanium white that is dragged a little bit of this orange into it. I'm just gonna play with some maybe some shadow areas that could be in the whites. I'm just going to use some white here. Just titanium white, maybe a touch of the yellow green. I just want to represent maybe something that could be the white in her face. Oh, I like that for what it is. And it's nice toe. Have things in this stage to go back and reference and look at And I know I had the nose here and I'm not worried about that. I'm just gonna paint, right. I'm just gonna play with the overall. Find the shape of this. I'm just going to go right into the blue. Now, that's fine. We'll get right into the green again. Just playing with lime playing with colors a little bit and in the plane with colors is really just kind of a bonus. I'm getting out of this because I'm really just sketching and playing around with my liner brush. But all the while I'm gonna put some color down to make this thing happen. You see that kind of symmetry in that blue? So you got. And even though this is just a sketch is not a final painting, you know, I don't want that to live anywhere my art so little yellow white using the fan brush now. So I think for this sketch, I think it's done, and this is where it's at people. This is where creativity happens when it comes to painting a final peace. That's a result of what you've done to get to that point if you haven't done all this stuff , play with color, play with your subjects worked out Potential problems find color combinations and different brushes to create, You know, different strokes and things like that. You haven't done all that. And that stuff's not gonna trickle into your work. But if you're over here playing, exploring, taking the pressure off of painting, you want to discover this stuff? This is This is where happens. Okay, I'll see you in the next one. 4. Demo Part 1: all right. So starting right here just to give the paint flowing a little better, I'll just use, um, clean water and then just a paper cow there just to get a little bit of the excess off. This, For the record, do not put any sort of medium on my paper. I don't use medium and my paints. I could just go straight out of the to paint. And this is good quality paper. I've never had a problem with it, so that's kind of the deal with the paper there. Now, in terms of staining the paper, a lot of a lot of it just depends on where you want to go. Like we have a certain color palette mind maybe you want to use, um, blues or greens or something that maybe you will want to go with an orange or yellow or occur or something. But I don't really have anything like that in mind. Eso I'm just going to start with some random stuff here and just really just let the colors are mingle and do their thing. So I've got some colors going there. I'm just going to clean my brush now and then dry that off a little bit on the side and then take some of these yellows here and let it go, drawn it off and then let that rest. And now you can see we've got some different little pockets of color there. I don't want to blend everything to where it's flat. So if I take my paper towel here and just do this, everything is gonna mix. So what would I like to do is just kind of had around. And as I do it, you'll see. Of course, you get paint on the paper towel. I'll flip it around a little bit. So again we don't end up with a lot of grays and stuff like that. All right from there, I'll just clean off the edge That gives me a feeling what's going on at the edges and keeps those hues from trickling back into the paint. Push those up a little bit, and that's ah, good little start. So from here to avoid creating my general generally will let that dry. Okay, so I'll do that. But before I do, I just kind of scrape into this a little bit. All that does is it creates a little bit of texture. So where are scrape? You'll? You'll start to see, um, where the texture of the paper starting to show. It just gets a little bit of mark making going, okay. And, you know, whenever you're doing loose abstract work, you want to try approach it a little bit differently than conventional and traditional style of painting. So anything you can do to mix things up? Um, you know, I would recommend when you can even take water and just kind of let it trickle into the pain a little bit. I mean, just like water color. You can lift lift things like that. So again, just a couple of quick ideas. And as we move forward, we'll we'll cover some or things like that as well in terms of doing some unconventional work. Okay, so let it dry and then we'll come back 5. Demo Part 2: right now is the time. Liken this quickly layout the design and harvest. Use a little bit of this Venetian, but as you can see, that's some saturated stop right there. But I'll just send it out and you did your homework then the shapes, as you know, are very simple. That's the whole idea. Okay, that's about it. Maybe I'll swing that shape up a little bit. Uh, swing like that. I think I'll still use this one. We've got plenty of weeds to go here so I can get away with a large brush. And I think I'll go this Saru lian and mix it with a little bit of the ultra to the yellow in there on we go with a touch of the crimson to a little more sore Uli and down waken start laying in some fun colors again We know we don't want, uh, rainbow looking things, but for now, since we're the very beginning stages, I think we can go ahead and get away. But having these now got the blue obviously, on my brush. So now I can use that same blue. So my brush and then mix a color with it a hue that I know is gonna work well, So we're just taking some yellow right into that. You automatically get that nice green. And that could put a little touch of Venetian and number in there just to kind of make it a little more earthy. So in terms of harmony, something like this works pretty good. So I've got that little bit agreeing. Now I'll go with some yellow like that. That's all looking pretty good. We'll go ahead and take some crimson Venetian here and start Teoh ad so reds to the palate . It's looking good. I think I got more. A little more life left in this brushed before I need to change it. So now I can make my dark pockets here like that, and we can go with this one, but I think I'm gonna push that mawr to a red just so we don't have the same cues all over the place. Just putting that Venetian in there is going to give it more of a brown hue. There. That looks pretty good. I'm just gonna clean my brush. I would probably say I'm done with this one. No, I just said that out of the way. So at this stage, um, you think things are already starting to happen And because I've done a ton of count paintings I can kind of start to visualize You know how this is coming forward and I can already see the shape happen. It okay, but one thing you can do while it's wet obviously is scratching to the pain. And sometimes that's a nice, subtle way Teoh add on edge without breaking out paint. The key, of course, is not going too far. Way don't necessarily have to scratch everywhere in the team. I thank for right now there was couple of scratches there pretty good when you hold use. One thing I love about this knife is it gives you some options. You have this long edge and they had this shorter edge. And then, of course you have the point. So I used this edge first. I'm sorry. This as so then I can come back and use the point to create some finer scratches. So it's good to just to mix things up a little bit. So it's another little thing you can mix pour on your own. So, um, to prevent over painting and putting too many layers on top of each other. Wet on wet. Uhm, I'm going to let this dry and then when it is dry than we can come back and layer over top of it and you won't risk creating money art. Okay, so I'll see you back when this is Dr. 6. Demo Part 3: all right, drop the touch and before I go into it is always important to looking your work to see where it's that these middle stages are very important. Beginning a painting is easy, slapped down some color tone the paper. So a little something on there, Fine. But once you start adding a layer to, it starts to progress a little bit more, and it's going to present certain qualities, and each painting is different. So by taking a little bit of time in between washes or layers and just looking at what you have will reveal Ah, certain areas that you like. And then, of course, certain areas that you may need to address. And I really like how the shape is coming down. Actually, I like how this light against the Kino Dark is contrast ing nicely. I think they're both too much of the same Q. So I may have to push this one a little more to a blue. I don't want to compete with this either, because they're they're about same mass. So almost the same shape. So I don't want to do this, you know, Blue on blue, same shape. So I need to do it with a little bit of finesse and the nose is nice. I'm thinking I may wanna pop that a little bit more, so bring a little bit lighter value to it. And then, really, it's kind of like I'm juggling the idea of, like, do I really need to add a lot in this area? Because typically, I would take White and they really pop that kind of lighter face of the cow, but that also kind of brings the cow forward to so it separates it from the background a little bit. So as much as I like that, I'll probably have to you put a little bit of white on it. I'm gonna try to leave a little bit as I go to. I like this hard edge right there. I think that really defines the side of the face there of the cow. So I think kind of starting right in here with the nose is a good options. I know want that value to be lighter, but I'll leave some of it. I'm someone get with the Venetian now and just kind of pull some down in here and get the consistency that I want, and now I can take a little bit of my white and go into that. I think something like that probably work for now. And I can smudge that a little bit and that's pretty good. And now to give it a little bit of depth, I think I will take a little bit of these blues and browns. So otra saru lian and then kind of tapping into this number a little bit. That's not bad. I think I would touch a little crimson into that and hopefully won't get to purple. I think it is. So I'm gonna push a little bit of that Venetian in there that's a little bit better. It takes them or into a brown. And now do something like this just to help bring some shadows down and here and again, leaving a little pockets, that color if I can. I like that color. I think I'm gonna push that to a blue, though just the truly intends to be a little bit stronger for situations like this, even though that otra is darker and value the monster Ruli and this is a little more intense and can really change the color a little bit faster. Eso now just kind of do something loose in there, but again, trying not to compete too much with that. I think that's pretty good. So some decent changes there. I think I got rid of the, you know, the equality that was going on with the Browns. I think we did good by adding some dark value in here for the nostril and then kind of indicating where the bottom is here for the mouth. It's all that's looking pretty good. And I mean, I think now cleaning my brush off and this kind of letting this meat a little bit a zai alluded to earlier I think patience is so important when you're painting loosely like this and patience and kind of don't go too far. I mean, the common mistake is always to paint too much and one go, you know, then, no, you look back on it and realize that this stuff you were doing, um, you could live without, and I think by making this a few subtle changes at this stage is a better approach. So going into this, I was like, Yeah, I don't want toe a little bit lighter value on the nose, but leave some of it. I knew I wanted to change these to put a little more blue here, but not compete too much with that. Great. So you know, those those things make changes quite there. Actually, a big difference in what were you just looked at before I did it. So you need to adjust to it and then find out. You know what's going on? What is the painting need? And then look at, you know, ways you can get there because there we have crayon. Yeah, we have our because still, obviously paint. We've got our liner brush here that could do some nice, long linear strokes. So we have a lot of tricks up our sleeve that we can use. So I think it's just a matter of five being opportunistic about it. But to find those opportunities, let me just need to be patient and let things work things a little bit of the time on. Then when you see things on opportunity, then then you could do it. And that's just a much better approach than again. Paint, paint, pay, pay, pay, pay, paint and not really know exactly where you're going. All right. So I will pause right here, take a look at it, and then we'll move forward. 7. Demo Part 4: and we're going pop this little bit. I do like that, but for this situation, I just think the face in this area needs to be a little bit stronger and needs to come forward a little bit. And I, like all this quiet space, will be here, so try not todo into that. I think making this change right now is going to make a pretty big difference. So the start there a little tip about using white? Um, I guess you know, this would be true for any color, for that matter. I try not to use it on your paper straight out of the tube. Always tryingto mix it a little bit so that you never have to use straight way. Um, if he goes with straight white on the paper, then you have nowhere to go. You've used the latest value can possibly use if you start by, You know, toning that down a little bit. Then you always have a little wiggle room to go higher. Also, you can trick you. So what I like to do is just put a little bit on the paper there. They kind of hold it next to my art just to see how that value is gonna look because you're mixing on your palette. Your palate is white and, you know, tends to look darker than it really is. Or sometimes even later. So by when you put it on your painting, obviously, you have a bunch of different values going there, so they could be a little tricky. Okay, so the ideas I want to kind of go over down, and then this way. So we had this kind of Z shape going on. Now, we don't want to beat that to death. Okay? So I'll clean my brush a little bit, just kind of wipe it off, and I'm gonna touch a little bit of number off to the side here. Okay, So that's gonna give me a little bit different hue. Then what? I just had. Okay. Then again, that's all about avoiding that, you know, equality. Making sure you change things up a little bit as you go. If I just use that same original hue over and over and over again, um, it's going to get boring, boring to look at. That's looking good. And now I can kind of blend some of these areas soften him up, and that's kind of nice to So you don't have all the same quality edge. I think that did a lot for the painting. I think. Yet at this stage, that's that's really what it needed. Now I'm just gonna add a little bit of this color in here, too, and just kind of trickle it in there. I don't want Tokyo to crazy in here, but that value is so close to it. Soccer interfere too much. That may be too much. So I just kind of do something like that. So for now, as I mentioned before, we just we're going to take a minute, let it rest and maybe let that white dry. That's very important. But start putting, you know, saturated color, or like some of these blues or something to pop the edge over the white while is wet. Then what's gonna happen? It's gonna mix, and the color that want to be there isn't gonna be there because it's gonna be a lot lighter value because white into any color is gonna really dramatically change it. So, letting the white Dr will allow me to paint over that and then to create some transparency . Okay, so I'll discuss that when I come back 8. Demo Part 5: all right, moving right along. So I think I will shape the top a little bit. Just so all the edges aren't like this, so you can see all that kind of loose edges. I like some loose edge, obviously. You know, for loose painting an abstract work, it's fine. But we don't want a whole ah, whole area like that. We would have to bring some hard edges with some, you know, abstract edges and balance it out, you know, and then maybe catch a little bit of shape in here and then see how that goes. I'm going to stick right there with the blues, so I kind of get a mixture like a had before. Now touch a little bit of this yellow in it. I think for variety's sake, I'll go a little bit stronger all in the green this time, but not not too much. I think that's, um, probably little to go to green salt, put a little bit of the liver, and in there the lettering has that radish huge Hewitt 10. So I'm just gonna push it away from green. And in case I didn't mention it, I don't think I did I am using my out liner brush now, So getting some nice strokes in there, and now it is catching the bottom of that year. Come to clean that off and get a nuke. You were down here. I'm thinking like a light brown so I can kind of come down here, will be a yellow and that Venetian, Um, maybe I'll just go right into what's left on my poker test It not thinking these ago lighter. So I will get a little tip of that. And here it's not too bad, but it's making a really chalky looking that white. So I'm just going a little bit of yellow into that. That's better so you can get away from that shock. You look, I guess the color really looking at. There's, um, Pokhara, private. This you straight Oakar there, so I'm just gonna test it. It's not bad. I just think it needs to go a little bit darker. So what touched with Crimson into that? It's better, yes or something like that at work, and now it's kind of mixing those brown with some greens. Now again, all about getting that variety in there that's looking pretty good. Now go back into my whites, touch some Phoenician, a little bit of throughly in back, that Venetian bland and what they all say if you've ever used Venetian and with your white like a cerulean blue, I mean mixes some really lovely, bluish neutral colors. So obviously I have a little more surreal Ian and Venetian. But putting that little bit of Venetian in there really tones that blew down and gives you a nice, nice and neutral. So for those of you that, like painting with neutrals and mixing that sort of color, give it a shot. I think now I'll use the same brush and I'm getting near the end here for my pain. So I'm taking my white and just going right up into this mixture here. So I know now you know, I don't need a lot of this pallet spaces left, so I don't have a lot. I don't have many more colors and I'll be mixing here. It was basically working with what I have. I think I'll touch the yellow in that. See if I could get that's something like that at work. Yeah, kind of working with this and here But again, you can see the values are very light for now. And adding is linear interest as I go, Maybe a little highlight there again. I want Mick side up so I don't want that seeing color. Too many places. I was looking pretty good. I think Now clean my liner off really good. I'll go right into my jar here a little bit more. Just a touch a white into that, you can do a little test and this want to create, um, feeling of some of that yellow with the original wash, that feeling of it coming on top of the painting to so it looks a little more dynamic and connected. Um, so basically, I have a yellowish glow going on in the ear. It was stuck down below. Okay, so it was on that very first wash. So coming back on top now with a similar Hugh, we'll just kind of tie it in a little bit. So that's just kind of, Ah, something I've noticed about color and tying things in that sort of thing. So you don't want that yellow just to be an underneath thing. You know, it's nice using their let it shine through right and then let it live on top is, well, just a little bit. So now, maybe adding some nice, expressive brushwork. I mean, we could get away with a little splash there and now getting back into these whites. It's about what I have already someone to clean my brushes that not only fighting myself. Forget all that color off my brush that I could get back into pure way, touchy yellow. And they go back into this, I'll probably have what I'm looking for. All right, that's pretty good, Um, a little square off there, but we'll see how it looks. It was taking this right into their, but it's probably a little too, too late and value. Want to be close to what I have. I think I will get a little bit of green going over here on the side. I think that's when I get there. It was kind of breaking that up a little bit, I think. Just touching a few darks in there. Thank you. All right. I think at this point we can go ahead and remove the tape, But before I dio one little thing, it's just kind fixing this right in there. I like this shape. I'm just going Teoh, you can't separate this a little bit. Yeah, I just think that, um it's a little bit better. 9. Demo Part 6: So here I am with the final painting and it will be easy to stop right here. I mean, it works. There's not much more I can do to in terms of applying acrylics. But if I wanted to take it a step further, I can do that on to do it. I'm going to think about adding some interesting marks. And for that I will use crayon. So a few things you definitely want to consider is where would you apply the mark? So in other words, if you can envision before you do it where the marks will be placed and then ask yourself What's the purpose of it? Are we just scribbling to scribble aimlessly, or are we going to give the marks? Ah, particular, um destination or role to play. Okay, So ah, marks can be used to define shapes they can use to define edges and so on, and then say, Well, how do I introduce it into the painting? If you consider that an entry point on, then of course, where does it dissolve? So if power to think Okay, I want to create a mark here to define this shape. Is it going to start here and in there, Or will I introduce it here and bring it up? And then out? Case of the mark would be something like that on its good again to envision these things because the worst the last thing you want to do is to create a ah, bold mark and to be timid about it. Because if you're timid and you're not confident about what you're doing, then you're probably going to do the wrong thing, and it's not going to read Well, okay, so if I flip this over, I see Okay, I want my mark to be this. Then I could come in here and do that as long as it's confident and it works. So it it flows well with what's there than it's fine now. If I come here go, I want to make a mark. I'm not sure. So Levy do all of this stuff, so that's not going to read very well. The viewer will notice that right away. So again, preparation, thinking about what you want to do before you do it. Why are you doing that? And then if you can kind of wrap your head around those things, then you can execute it. Okay, so now some of the other things consider will be color. Okay, so did the blue there. This is like an Oakar color. I've got yellow, I've got a light yellow and I have pink. So the sky's the limit. Really? With colors with careened off, they offer a variety of Hughes to choose from. So it's good toe. Have a selection on hand so that you're not limited, Teoh two or three, cause sometimes you don't always have what you need if you don't have the color you need And of course, just don't do it. It's not with crayon. You could do it with another medium. But I think for for this particular a set up, I can easily kind of work with this Oakar. I like the idea of creating a nice shape in here, and I think I will go with something along those lines. Eso again? Entry point x exit point. Where about getting where I get out. All those things are kind of coming into play. Okay, Okay. So that gives me that feeling of a loose shape. And even if for whatever reason, you don't get what you're after. You're better off to leave it alone. The you are to keep going for I think I could get away, though with another little mark there. Now, I've used a joker and it's again applied to dry paint so I could come in here even and hit that with water and even getting lost and found edge in there. Kind of an interesting thing to do as well. So now I can come around to some different areas and create a few more marks. So that pretty much to me is that all I want to do? Okay. And that creates again a little more linear interest there. And I can do one more little thing here, too. Maybe defined this edge right in there. And that's fine. Good. And now let's take the leap. All they kind of get a feel for how this works. All right, so there it is. With a clean background, you can see the marks have ah, um a job to do their boat. They're not timid, and they flow nicely with what I have. And again, whatever reason you get in there and something just doesn't really strike, you can always hit it with a little bit of water, the air and then dried up a little bit and soft. And Semaj is okay anyway. So again, in an interesting way to explore mark making. And you can do it at various stages of a painting. But when you do it towards the end like this than the marks tend tohave Ah, really? A nice addition and kind of add a little bit of extra depth to the painting. All right. Hope you enjoy it. Thanks for watching.