Abstract Adventures - Creating Fun Abstract Color Studies | DENISE LOVE | Skillshare

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Abstract Adventures - Creating Fun Abstract Color Studies

teacher avatar DENISE LOVE, Artist & Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (1h 19m)
    • 1. Welcome

    • 2. Supplies I'm using in class

    • 3. Project - Getting started

    • 4. Project - adding paint and marks

    • 5. Project - final paint and marks

    • 6. Finishing your pieces

    • 7. Saving your Color Palette

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About This Class

Hello, my friend! Welcome to class.

In this class, I will show you another of my very favorite ways to create some abstract art without the pressure we put on ourselves when we sit down to create. I used to get so frustrated when I sat down at my table to create art and I was staring at a blank paper. I wanted to paint a masterpiece without all the work and practice. I expected great things to just appear on my paper and I'd go away mad without anything decent to show for my time... and it was so discouraging that it would be months before I'd go back and try again. 

This technique I'm going to share with you isn't new, but it truly changed my relationship with my art and my expectations when I sit down to paint. It doesn't really matter what level you are at, this is a great technique for all of us. Perfect for experimenting and learning our papers and supplies, trying out new ideas and color palettes.

This class is for you if:

  • You love learning new techniques for your art
  • You are interested in abstract painting
  • You love experimenting with art supplies
  • You love watching how others approach their painting practice

Supplies: I encourage you to use your supplies you have on hand to do your projects. You do not have to purchase any specific supplies for this class. It is all about experimenting with the supplies you have and learning to let loose.

  • Watercolor paper - I Iike cold press and hot press at least 140lb. 
  • Ceramic paint palette - I show you 2 in class if you are interested in checking them out - I show you one from Sylvan Clayworks and one from Sugarhouse Ceramic Co. You don't need one for class - you can use anything for your paints like paint palette paper or paper plates, etc... 
  • Various paintbrushes and mark making tools
  • Various paints in your favorite colors. I'm using a variety of acrylic paints in this class, but feel free to use watercolors, oil paints, inks, etc... the sky is the limit on the supplies you could choose to use and experiment with.
  • I'm using some soft pastels in class - pick some out in your favorite colors if you choose to use any at all.
  • Various Neocolor II Crayons - I love using these and they are water-soluble.
  • Disposable gloves if you are using any toxic art supplies
  • I love using a Stabilo black pencil and the Posca Pen to make marks in my work.
  • Finishing spray - I show you several I have used to finish my pieces to protect the art.

This is most of the supplies I chose to experiment with in this project... but as I mentioned above - don't think you need to go out and buy tons of new supplies (unless you just want to...). Try this project with some of the supplies you have on hand and grow from there.



Meet Your Teacher

Teacher Profile Image


Artist & Photographer



Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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1. Welcome: I am Denise love and I want to welcome you to class. I am a full-time working artist. I work out of a home studio and I have been doing this since I started my main business in 2012, which is to allow studio. And in that website, I do photography workshops and digital art tools geared towards photography. And I have dabbled in art workshops for many years, put them out and retired and then put out new things and retired them in. Mainly tried to focus the art on the photography that I was doing, but I want to experiment with other things. I love abstract art. I love different art supplies, acrylic watercolors, you name it. I've probably got a little bit of it because I'll make textures and my main business and I used all the supplies to create textures and things. And so now I have a big cabinet full of art supplies to experiment with without having to go out and buy new stuff because I got point. So in these classes, I kinda wanted to give myself a break from the photography classes, which take me two to three months to create and body endeavor. Mom fill in a little bit depleted, not creative. And so I found, if I come up here and play in my art room for a week or two or three. And the idea start to kind of flow again off relaxed and enough that I'm ready to start thinking of new things. And I thought, wouldn't it be great to kind of channel that into something like this where I could have some art workshops in between the photography workshops and just kinda keep the projects and my creativity flowing and hopefully have less of those down periods when I think, oh no, I'm not feeling creative. I'm never going to have a good idea again, I don't know what I'm gonna do with my business. So I thought this would be a great way to fill the, fill the kinda the down time for the photography side. So I'm super excited to have you in class. I hope you enjoy what we're doing in this one. So let me show you what we're gonna do in this class. We're gonna do some little color studies. And so these are 4.5 bus six in size, just because of the SAS paper that I have used. And I also had a fourth one that I used in my color palette look, which I'm going to show you how we do those. And some little pieces left over that could be wonderful tags or collage pieces. So I'm really excited to show you how I just work with a little piece of paper. Some of my random supplies that I don't want to experiment with. Limiting my color palette to just a few set of colors and then experimenting to see what I can get. This is one of my very favorite techniques for testing L supplies. Experimenting with the way they work. Trying out different lines and marks on top of different things, experimenting with different paint types and colors. You know, maybe I like some different paint types and I'm experimenting with You can do this with any type of supply that you have, whether it be watercolor or acrylic ink, acrylic paints, oil paints, although I will say oil paint, they'll never dry, they'll take forever. So I do tend to stick to things that are going to dry. Let me do these fairly quickly. Because I want you to do these and try to spend 15 or 30 minutes on it. Don't think too hard about it and just see what you end up creating. And then these are great ways to experiment with composition. And just see, you know, what do I love? What do I not loved? And I love this set, did I not? If you'll create them and then you love it, great. Frame it. If you don't love it, leave it alone for a day or two and come back to it and say, you know, do I love it today? Because sometimes I'll do stuff and I'll think on not love in that, but I'll come back tomorrow and I think that's fantastic. I'm just too close to it on the first day, I guess. So I can't wait to show you this fun, easy technique. I do want you to kinda release some of your expectations and just want to go with the flow and maybe set yourself a timer on how long you're going to allow yourself to spend, maybe 15 minutes or 30 minutes. Or if you want to do some small ones and say give him a self five-minutes, set a timer and just see how fast you can create. Because when you're creating on a time limit like that, and you're going a little faster and you're working in a little more organically and you're not stopping to question your decisions and you're not trying to think, Oh my gosh, DO like this composition or not. You're just getting everything on there and being like, Okay, what I'd end up with. So this is really fun. I've definitely, I do this kind of thing over and over with different color ways. Some of my loves so much I've had framed and I have them hanging and mart room. Some of them I'll have mounted on board depending on how it is that I want to finish it cradled panel so they're ready to hang. I mean, I do this technique over and over with different color ways to experiment and see what I love. Because that's how you're going to end up figuring out what you love and kind of defining what your style is from the decisions that you end up making. And this is the way to do it without putting any pressure on yourself. And then if you end up with pieces that you hate, for whatever reason, maybe you don't like the colors that you chose or whatever, then that's the perfect thing to do is to use these as collaged papers. And I have a box of little papers and bits that I can then use later in collage like look how beautiful this is. I mean, I just loved the strip that might be, maybe I should use that as a bookmark or little pieces like this. I love that. And I may have loved the whole piece and I may not have, but I really love this little strip here. So keep this where you're kind of giving yourself some grace. You're keeping an open mind, you're experimenting, you're working pretty fast. And then just know you may end up with pieces you wanna frame like, you know, when I was getting started I thought, oh no, I don't know if I'm gonna like these or not. But now that I've got I'm done, I've got the tight pulled off. Look how beautiful they are. So I'm pretty excited to show you how we do these. I can't wait to get started. So I'll see you in class. 2. Supplies I'm using in class: Let's take a look at the supplies that I'll be doing in today's projects. And so usually when you film a workshop, you might think film the supply video and then fill in the project video. And maybe you've used all the supplies and maybe you haven't. And I've seen plenty of our classes where people do that. But I've decided to do these backwards. So I filmed my project first. And then I'm gonna come back and tell you what I actually used on the project. So to start off with, I did decide to go ahead and use acrylic paint on most of this pattern, most of this thing. So I am using some of these are t's of paints and I like these because they came in a big box of 60 for not very much money on Amazon. And if you can get these on sale, you might even get them half price. I think it's like 60 bucks for 60 element. This goes along way. I can do a lot of painting with these. And so I liked that it comes with as many colors as it does, because then I can pick and choose and experiment with colors. And if I really loved safer instances for million read, which I do actually really love. Later when I run out of this tube, I can then go back and buy that one color. I'm not obligated myself to a whole nother box just to get one color out of it. So this is a great way if you've never experimented with acrylic paints or maybe you only have a couple colors and you really want to focus on color palettes and experimenting with these color studies, like I've done here in this workshop. This is the best little set for being able to have a bunch of colors to experiment with. Pull a couple out of your box and say, okay, I'm using these three colors today. And you just have so many to pick from that you can be like OK in my limited color palette today and using these four colors, let's just see what I get. It's not about making a masterpiece. It's about experimenting with color palettes to see what do these colors look like, how they mix? What do you end up with after you've created some little pieces of art, I really love this little set. But you can use any acrylic paints. You can use the basics, cheap ones, Liquid tags. You have got a lot of these like my Michael's. You can use the Blake brand of paints. I mean, I've got all kinds of acrylic paints around, but I really just particularly liked the set because now I can experiment without having to buy the biggest, most expensive tubes of paint. Because this at about dollar tube is much different than this at $20 a tube or whatever, they sharpens cost because the sharpens are really nice High-end paint and there's a couple of colors that I've seen other people used it. I was like, oh my god, I have to have that color. And that's how I ended up with a few of those. I don't have very many of them because they are expensive. But you can see from this Caribbean pink, I like it so much that it was worth me buying a big tube. And at the same time, if I don't use it enough, this one did get a little kinda gloomy, almost like it's not as fresh anymore. So big tubes, you're good if you're using it all the time, they're not good if you're not going to use it very often because they don't last forever. They start to dry out and Stuff. So I'm using vermilion red, sky blue, Bordeaux red, and Mars Black in this particular set that we're doing today. And then in the sharpen, which is a much higher quality but much more expensive set, I'm using yellow ochre and Caribbean pink. I certainly didn't have to do that, but I haven't been there. My favorite slide do use them. But I could have probably made a Caribbean Pink from this brighter pink, add, add white to it so that it's almost completely gone from being so bright. And maybe even added, you know, maybe a touch of this yellow ochre to it so that it's more of this pretty soft, yellowy pink rather than this bright reddish pink. So just think about ways that you could get colors that you like. The, what the Artesia, because they're 60 colors in there. You could definitely be mixing some other shades. And then this yellow ochre is a pretty common color in every brand. It is different in every brand, but it's pretty common color. So I'm using yellow ochre and Caribbean pink in the sharpened paints. Also, I'm using my white postcard pen a little bit. My black stuff, pillow, pencil out. Always try to use it a little bit because it works on everything. In this one, I actually ended up using a color pencil, and this is a PRISMA color pencil in pay over a million. And these I've had since the college days. I used these in college. It's an old set that I have had literally most of my life now. And you can see it just keeps on live. And so I don't really fill a reason, any reason and go out and buy new colored pencil. Because the set that I've had for more than 20 years is still rock and pretty good. So these are the prism color pencils and they're great for adding marks and details and lines on top of things and they lashed grammar. These are some clay tools over there in the clay part of the our store. And I like them because this is like an ice pick almost. It's a nice sharp tip. And I use these to make marks in stuff. So I did use these to make marks. And I got a little palette knife. I've got some inexpensive paint brushes and some water. And I've got here with cups of water to set things in. I'm using a ceramic paint palette. This one is from the Sugar House company. I also have some from silt and clay works that I like to use. I love little clay pallets because you can basically go just wash this off and it's ready for the next day. But if you don't have anything like that, you can use paper plate paints. You can use a plate from your kitchen like it because they're ceramic glaze plates are maybe a flat plate would be nice. And you could use the disposable paper pallets. What I like about this is I'm not throwing, you know, any extra paper away in the trash. I'm being pretty eco conscious there because this I'll just let dry and I'll scrape it off. I won't normally go and rinse it off in the sink because that kind of defeats the purpose. You don't want to watch paint down in the sink. So I will just take a little scraper and I will just scraped the paint off of that. Let me see here. Just to give you an example, here's my silt and clay works one. And basically, you know, you just scrape that paint right back off and then you can throw the paint in the trash. And then when you get down to the little bits like this, it just washes right off. And so then you've not put any wet paint down into your sink or your water systems. I've also got just a rubbery the paintbrush with the rubber edge. I like these. This one is by master's touch and then I also like the ones by catalysts, so those are fun to play with. Optical also showed off my ball scraper. This I used with wax, cold flax, oil, and coal whacks when I'm doing those, but I like this because got longer edge than my little paintbrush hadn't. I could make longer lines on it or I could smear of paint around suddenly like mellow bowl scraper. I've also got here some neo color too. I just kinda pulled out a variety of colors that I thought was in my color palette. Because again, I'm trying to limit my color palette to just a set of colors. And I'll want too many choices when I'm doing this because I can already, you know, totally overdo just on a few colors. So imagine if you put 60 down, I could totally overdo that for sure. And then not like anything I ended up with. And I found that if I limit my color palette and play in just a certain set of colors, that kind of freed me up of all those color decisions. And it let me then start creating these color studies to see, well, do I like this review and how I kiss? Do I like this one part? What did I use there? And then another thing that I've used in this one because I used to get the sketch box every month from in the mail. And it's just a basically here's one I'm using for storage. Let's catch box is basically a box that you get in the mail with five or six or seven random art supplies in them. And it's kind of geared more towards sketching and drawing. So there was a lot of drawing utensils in addition to a few paint and things like that. So I have ton of pencils and pins and different things that came because it got that for a year. And then I had to stop getting it because I don't use all these things that I've gotten in this year and I have so many now that if I get a whole nother year of these, I'm going to have art supplies coming out my ears that I haven't used. So it's my goal in these little color studies especially is to pick something I've never used and try it. So today, was this Lyra graphite to be gigantic piece of lead basically. And I used this S and mark, mark making and I loved it. And I was talking in class. I'm not sure how you sharpen it. May you just kind of take a knife to sharpen it. If I get written, you know, get past this whole tip up here because I don't think it'll fit in my pencil sharpener, but it's basically a gigantic piece of pencil lead. And so I'm sure you use it somehow and drawing, it's not something I ever would have purchased, but it is something that's very fun to experiment with since I just happened to have it. So I use this for a little bit of market-making on my piece and that was fun to play with. So I encourage you to, if you've got some random weirdo one-off supplies like this or something that you think, what would I ever do with that? And it's just been sitting in a box, pull it out. And this is the time to experiment and see do you like it? Do you not like it? Did it have a good purpose in your painting or not? I'm also have here some soft pastels and some of these are Sunil EA, and some of these are Rembrandt. And these little half pieces, or it was from like a little silly a half pan set. And then if I liked some colors, I went to the art store and I bought a few bigger pieces of some of the little pieces that I was using up. So before I used it all up and took it to the store with me and bought a bigger one. So I've just picked out a few colors of those in my same color palette. I'm trying to limit all the choices to this set of colors. And so I did a limit that into this set of colors too. So I do believe that's most of what I used. You don't have to use any of what I used. I'm just telling you what I did because I always like to know what people use in their stuff also. But the purpose of these is to experiment with your suppliers and your mark making and the things that you've already got. And I'd rather you use all the supplies that you've already got and then start experimenting with some new supplies once you feel comfortable what you've already got it. If you don't have any, then maybe go out and pick a few things in your favorite colors. Or if it's with the acrylic paints, you know, try out this. Artes is set because it's like a box of 64, makes it about a dollar a tube. And if you get a fetal sale on Amazon, I got a box of these for 30 bucks that makes it like $0.50 a tube. You can't beat that pricing for something where you're gonna experiment and decide what colors do you really love. And then B-sharp and paints, they're kind of expensive, but these are my two favorite colors out of there from actually have several of the sharpens, but these are two of my favorite I like, and I just bought a few of the colors I liked. I didn't buy a bunch of colors because they are expensive. So get the box of cheap paints and then work your way up to the colors you actually love before you invest in a whole set of the more expensive paints. So I think that's all that I have used in this class. If I missed anything, I'll apologize now, but I tried to have it sitting on my table as I was doing it. So I remember what I used and I can't wait to show you how we're going to create these pieces. So let's get started. 3. Project - Getting started: In this project I'm going to do for small abstracts because I love working on this size for a few different reasons. I like to have more than one going at the same time to kind of create a little series. And I like that it's not so big and overwhelming that I'm scared to even tackle it. And today I'm using just a small pad of watercolor paper. This is a medium grade, you know, kinda like student grade maybe from the Michel's, it's a 140 pound and this is the cold press. So it does have a little bit of texture on it compared to the hot press, but I love it. And I've just cut these papered pages in half. So it's a forma nine pad. I'm sorry, it's a six by nine pad. So I've cut these into 4.5 by six pieces by cutting that paper in half. And then this is what I'm going to play with. And I'm kind of being inspired. I'm limiting my color palette again, I don't like to have all the colors available to me that I have because it does get really overwhelming. And I have several different color wheels. You know, I like to experiment with different colour wheels and different color ways and try to come up with things that are really going to be interesting. And when you're working with a color wheel, it kinda helps you pick out things that are going to contrast and be pleasing together. And I really like this color harmony wheel because it tells you if you're working in a certain color range, what colors would be really nice and harmonious with the main color range that you're working in. So if you'll notice over here, I have put out my color palette that I've decided to work in. And I'm using the sharpen Caribbean pink, the sharpen yellow ochre, which are these two. And then I've gone to these Artesia colors, which I have a box of all the little colors from Amazon. So it gives me lots of choices. So I have lots of blues to pick from. So I don't know that I've picked the best blue, but I thought less experimental haven't used as color before. So I'm using Artesia sky blue. I've got Mars Black down here. I've got vermilion red, which is a really interesting orangey red that for some reason I'm kind of attracted to. And Bordeaux red, which is pretty little burgundy. And so I have pulled these colors from this color wheel as my inspiration. I'm in the red, orange, yellow side here as my main color palette. And then the blue over here is the little contrasting pop of blue. So I don't know that that would be very dominant, but it could be like this is most dominant with a small pop of that color is kind of how that color wheel is suggesting. So I, that's where I've taken my inspiration. I also have put out some colors that are in that same range of these Neo two colors. Then I love this one's metallic even Isn't that fun? These are water-soluble and I use these mostly to get started and to break up the monotony of a white page. I've also got out here a few soft pastels to play with. I've got random graphite thing that had gotten an a sketch box that I've never used and I'm not sure I've definitely would never have bought this and I'm not even sure what you really do with it and drawling because it's so big, it's a 2B, so that should be fairly strong and color and it's more of a gray than it is. Anything else but pretty that is saw thought, fun time to experiment with my pencil. And then a lot of times I like to see, is this water soluble? Is the water's going to move it around and it is, but not terribly look at that. The water doesn't really move it around very much. And so I've just learned from using this. I like the color. I liked the way that it feels when I'm drawing. I like the marks it makes and it's not really going to push around with water. So now we've learned one new thing about our little graphite pencil here. And when I'm doing these, I'm thinking a little bit about composition. How am I going to lay the color and the marks and what, what might I want to look at? And we'll composition, you know, in photography I'm always thinking rule of thirds, third, third, third. So I don't want everything to the right in the middle. So you'll kind of notice that offsetting all of the marks and things that I might do. Just as if I were in photography. And it's kind of fun if he'll do some of these marks with you're not dominant hand like I'm right handed. So doing this with my left hand because they're a little more organic and lot less even or less regimen rigid. There. Definitely different than what I get if I were using the hand, always write with. So I'm thinking, am I going to do a horizon line? And the bottom third are the top third. Am I going to do some movement? So maybe I'll come through the page. Maybe I'll y up in some shape. Maybe I want to have dark edges, bright center, some kinda thinking some of these things as I'm working with, some of these things that I'm playing with here. And then I'm kind, I'm still turn a stay within my color palette. We may not actually see any of this bottom layer, but we made, and it's a way to kind of get yourself beyond this blank page. And at this point, I'm not thinking is super hard about where I'm laying stuff because I know that this is just the underlayer and it's okay if if I don't like it because I'm probably going to cover it up anyway. So this is another time to, to kind of experiment with your mark making. And you know, the more you do this, the more you'll kind of get into what Marx you like to make and the almost start to define you and your style. And you know, you might just start experimenting with shape and lines and different patterns. Um, different directions just to kind of see what kind of marks can we do. And then with the neo colors, what I really like about these. And I do try to make, do each color on each one of these. If it's going to be the same series, I want to touch if each color on each one kind of pulls them together. And what I would also like to do here is I like to put maybe the same tight mark on each one. You know, if I'm spreading the color around, I want to tie it together with the marks to so the neo colours, they are water soluble. So I might just kind of push some of that around on some of that and leave some of it really intact. So just kinda play in here. And I'm not trying to saturate the whole page at this point. I don't want it so well that it's not doing what I want. Now, one thing I will say using these onDraw paper versus using a mole whitepaper. Completely different look that you'll get from the wet to the dry. So that's really fun to experiment with if you like that. Kind of wet look a little better. What the paper, and then draw your random marks on it. That's fun to kind of experiment with there. And I'll start off with pencil marks, crayon marks, things that I know will go good under paint. I don't start off with oil pastels because the paint will repel off of that. It's a surface that, you know, depending on what kinds of materials that you're using. Whether they'd be watercolors or inks are acrylic paints, are oil paints or oil pastels are these crayons. You know, you need to think in layers. So what can you put underneath something else? So you cannot put oil pastels down first and then put stuff on top of it that won't stick to it. So thinking layers when you're doing some of that. And over here I've also got some different mark making tools. I've got must've below pencil and black that I love. I've got my mechanical pencil, just the regular leaded pencil that I like to make marks with this one I have, I just love using it. I've got some clay tools that you can find over the area in the art department with when you're working with clay. These are some of those and I like these kind of ice pick ins that we have there and I use that to make marks. Also have my post Japan and white that I really loved to make marks with on top. Got a palette knife to spread pain around. And also have one of these rubber paint brushes to play with. Just a variety of paint brushes over here, then I might consider playing with. So I'm going to start now that we've let that dry a little bit, I was kind of fill in in a little bit of time so the paper wouldn't completely saturated. And I'm gonna go ahead and start laying some color down. And the more of these that I do almost like starting with the darker colors and going lighter for some reason. So also have that it didn't mention I've got the white just o and The clear gesso here to mix in with my acrylic paints also so that I can layer stuff on top of it without any problem. And I'm just mixed, mixing that right on the palette. And I'm gonna just start laying a little bit of paint noun. And I have put these papers down with some Artist's tape today because that's what I had got my hands on First. I don't love the artist tape as much as the painter's tape. Because I feel like the painter's tape is cheaper and comes off the paper a little better. Just something to think about. But this is white artists tape that I've taped these down with play with today. And I'm just right now mixing that Bordeaux red with the Mars Black. That's the two colors starting with just making some dark stuff go on here. And I don't want everyone to look the same, so I am trying to vary it up just a little bit as I go in and I don't want to put it all down and let it dry before I start considering marks that I put in it. So we're just going to have start building layers and see where we go. And then I do, because these are not toxic, the colors that I've got going here, I do like using my fingers on it, but I do have some gloves over here. If I kinda get uncomfortable working with the paint as it is. And you know, every time I do these, I don't always love what I end up with. It's a way to experiment with color and to play with color palettes and mark making its gives me ideas later for larger paintings, maybe I'll need some ideas on composition and color and marks and what I like about particular pieces. So these are really consider more like a color study than anything else. But having said that, I do have quite a few that I like that I have framed and I can show you those really quickly. So these are, these are ones that I've done that I thought, ooh, I love that. I think I'll frame it. And so I love those with the love that one. This is another one. I had frames just different colors. You can see here I was going for movement, kind of coming around. Here. I had beautiful heavy or splotches and I have the color darker around the edge. And here also I have a little darker around the edge pulling you in with some movement come and this away. So I really love these and a love for what I'm done if I really, really like one. So it's kinda fun to look back at what you've created as you're going to. And I had like a whole drawer of these. Also, I will start adding some white in here and making it lighter. I could have some white acrylic paint like titanium if I wanted to, but it's kinda fun to just work out what you've got on your palate. And the Jess o is just easier and cheaper since I need to use it anyway to give me that grit, I'm looking forward and I'm just going to start work in this color in here. This is a color palette that I have not used before. Every Tama do these little color studies. I want to experiment and try things and have not tried before. So, you know, I don't really know exactly what it's going to end up like, me love it, I may not. And that's kind of part of the fun in doing these. It's the play. And sometimes I have a hard time giving myself permission to play. So because I like the color studies and sometimes I frame some of them, I kind of used that in my mind is my justification for allowing myself to play. I feel like in the end I do something with it. We'll go over here to this vermilion read and start maybe just putting a pop of color in here somewhere. And I'm actually, you've got so much paint here on this paintbrush that, you know, these are laying on here pretty good, pretty thick. So, you know, we may have to get up from our table and let these dry for we do top layers. And that's alright. So at some point because I am lay in the paint pretty thick, but I'm not going super fast. I'm going to want to start doing a few marks before I get too far. I think I might want to actually, or I get to four on that. Maybe use some white and kind of, you know, if you're doing something like this and you're looking for some great texture and marks on it. But your paints too wet, let your paint dry before you come back with the white to do something like this. And because I'm doing a little bit on this one, I want to do a little bit on each one. Some baby wipes handy also to help me clean stuff off. And before I move too far, I wanna get some little market-making going in here before all these layers strong. So I'm just going to take one of my clay tools here and do some little marks. And then c, because this one's so dry, it's almost not going to give me that, but it's letting me run the paint through. So just work in layers and consider, you know, in between the layers, adding some marks. Vary the marks up. You don't want to have one line go in the same way on everyone. You maybe have some this way, maybe that way, maybe swirls, maybe maybe a ladder if you like that. That's because I like this latter thing that I do sometimes. And then I like the little turtles because it almost makes an abstract looking flour. Some stuff to think about there. Almost feel like I wanna go with another paintbrush. Or I might even want to go with my finger. But let's move over here into this. This is the sharp and yellow ochre. Look at that. I do like yellow ochre and shades of pink and orange for some reason that's really attractive to me. Or if you get this when some of these layers are still wet, they start to really combine really nicely. The color starts to blend. So if you do an went on way do get pretty color blends depending on how you're doing this and I'm mixing it with the white just so there. So we're getting some lighter, lighter tones in there. And I'm just being, you know, very intuitive about this. I'm not going in one certain area on purpose really. I'm just thinking a little bit different for each one. Just to see what we might get and might go ahead and pull in some of those Caribbean pink. I mean, a might've even paid too many colors for this, but, you know, you're only going to figure these things out if you practice and see what, what can I get? What am I going to end up with if I do this or if I do that? And this is how you learn. This is how you figure out, you know, what do you like, what do you not like? What would you do different next time? And sometimes I will do like six or eight of these at the same time. And I will only like one. And will spread this a little bit with, ooh, look at that right there with that, just did all my goodness. That one little spot just totally made me happy the way that that texture blended and created. On that. I got a whole bunch of pain over here. And then if you think, you know, I'm not like in the direction this is going. Sometimes give yourself a little bit of grace because once you pull the tape off, it completely transforms your pieces that you've done and get this off before I spread it all over the place. But tape reveal is my favorite because it's almost magical. What you end up with when you pull the tape off and you get stuff that you just never expected. And then let's see. I actually take my rubber brush here and start doing some marks like this, maybe just to start my mark making it a little bit. And I've got a little baby wipe here that I can just wipe that off real easy with. Then of course, I want to make some marks in this wet paint before we get to dry and lose that opportunity. 4. Project - adding paint and marks: This is a perfect way to decide what things you need to work on too and your art. I have failed on pieces that I've done, that sometimes I get too tied in with too many colors. I have a real hard time doing great, big splotchy areas that I really admire and other people's art, great big blocks of color. So I got to experiment with myself with doing bigger blocks of color and less so of trying to fit in all the colors and it being so busy that I end up thinking, what was I doing there? But then again, that that could just be hostile and, and maybe I should just lean into it. This is just my mechanical pencil. Just come in here to maybe add some marks over here on this dry paint. Acrylic paint dries really fast. So as we go and these are, these layers are dry and pretty quick. Can I just continue layering some stuff here? Put that paint brush and there might be playing with a palette knife. Because you're, you're doing painting, you know, building layers up is what makes things so interesting. Maybe a lot of the stuff that's underneath, we don't end up C and because we cover it up with the next layer. And that's okay because it's those layers and depth and color differences that make abstract art so interesting. And if you don't like it to begin with, keep on working in a little bit and then get to the point where you're like, I felt like that pull the tape off and then you're like, oh my god, this is magical. I can't tell you how many times I've done that. And if you don't like you need today, not a big deal. You know, this is something where you can come back to these little color palettes studies over and over. This is exactly how you figure out what colors do you like? Did you like a particular area in a piece that maybe you want to try to replicate. You know, this is the time to really figure out the things that you love, which is how you end up coming up with what is your style? Because, you know, your style is basically just a series of decisions in your art that are, you know, what did you love? And the more you use those, I love this and I don't like that, the more your art really becomes recognizable to you. Because you're using things that you love and you're making marks that people recognize and it just you start making decisions that really define you and your art and the pieces that you were going to eventually create. And you're not gonna get to that point. And find your style and see what you like creating without just putting the work yet and practicing. Which I have personally found very frustrating early on because I just wanted to sit and be a master painter with no effort whatsoever. You know, one of my answers, a painter, and she's amazing at it. And I just figured, well, it runs in the family. I should be great at this. Just putting a little bit more of this white just so down. Figure this runs in the family. Why don't I just intuitively do this amazingly like she does and we'll all she's put in 50 years of practice and I haven't I don't know what I'll end up with here. We'll just have to see, may just be overdoing everything, but do like these colors. And I just wanna see, you know, what am I going to end up with? You know, at some point will stop and say, well, I need to start letting it dry so I can this is just that black like dry, so I can then add some other media on top of it. It's kinda decide like am I there yet or I want to let anything stand out from here. This is my blacks to below, which too wet to use right now. So that's alright. Also have a white stuff below. I've got white charcoal. I've got a black post Coppin, which we can always use a black pen. This might be fun if we had some bladders. So if I was gonna do some spiders, it might be fun to try this really bright, bright pink, red ever million. Let me just get this really lot of water on that paint burst there. Oh, yeah. Dude likes bladders. And you just gotta be careful when you're splattering. I'm just tapping the brush down and just seeing what I can get, just watering that paint down and tap into brush. Because I used to do this number where I did like this, but I ended up a paint everywhere. So I do that less now than I used to. I try to be a little more controlled about it. And I want to use this blue. I haven't used any blue even though I intended to. So this might be the time to say, you know what, what little bit of blue Can I add in there? Maybe with a palette knife, perhaps I just want to touch a blue. I think I don't want it to be all over. And it might even wanted in some marks now that I think about it, instead of with the palette knife, Maybe I'll take my bigger rubber. This is one of those bowls scrapers and use this in like when you're doing Cole wax and oil paint, one stuff like that and I use it may be for some mark making. Just to have like a pop of blue show up that you were like not really expecting. Like that's kinda fun. Like what I just did that gave us a little tiny pop of a surprise. Which when you're using that color wheel I was showing you. That's kinda what that's for. You know, that little bit of color on the grab it. That big splash of color would be all your main colors. And they don't have to be that strong. Obviously, they could be a lot lighter shades in the same wheel, like if you're adding wider or black to it for shades or white for ten. So you can be any shade to enter or color in that range. And then a little tiny pop of the opposite color to add excitement and interest. And so that's all I'm doing here. I'm not trying to make blue very dominant. I just want it to be like, Oh, look at that little surprise. And if I do it on one, then I'm going to somehow, you know, put it on all levels a little bit. And in the end I may not love it, but you know what if I didn't experiment with these at this point, you know, on these fun little color studies, how are you going to know what you like and don't like if you've never tried it as well, that I think that was a good choice though. So I do love my little ball scraper. It's good for moving paint around and creating some differences that you're not gonna get with some other tools to. It's a lot bigger version of that rubbery paintbrush that I was using. And with coal wax in oil paint. And that's generally where I'm using that one. Those are fun. These are almost like overdone. So when we're done, there might be overdone. Go back with my tools here and just start playing in the paint, maybe making some marks. And again, if I do a little bit on one, I do try to do a little bit of that same mark on another one. Like those red spotters enough that I might put a few more on there where I've just kind of cleared him off. Yeah, like that. Alright. We're going to have to let this dry before we could come back and add anything else to it if if we even need to add anything else to it. But I might want to do some mark on top, maybe with a post Japan and maybe some pastels on top. So let me let this dry where I could even do some of that and I'll be back. 5. Project - final paint and marks: Alright, so our little sheets here are mostly dry. I wouldn't say they're perfectly dry, but they're very close. And so now I might consider What do I want to do in addition to all this things that have already done, maybe I want to come in here with some marks. Like with my mark pin must be below pencil. I could come in here with maybe some black marks. I could pick colors. I don't have to stick to like a black or a white. I could do colors with these Neo color crayons. I could also use colored pencils. You know, we can do different marks with colored pencils if we want. Because now that we've got this where we can draw on top of it, because we mixed the acrylic paint with the jess. So we've now made it so that I can make marks on top of it with other things like colored pencils, the postcard, the stuff below, because if you didn't put the ISO in the paint, you would need to put the JSON on the top because acrylic paint is shiny. It's very hard surface and you just can't draw on top of it like you can if you had added in some Jesu or put the Jess o on top. And, you know, I can tell it's dry now because it's letting me draw on it and my pencil marks are showing up. So I love that. And because I did a little bit of orange on one, I'm going to go down and do a little bit of orange on them all. And they're like, oh, because I've painted. And then I might leave this pencil sitting out so that I can then add it to my color swatch book of things that I did. So I'm going to leave the colors sit now fit. I actually do use. And I've got over here just some pastels I've pulled out in my color way. And I've basically just pulled some of the ochre. I pulled out a white pulled out some of this reddish color. I'm just eyeballing it. It might not have been the perfect shades, but you know, it could have been. And these are really nice because you can put them on and leave them just like that. You can smear him with your finger and they are water soluble. So if I were to take a little bit of water, I could spread that in. And it would give a different look to my pastel. I love experimenting with the pastels and I like how many different ways they can be used. And I like it because it's a different texture then the paint, so it does kind of give a different feel than just the pain itself. And if you've got an area that you don't love, it's another layer of color that you can put on top of something to pull it out. However you needed to be emphasized. Who I like the line. So let's do some lines. And to do the lines, I'm just kinda twirling it really, because as I flattened out an edge, I don't want to get another edge in there. Let's just see, maybe I want a little bit of red to pop out somewhere. I think that's still a little bit wet. Lets us see. Look at this red. Oh, that's kinda yummy. Like fat. I don't want a lot of it, but I do just want touches. So my just kind of let this sneak out at the sides a little bit. Maybe do some little market-making with little lines perhaps. So that's kinda fun. Let me that was what there. And there's no right way or wrong way. I mean, you're experimenting here. You're just trying to decide what, what do I love. Lets go back with maybe some post Japan and see what we can get with the post Japan. I love the little paint pinto lovemaking dots with the paint pin. So I'm gonna do some dots and here, dots are kinda whims, a goal to add a little extra to pieces, I think can love, a love that just a little bit of whimsy in there, doesn't have to be overwhelming. And just like the extra detail you can get, we'll see you in the paints drive and you can get some really nice organic kind of lines go and that we can know God, if we didn't wait til it drive some. Now if you draw this on top of that red pastel that I just did, you do get pastel in your paint tip. So you've gotta be kind of careful where you're dragging it in if you want to avoid that. Do the post Japan before you added pastels. But I'm kinda rough on my supplies. And this figure, whatever I end up with is going to be a little bit of serendipity. So I just let it do its thing, wipe it off when I'm done, and then comes pretty clean. Maybe do the tip a little again. And I end up with a clean pen again. Said that there. So we do have quite a bit going on there. I do think I like where we're at. I could just keep on piling stuff on and may get it to a point where, you know, I hate it or love it. But with the color studies almost want you to give yourself a time limit. I almost want you to say, okay, I've got 15 minutes. I'm gonna do the forward. I'm gonna go as fast as I can. It's a way to free your mind from worry and too much because you know, you've got a clock going that you're working against and you just want to work as fast as possible. So with these, I think I'm gonna go ahead and say, this is done for today. I've experimented with this color range. I could experiment on another four pieces of paper with the same colors and come up with something completely different than I had. But for today, I think this is this is going to be it. And so let's go ahead and do the tape reveal my favorite part. So rather than just pull these off and let you not see, I'm gonna go ahead and pull them off where you're on. Now this is one reason to wow, like the painter's tape better than the artist tape. This almost seems to pull the paper off, even worse than using painter's tape. So you don't want to have a big splotch of paper torn off, but I do want to peel these. So if you'll PLM kind of an angle not too fast, you'll get a nice clean edge and it won't pull your paper off if you get into a hurry and you just rip the paint, but the tape off, you're you're going to have it, pull paper with it and ruin your piece. And what count much prettier that is with a paper and all of a sudden it just elevated it into a piece of art. And at this point too, I might even could turn it around and be like, well, do I like it this way better? Do I like it this way? Who I kinda like it that way? Do I like it this way? So there's, you know, we can then start looking at different directions rather than just the direction that you painted with it. Just elevates it with the edge, I think Tom or thought out finished piece. Because if you don't have the edge there and you went to the end, you may never get the satisfaction of seeing it as a Mad it out. Piece of art still might look like some chaos to you rather than finished art, or at least to me anyway. I love that one too. So now that I've started peeling these off and you can keep on working on these after you peel the tape. If you think, oh, that needs a little touch of this here or there, you can still add little touches of stuff if you need to. But really I tried to be done by the time I'm Poland tape off, but I still could go back and say, well, this would benefit from whatever it is I'm thinking and go ahead and still add a touch or two to it. And I really want you to treat these as color studies and move a little faster. Because I think if you'll move faster, work a little bit more organically and less thought about it. You'll end up with pieces that you like better than if you think too hard about it and get stuck in your own mind space. And I think if you'll do these in a series rather than one at a time, then you'll can see, you know, how the pieces can work together and if you love them all or not. Like I really love these three. And I almost think I over did this big splotch, a red at the top on this one. So if I were going to but then again, you know, if I'm looking up here at the camera screen where I could see them from a little further back. I'd actually like the bigger blocks of colour on this one. So step back from the pieces art before you decide if you love them or don't love them. Because the pieces are going to look different from rural closeup versus standing back. So this was an interesting little set. I'm going to have to live with these for a few days and decide, do I love whom? Do I wanna do something with them? Do I just want to put them in my color palette, look and say, okay, I've tried to set a colours and here's what I got out of it. But I love it in a series, does kinda elevated into a more artistic kind of endeavor with this red. Now that I'm looking at it, what might be nice on there could be some, some white marks and dots. Just to kinda break that up and give me that difference I'm kinda looking for that might just see here. Look at that. So that's kinda fun. So you just decide you're going to stop at some points and not do anything else to it, set it to the side and come back to it tomorrow and see if you like it. Because some of the pieces I've done the next day I actually love I'm even though when I was sitting there working on and I was getting disgusted with myself and not creating anything that I thought was amazing. When I look at them later, I think that was amazing and just I was too close to the project on the day that I was working on it. So I hope you love this project. It's kind of fun to see how do these with whatever different colors I decided to work with that day. And now you kinda know what these colors will do. So you can kinda skip some of that process and think, oh, I'll love it or Oh, I don't love it. Maybe I would try, you know, XYZ differently than you did. Just something fun to experiment with. So I hope you love these and this technique and I will see you next time. 6. Finishing your pieces: Alright, so let's talk for a second about finishing your pieces. I actually have three big pieces and then one piece that I've cut into some little tags and used on my color palette. So the one on the color palette, I don't do anything with me. I consider this finished. We'll close this page and then that's going to protect it. It's going to look really nice in there. And I will leave it as it is. If it has a bunch of chalk pastel on it. We'll go ahead and use the CLEA soft pastel fixative and fix that. So I might take it outside and spray it to fix that in. But I kind of feel like if it's in the book, it's not getting handled as much as if our having it as a piece of art worker, he was out to be touched or framed or put up. So I don't mind leaving those not fixed. But if I if you want to fix it, I do recommend the smelly a pass still soft pastel fixative. And if you're going to do like little tags and they've got the pastel on it so that you can touch it and it smears on your finger, then I would probably fix those two perhaps with the fixative just so that it's little more durable than it would be just like it is. And then the big pieces, I would use the soft pastel fixative on it for sure. And this stuff stinks so you wanna take it outside. You want to spray it on one way, spray it on the other way, maybe let that dry a bit and then do it again. Sprayed on one way, sprayed on the other way, let that dry. And this doesn't really change the color. It may, depending on your soft pastels and may deepen the color a little bit. But I've found for the most part, when it's dry, it has not changed the color significantly enough that I have noticed. So once you've got three to four layers of the fixative spray on there. It's going to be pretty durable, but it's not going to be smudge proof. So you don't want to them be trying to smudge stuff just to test it because it will still smudge. So you gotta be careful. Another Finishing Spray that I like is the Crowl on UV archival Gallery's series. And this is a matte because I like it not to be shiny. I do think that comes with a shiny and I like that SUV archival, so it's less likely to yellow and this is a varnish and I have other sprays to like I've tried to cry lawn, Kamar finish. I've tried the water-based polyacrylic finish. I like this because it says crystal-clear when it's done. So you're just gonna have to maybe experiment with some of these have also tried the rest Dalia matte finish, which is a clear finish and it says on it nine yellowing. So you want to get one that's non yellowing, perhaps archival. And I think these two came from the art store and the others came from the hardware store. So that might be your Cl_2 also is to if a material's going to be good for art or not. So just so you know, I do go ahead and spray the pieces before I even consider Framingham or mounting them to like a woodblock because you know, you can mount these pieces if you created a piece the same as a cradle board or wood panel like on one of the ones I did. Here with this one. This is mounted to a wood board and the cradled panel is the one that has the sides on it. Like this. So you can mount these to cradle panels and these, these would sides come in different depths. And if you want it to really elevate it and make it look nice and rich. I do like the deeper sides, like the two inch, inch and a half to two inch side, I think it makes it look really rich. And if I do something like this, I do paint the sides to make it look great. I don't leave it unfinished. Like this is unfinished. I don't leave it that way because these are kind of meant to be ready to hang just like they are. And then I would glue your piece onto something like this with a medium. Or my favorite thing has become, I mean, you could use, you could experiment here. But my favorite thing has become the yes paste. And I basically just put that on with a palette knife, um, set the artwork on it and let that maybe use a Breyer with a piece of wax paper on top of it. I don't want to do anything on the surface itself. I want to put maybe a piece of wax paper, spread that out, let that dry. And then if you've got any areas where it overlapped the panel, you can just flip it over. And with an exact DO knife, you can then trim those edges off on a cutting mat. So this is a really nice way to finish it and just have it ready to hang. But again, even if you use the sprays on them, if you're using something like a pastel or something, you could potentially damage the surface still because that pastel just that's the nature of it. So you just want to be careful and not touch the surface or frame it in a picture frame like the ones that I showed you a little while ago. And you just pull one of these blackout. If you frame it like this, then it's nice to have the fixative spray on it because you're taking it to the framer in somebody else's handling it. And you want to be able to let it at least end up too, the initial touching it, getting it framed and not ruining it, and then it's pretty safe going forward. So just a couple of things to think of. Different ways that you could consider finishing the pieces. But I would definitely at least use a fixative spray on top of that after everything's completely dry so that it will last. Even if you're just putting it in a drawer and saving it for later. Alright, so hope you love those different ideas on finishing and a little bit of framing. And I will see you next time. 7. Saving your Color Palette: Alright, so I thought, well I'm letting these dry because they're not quite dry yet. That I'd go ahead and start my color palette in my book that I usually start with these before all this paint dries and usually I don't want to waste all that paint. Usually I have some more pieces of paper ready to create some more labs tracts with and use up the rest of my paint rather than throw it away. But because I'm filming, I didn't have extra things set up at the moment, but I do want to create the color palette, things that I create Before I let these paints dry and I can't use them. And so usually what I'll do if you took the abstract adventures one where I had the great big sheet and I'm cutting little abstracts out of it. I will take one of the sample pieces from that that's leftover and put it in my book along with the colors that I used. And so this is just a sketchbook that I'm using. It's not anything important, so I don't care if I get painting stuff on it. But my favorite way to do it now as to use an old book. And it just adds another layer of artistic value almost to my color palettes. It kind of takes sum up a notch and I do it every time, so I don't want to forget to do it. And most of these I've done when I've done the great big sheet. So I always have a piece left over. I may not have a piece left over when I'm done with these, or there may be a piece that I don't love as much as the other ones. And I might take that and either put the whole painting in there or cut a piece of that and put it in here as my sample because I kinda like to see the colors, what I might have used with my mark making and how it blended on the sheet that I was doing so that I'm like, oh yeah, I remember that I loved it or oh, yeah, I remember that and I did not love it. And so I do like having a little sample with each color palette. So how wonderful or those. So I'm on a new blank page. Start this out by putting clear, Jess, I want it. And I do that because if you're using an old book and I really encourage you to use a funnel book for a project like this because look how much more artistic that was than just the plain white paper. But use wherever that you prefer. But the old books, the pagers are old and they're very absorbent and I'd kinda like to protect the page from the stuff I'm putting on top of it. So I'm just gonna go ahead and brush that in. I might wake, wipe it off if I've put too much on there and then just let that soak in. And then any of the paints that a paint on top of that, we'll then not soak in and will sit on top for me. So we'll just let that draws Second. And in what I'll usually do is then just take either my finger or a paintbrush. And I will take each color and do a strike of that color. And let's just do my finger for this one. Try not to get the yellow on there. But it's in my paint. And just do a stripe of each color, the pure color. I don't want the color that's soaked up in another color unless of course you're wanting to keep track of mixes. So if you mix, you know, part of this vermilion red with this Bordeaux and you like the way those mixed, then, you know, include that mix and write in pencil or something underneath it right in there, what it was that you mixed so that you can also keep track of color combination and mixes that you might like. So in another book to, that might be a good thing to have something like this is a recipe book so that when you do color mixes that you love, you can save those recipes. Maybe the two main colors or three main colors or whatever you mixed and then the mixed colors underneath it, that would be amazing if you had a recipe book like this also of colors that you mixed and love. So now that I've got a little bit of all my colors there, maybe I'll put a white down here. I'm going to let this and we'll set it to the side. Really let that dry. And then I will go back. Once it's all dry, I'll go back on top of it with whatever else I'd might've used for mark making and put those mark making pieces in there too. So I got to let that dry. So we will come back to this as we go in. Right. So our pieces, I've pulled the tape I just showed you the end of our project, but before we actually finish, I've now let this dry here enough that I can come back and do some other kind of marks and here to finish off my color palette. And I'm just kinda go in through here with any of the tools that I might have used and just making some marks so that I remember later oh, yeah, I remember do in that these were some of the ones that were on the bottom. Was that big graphite thing which I really liked, but I don't know how you'd sharpen that again. So I guess I'll figure it out when I get further down because I don't think that'll fit in my pencil sharpener. Maybe I've got a bigger one, but I don't think it's that big. So I don't know. Maybe I'll take a knife and maybe just shave it off with a knife like you see people do sometimes. I don't know. Okay, so it did go back with some of these pastels. Let's just color some of these on here. So that I remember I did that. I use this color. What colors die useless. See. I don't think I did. And I it yeah. Okay. I think that's all actually used was the the ochre in that red. And then there's my color palette. And then if I decide that I'm like one of these less than the others, then I could, you know, sit this in here with it and just let that live there. Or I could cut it into a little strip and let this be a little tags or something that I have done before. Like if you watched my adventures with abstracts one, you'll know that we cut the bigger pieces into smaller pieces. And so I could do the same with this. I could cut this piece into small tags and pieces to use for other things because I do like these little micro two-by-two are so sized pieces. So consider, you don't love the piece, I should cut it out. Consider cutting it into smaller tags and using it for something else. And keeping the ones that you love and framing those are giving away or make them as card sets are, you know, saving them in your pile of samples and things to refer back to. So that's how I'm going to finish off my color palette for today. I hope you enjoy this particular project, I think because I mentioned it, I might as well go ahead and cut this one up. I just staple Latvian and maybe this is dry enough or I can maybe cut a strip out and then use the other strips as tags. Thinking shears, I don't want to use those. She's my little Sita's scissors here and didn't quite get it. There we go, close enough. So I just kind of strip out that i like C even right now as a strip, I like it even better than I did as a big piece. And so that's another thing too. You know, I have a whole container of pieces that I love that I keep. And I save those as collage bits. So, you know, if I want to then use a little piece that I loved out of a bigger piece later. I have some really beautiful collage bits and pieces that I can then use later. So don't finish it and think, oh, I don't love this because we have tons of uses that we can use even on pieces that didn't quite end up exactly the way we wanted. And this is one way. It's the last say the color palette. And I just stapled is fitted here. And there we go. Now we've got our next color palette. And there may be certain things in here that you love, like I love this right here. And so that's like the AUC or the white, maybe the pink and the burgundy. And maybe I would create out of that set right there and not the entire set. So that's something to think about. And then with the piece that I have left over, I might cut this into three little tags or use it as a collage piece. Because now it, I've cut it. I like it better than I did, has the whole piece. So just consider uses for different things that you're making there. So I love that. Hope you love doing this project and experimenting. And I'll see you next time.