Abstract Painting Adventures - Adding collage elements in your work | DENISE LOVE | Skillshare

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Abstract Painting Adventures - Adding collage elements in your work

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

8 Lessons (1h 18m)
    • 1. Welcome

    • 2. Supplies I'll be using in class

    • 3. Project - adding collage pieces

    • 4. Project - adding paint and marks

    • 5. Project - refining paint and marks

    • 6. Project - cutting out abstracts

    • 7. Finishing your piece for display

    • 8. Saving our color palette

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About This Class

Hello, my friend! Welcome to class.

In this class, I will show you my very favorite way to create some abstract art, and we'll be mixing it up a bit by adding in some new supplies, collage elements, and stencils. 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.

Now, every time I sit to create one of these - I'm truly pleased and pretty happy when I get up from my paint table. I know you'll love creating these... I cannot wait to see your pieces!

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. You can also use oil/acrylic paper - I think the one I'm using in class is 138lb
  • 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 and hard 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
  • 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: Hey, I'm Denise love and I want to welcome you to class. I am a full-time working artist. My main business is too low al studio where I make workshops and digital art tools for photographers. And the art workshops or something new for me. I wanted to add a new creative outlet for myself. I love the art just as much as I love the photography. And this gives me a way to get a break from one to the other. So I really hope you're gonna enjoy these. Can't wait to see you in class. So let me show you what we'll be doing in this class. We're gonna be making some yummy abstract art. In this time. I did pieces that were a little bit larger than some of the other classes I've done. And we've included new elements here that we've not done before. So this project, I have included doing some collage work underneath and some sensor work on the top. In addition to playing with some new art supplies that maybe I haven't played with before. And I love doing this kind of project because then I can experiment with those supplies. I can add different layers. I can just keep on going until I get to the point of ou would've I created and then I cut out a couple of pieces that I love as a set. So I hope you love all the techniques and the different elements that we're using in this particular workshop. And I can't wait to see you experiment with the collage and possibly some stencils on top. So let's get started. 2. Supplies I'll be using in class: Let's talk about the supplies that I've ended up using in this project. So I film these backwards and I'll do the project and then tell you what I ended up using after I have actually used them so that I don't get confused and talk about stuff I didn't really use. So in these pieces, we created some lovely five by seven abstracts in this class. And I experimented with things that I put on the lower layer with collage. So I used quite a few random collage papers, just old book pages and I just kinda glued them rather randomly down. So you wanna kinda gather some of your collage bits. And the first layer of these pieces, I did collage and had a lot of fun experimenting with that. Because some of my collage elements do end up coming through on these pieces. You can see right over here, you can see some of my collage and write over here some of my collage. And I'm sure if I looked around good enough, I'd find more places where the collage was kinda showing through. On the southern one, we have some elements down here or still showing. And I can kind of see through the paint or some right here, some of the under the marks underneath are kind of showing through. So it just depends on how much paint you put on top of those collage elements as to what's going to be left when you're done. So I've used collage elements. I also used a few stencils on the very top, which kinda came to me as I was sitting here looking at it as it was drawing, trying to decide what my next step B. So these are some random stencils that I got at the craft store. And some of these are the Tim Holtz collection that you could look at. And one of these, this is punch Ella. And the punch Ella was my favorite and this is the stuff that the leftover paper when they make sequence. So it's called Punch Ella. And so I love that. We use some stencil bits on the top also when the underneath layers use a few NEO color crayons. So I picked a few of those in the color palette that I picked out today. I used a very few soft pastels and then when I stopped to let this dry and eat lunch, I actually had some hard pastels come that I had ordered in the mail. And these are sharpen artist's palettes, water-soluble pastel sticks. And this might be a new favorite element to do on top because the line is so nice and crisp and the colors are so vivid that they very easily showed up in the areas that I wanted to do mark making on top. And these were not very expensive compared to the soft pastels. So this was a very nice option to play with on these, and I'm definitely going to be using those over and over. I was also playing with some Darwin's tinted charcoal. Well, like about the tented charcoal have pulled out just the colors that I wanted to use, but this is a Darwin's tenant, charcoal set of 24. And they come in lots of muted colors that are really beautiful. And I just pulled out a couple of colors I wanted to use. And you certainly don't need the whole box if you just want to purchase a few colors that you might like to use, that you think you'd use all the time if you have a set color palette that you'd like to work in and get a couple colors of charcoal. And then these are really fun to work with. Also have a mechanical pencil that I just used to mark make, and do stuff there. Also pulled out my oil-based pencil, not pit oil base pencil. It it's in the sienna color. I wish this came in a whole line of colors, but it doesn't. It comes in one color but did not actually end up using it. But it is one of my favorite art supplies. This one pencil so well thought out there that I like in it really makes beautiful marks. And really, even though I didn't use it, I could come back and use it now and add marks and stuff. And it just makes the prettiest Mark. Kind of like these hard pastels did. So I may go back and I could add some more details on there, but I really loved that pencil. Also on the bottom layer underneath where we did collage work, use some walnut Inc., which is water-soluble brown ink. That's just fun to experiment with. I just was getting supplies out to play on that bottom layer to see what I could come up with. And I also used acrylic ink in brown and I've got some Payne's gray, this is read our Earth. So I did use a little of that. It actually made it look like blood on newspapers when I got to that bottom collage part. So I didn't think I was going to love that, but that is this part right here, kind of shining through the underneath layers. And I do like the tiny bit of areas where that shines through it gives that nice little extra bit of pop of color in there. So I was questioning my choice when I used it, thinking, Oh my goodness, but now with the other layers on top of, and I do like those little punches that come through. So that was a really nice choice even though I doubted it while I was using it. And then this is Payne's gray. This was a yummy rich copper iridescent ink by Liquitex. And so this actually used to do a little bit of a stencil work on top. And that was fun to experiment with. And my favorite stencils that I ended up with was the patella. Here's the diamonds, not my favorite, the punch Ella is my favorite. And that pretty damn a school look. Turned out really nice. Also played with that. It was just kind of an opportunity to play underneath the layers to see if I was going to like stuff. And then I use the iridescence on the top, which I really like doing that. I also used. These are the Sharp and brand but any brands fine, Caribbean pink, Payne's gray, I put a little bit of titanium white out, some raw sienna, and then I did have some white gesso and some clear just so that I was kind of mixing with those on my color palette. I also used a variety of paint brushes and a catalyst tool, which is just a silicone tool, catalysts silicone tool to mark Mike and spread paint, and also used a palette knife. So even though I've now shown you tons of new things, if something really grabbed you, definitely try it out, but start with all the supplies you have. I encourage you not to run out and buy tons and tons of new things if you don't have to play, tear up some book pages for collage work and then play with some of your own materials to see how are these working and what did they do and what layer to alaykum on. And when you're done, you can evaluate What was your favorite and what did you not love. So don't, don't want you to go buy lots of stuff. I want you to start with what you have and then if any of these looked really cool and interesting than give those a try out. So I can't wait to do this project with you. So let's get started. 3. Project - adding collage pieces: So in this project, I'm gonna do one of those great big sheets and then cut out pieces that I love because it is my favorite technique on creating abstract pieces. But today I'm going to add another element on there that we've not done in the past projects. And I'm going to glue down pieces of a fear month old papers, collage bits, and I'm gonna do a little bit of collage on here before I start painting on here. And so I've just limited myself on colors that I want to use and try out. And I have just pulled out a stack of papers out of my plastic bin that I have that's full of papers. And I'm not going to think too hard about this. I just want to have some collage elements to give me some, some textures. They may show through to the top image and they may not, but it will definitely give me some different elements and height-wise because this will add another layer in there. And then I have decided, you know, sometimes I'll pick a color palette that is existing like I'll find a color palette on, say, at sea, I mean, Pinterest, or I will pick a color palette from my color wheels. I have several and you can kind of, you know, determine do I want to do complimentary split, complementary triad, TETRAD, different color options here. So say for instance, if I wanted to do a TETRAD and I wanted to combine yellow and red, orange and blue, green and blue violet. You know, those four colors would be a TETRAD. And I could pull paint colors and those shades and create something that would be dynamic and complement each other because you've kind of got some complimentary colors in there. You've got the blue, orange and the yellow purple. Which if you move this little color thing around, tells us complimentary. So it's basically two complimentary sets of colors, complimentary that we're using in one piece. But that's not what I'm doing today, but I might, you know, when I'm choosing colors, I might decide to pick a color palette off of my wheel and then pick colors that match. And I could pick shades and, and tint this is Shades intense, you know, so I could pick any, any in that whole range that would fit into that particular color way. Or I could pick out maybe a color over here and a pop of color that's supposed to complement it. Really fun. So there's different ways, you know, to use colour wheels. I also use Pinterest because you can search out color pallets on Pinterest and you'll find photos with dots of color underneath them. Sometimes to, you know, I've got these fun color flow books that I got from Ivy Newport, which is another artist that I like to follow. And she actually has some color flow decks of cards that she has put out. So that I don't have, but how fun would that be if I took my own photographs and created my own deck of cards with colors underneath them and then printed them. Say like on little MOOC cards, I could have a whole little set of my own color cards. But, you know, this is kind of fun. This is a nice, beautiful photo that kinda compliments itself. And if you pull colors out of that and you know, you're painting is going to have this kind of color away and be really beautiful when it's done because, you know, you can kind of see it's really beautiful here. So I do like visually sometimes to be able to see, you know, what is my overall look gonna be? Okay, let me try those colors. Look how pretty that is. So now that I'm looking at this, I didn't actually pick this in particular, but these are the colors that I'm gonna go with. And I've kind of got like this darker shade and this pink. And I could mix white into that darker shade to get that lighter shade. So I can kinda see that my colors are gonna be similar to this, but then I'll have a pop of RID that I've kinda put over here which I may or may not use, but there are little pops in here of an orange or something. But it's kind of fun. You can look through Pinterest and find interesting color palettes like this. You could get, you know, some books kinda like I've gotten from Ivy and just have it handy on your desk to be able to play with. You can take some of your own photos if you're a photographer and you want to put together some of your favorite photos, create a little color palette underneath it and print those out. That would be super fun to say I haven't really done any of that, but I'm just trying to give you some ideas on how you might pick a color palette today, I thought, really love raw Sienna. I love does Caribbean pink. This might be my favorite one to use. I've pulled out titanium white. Now these happen to be in the Sharp and paints, but you don't have to use sharp and you can get most of these colors or mixed most of these colors in any of the paints, like the artes or any paint that you happen to have. And you can really take this raw sienna and mix it with a lighter color and come up with a pretty paint too. And I've also picked this papa crimson, which I may or may not use. Oh, I've also picked out Payne's gray. So most of these colors you can get an any brand. But I may not, I may not use the pop of crimson. Now that we're kind of looking at these colors, just pulled them out to think about balance, kinda think about, I also thought maybe I would play in some acrylic inks. So I have one that's kind of in a copper color and one that's in that sienna color. Again, this is wrong. This is red earth, but it's very close to the sienna family. And this is what color is this? This is Rich copper. Kinda funded, you know, maybe experiment with maybe a little bit of that coppery. I've also pulled out acrylic in ink in Payne's gray. And then this is kinda fun. The here this is Walmart Inc. and it's had to order it, but it's kinda fun to play with and it's like a Bert. It's a rock, a raw number, a burnt umber kind of color. It's a brown and it's an ink. And I just thought, you know, have these supplies. I want to play with these supplies. I want to get used to them and figure out what do these do. And this kind of project is perfect for experimenting with those. And I've pulled just the few that are kind of in my color way that I've picked out. And now that I'm kind of looking around, I think I'm going to not use that read. We might pull it back out, but I think I want to stick to this color palette. And so those kinda stick in there and then adds the brown. I also thought it might be fun to play with some tinted charcoal pencils for market-making soft told out. Sunset pink, burnt orange, bill berry, which are kind of in my same color range here. And I also pulled out my pit oil-based pencil buy fabric hostile because I just love this pencil is perfect for mark making and it draws on top of things really nicely. I may or may not use it, but it is kind of in my color way. I pulled out some soft pastels in my colors just in case I want to play with those. And I've pulled out some neo color, two crayons in my colors just in case. And so I've got this color way. I'm limiting myself to these colors. I have gone through my art supplies and said here's the colors I'm going to play in today. And just to make it easier. And so we're going to start this project doing some collage work. And so I'm using regular gel medium by golden, You can use mod podge if that's what you've got. You can, if you use the matte medium, you need the heavy matte medium. You know, if it comes in a jar like this, it's pretty liquidity. If it comes in a jar like this, it's pretty thick. It's kind of the way I'm thinking of this. And a glue down different weights of papers. I may want this a little bit thicker stuff and I'm probably going to put that on with a brush or palette knife. So I've got that right there. And I'm just gonna dig through, I want different shades of paper. And I'm going to be very random about where I put these and just start gluing some of these down. I've got some pieces that I've drawn on myself. We've got a little bit of music in here. Maybe. I like the ones that have stuff that I did to it. So I'm pulling some of those out of my little pile here. I have tissue paper, that's fun. I'm not going to use the tissue paper today though. This is kinda fun with a photo on it. It's really dark. Might be something fun to show from underneath. So let's just start with those. And we're going to start this piece with collage elements. And you can do any kind of collage elements that you think you'd like. You could have got some water over here on the side. I'm gonna get my brush way here. You could do magazine papers for collage. You could do interesting words and things that you find. For collage. There's different things that you can do. And I'm just going to separate these out, just tear different sized pieces and don't have to be real exact here, this is underneath most of what we'll be doing, but I just want this element in there. And we could, we could start off by drawing on the white page if we want room a paintbrush brochure on the floor. You know, if we want to start off with some mark making that's kinda nice to maybe the collage elements and mark making on top of it. Kind of brainstorming here, giving us some ideas. I like these dictionary pages that have the really little writing. I like the edges to be real organic. So I'm tearing the edges. Like these old notebook, a ledger papers, who I think those are pretty cool. Alright, so let's start gluon. So this is rural thick stuff. So once we glue these down, we're not going to be able to do anything else to this until it dries. So I'm gluing it on the bottom and then on the top. And this is a really nice way to to see whatever you used. Is it going to run? Did you picked a marker that was smudge friendly? I guess is a good way to say that. So whatever I used to create, that was not smudge friendly. Good, good lesson to learn, especially for doing this on a piece like this where it's underneath stuff. And now we know and it's kind of turning things muddy forests but And look, this, this side is actually in kind of my color away. So maybe we'll just go ahead and use that. And you'll notice I'm not putting it because I'm doing this kind of on top, on top kind of underneath stuff. I'm not putting a lot of thought into where these are going. I want to work a little more organically. I want to think a little bit less about it in this piece. I want to want it to be a little more serendipity for this. You know, these collage pieces. I like him so much because I'm not stopping and thinking super hard like doll up this here. Don't want that there. What's my composition doing? Where am I going with this? I don't want to think about all of that when I'm doing these, I want to just let go with abandon and be not thinking about what, what are we going to end up with? Not thinking about my composition, not thinking too hard about where I lay each color down. When we get to the colors, i will do want the colors to be kind of harmonious when we're done. But I want it to be in such a way that I've picked out the colors beforehand. Not in such a way that I've thought too hard is I always go and, you know, I'm just, I decide that color palette ahead of time so we don't have to think too hard about it. And you can have these more spread out. I've kinda got him in here. Pretty good bunched together. You might just want one or two collage elements. I'm kinda thinking too, I don't want to be too precious about it. So that's why I like working fast and off the hip here rather than thinking too hard because you're not maybe going to see any of these. Or maybe we will just really depends on in the end what we've laid on top of here. Let's go ahead with maybe dictionary page here. Because once we start painting and stuff on top of it, we may or may not see any of this. But it will give us different elements underneath our painting to give us interest, which is kind of my goal, that interest, I like interesting things on the different layers. And then if something peeks through, it's like a nice pleasant surprise, like, oh, what is that picking through here? And this does really thick, so it's gonna take a little bit too dry. If you've got a heat done, you can use a heat gun, but you just gotta be careful that you don't make your paper fall ripple, but the ripple could be an interesting texture. So kinda getting into choices and preferences. I've got one here where I've got a little bit of paint on it or a painted a piece of a collage element. Let's put this one here. I've painted some interesting collage on here, kind of, um, that I liked. And they use a piece of this. And save all the little pieces that you're tearing off. These little pieces are good for something later. Alright, we've laid that on pretty good. So now, before I can do anything else, do this, I'm going to have to let that dry because it's not going to let stuffs stick on it really well while it's saturated, wet like this, it's not going to take a long time like some of this as kinda already dry. Just make sure all my pieces are stuck down really good. And then we might just take a heat gun possibly and hit this with a heat gun. So if you've got a heat gun, you can draw it a little faster with a heat gun. And then once this as dry, we'll be back to start adding paints. And Marx. 4. Project - adding paint and marks: All right. This is dry ish. It's been sitting for awhile. I hit it with a heat gun for just a little bit to kinda get a little bit drier than it was. And so what I might do now is just do some scribble and some market-making right on top of that. And this is my neo color, two crayons, and this isn't a sepia color. And I thought, well that's kind of nice with these color palette that I've picked. And it's a color I've never used before. And I'm using my non-dominant hands so that these marks can be a little bit less rigid and less sure that self, so that we really get kind of that organic. You look to it. And I might come in here with neo color. This is raw sienna and just kind of do some marking up here. And these are water soluble. So if I put something wet on top of it, that might blend these colors a little bit. Forests. So if I take some wet paint brush, I can kinda work with this a little bit and smudge those out and just see what we get. Like I like that. Raw sienna smudged around right there. That's real pretty early, nice. Well, you just add bits of color and here you've got some white which may or may not show up if we use it on top of stuff, but maybe it will. The darker the color the better shows up. You've also got these charcoal pieces. We can kind of see what they do. Charcoal is also water soluble. So you know, if I want to do a whole little piece here and then see what the water can do with it. They're water soluble. A cow soft and pretty this color is when we add it to the water. And if we draw on top of it, whet, we do get like a heavier line and dry. So very fun and experimenting with charcoal colors. And you get charcoal colors as a whole little pencil sit like this. Lease came out of a little collection of colors called tinted charcoal. And it's got like 24 just muted shades that I think all the colors and they're really beautiful. But for this project. I wanted to limit my shades that I was using to just something that really worked within the color palette that I chose. So even if you get a whole set of something, pull out colors that you like the most. Like I love this color, this sunset pink really reminds me of the Caribbean pink and all of that. So that might be something I use on top of that. And then that's a lot of color we've got going on here. Maybe we could do some stuff with the walnut ink here. And this is a good product to create drips and things. If I wanted to lift my whole board up here, I could create Yomi drips. I'd have to move all my little art supplies here when I might do that in a minute, but just kind of fun to play again with another medium that maybe you've not played with before. I want this underlayer to be a little more chaotic. And I think for the upper layer, I'm going to try to play with larger color blocking like I did with our larger color block abstract class that we did. The number three, I think it was. So I do like those larger blocked pieces that I have. This is the acrylic ink and I'm using that red earth color locale, yummy, that color is these kinda, I can use it with a brush if I want. These kinda have this stopper or, you know, soak stuff up into it. And I can really do something interesting with some of these, like this. Look at fat, that's super fun. And I can smear it around only if I wanna take a palette knife or maybe one of my catalyst spreaders, I can spread this out a little bit because that's going to definitely take some extra time to dry. Now at almost reminds me of newspaper with blood on it. That's true. That was quite the look I was going for. How funny is that I like to read murder mysteries. So that's of course instantly what I think of when I think of stuff like that, I think of that go into that mystery. Leave that splat there, that's gonna take a while to dry. Alright, so now that I have spread all this stuff on this underlayer, will have to let that dry a bit before I can move to the next layer. And hopefully when I'm all done, I don't end up with a dark, muddy mess. I want it to be a little different than what I'm seeing here, but these are the initial layers. And even if you don't like where it starts, you can, you add more layers on top of it to you get to a point of, I think I'm there. So let's let this dry and I'll be right back. This is about 80% drops, so we'll call that dry enough. Gone ahead and put out my raw sienna. I'm a Payne's gray, my Caribbean paying off, put on a little bit of my titanium white, may or may not use that, but it is there. And then a little bit of my just so in the white and the clear to kind of mix those in with my paintbrush, my paintbrush, to mix those in with my acrylic paints so that I can draw on top of that later. And I really want, let's just start off with this Caribbean pink. I might put a little white in it. And I'm gonna do the great big color blocking like we did before, cause I tend to work tight and small. I do the same thing in my photography. I tend to just get real close into things and see now, here's the part that didn't dry, but I do like mixing that color a little bit on the pallet, so we get some interesting variations. So I'm okay with that. But I have a hard time even with my photography, getting real tight in on things and not pulling back to the bigger picture and with my painting, almost consider big blocking is the pull back because I tend to get real tight in and make everything very chaotic just like I did on that underlayer. But let's get a little more this pink on here. I want big swaths of color on some of this, I believe, and I don't want it to all be really tight in there. So trying to paint larger on my sample things that, so I get those other touches of not to be big. And it's okay to if you don't cover all the background and this, so this might be the, there's some that's wit to you. I just blend it a little bit with this. So you don't have to fully cover it. You know, we're doing big blocks. A big block could be that underneath collage part if you like a particular like this right here. I love that, you know, so maybe I don't want to cover that. I don't wanna get too precious about any area. I don't want it to prevent me from moving forward in my paint or whatever. But like this little area right here, you know, I'm kinda dig in that. And the next time I do this, I may or may not use red underneath. But this very interesting, you know, figuring out what, what goes on the different layers to give you a finished piece that you love. And I am kind of just mixing the paints together here on my paintbrush. I'm not trying to be real careful or anything like that little stroke of those that are in there. Yes, I'm just using the same brush. I'm okay. Mixing some of these colors as we go just to see it would get this almost reminds me of a kind of an urban graffiti wall. So that's kinda fun. Not, not necessarily the look I intended for this, but definitely interesting and outcome that we're getting with that. And you can see those up underneath that collage elements showing through that pink. And so do I love it, do not love it. You know, I don't know. I just gotta decide as I'm as I'm going, where do I want to touch more of something and where do I need to maybe bring in some darker color? And where maybe you don't want to bring in some white. Because sometimes this Payne's gray, it's not as dark is. I actually think like it looks like it's a super dark, almost black blue, but it's really not. Alright, so that's kinda fun. Maybe I will start. Yeah, I'll bring in a little bit of something bigger, so I'm gonna use my catalyst. I think I could do some of this with the palette knife actually. So I'm going to mix the white with some Jesu, just so that white is. So I can still draw on top of it even though it's white and white. And I may come in and just sci fi smear widen here. What can I look at this? I just love the texture that we get when we do a palette knife smear like this. Look at that. Oh my goodness, that right there. You know, a lot of times I'll be painting and I know you're gonna do this too. And I'll be doubting myself thinking, you know, what was I thinking with this? And then I'll do something like that and I'll get excited again. Like it gets, just kinda gets me all excited. Let's put some white out. I can do this with the Jess O two, I could do it all just o, but sometimes I like to use the white paint just to see, you know, how does that white paint react rather than everything being the Jess out of the Jessica was technically acrylic paint also. Look at that. And if you do this while the pain is still wet, then you get some interesting colors that'll blend in with your smudges like this. I love that too. If you do it all when the paint is dry, then you'll just have clean white with no other colors in there. And before I forget and get too far, I may come back and add more of these, but while some of this paint is still wet, I wanna do some fun mark making. And I'm gonna start off with just my mechanical pencil. Then start doing some marks in here just to give me another element of interest. And if you are getting things that are too uniform or to exact, switch to your non-dominant hand and then you'll get some more of that messiness that we tend to like when we're looking at different marks. And you might do some lines and you might do some circles, and we could do some hashes and we can make a ladder. I liked the little ladder. Sometimes that's a fun element. Little dashes, marks. And you want to remember to do some of this before you get too far and it's, everything's dry and you miss the opportunity to dig through some of these layers. And I do like how some of that collage element is still, you know, pop in through here. I haven't completely covered it up like sometimes I do. And you could also, I'm using the mechanical pencil to do this. You could also use like one of these clay tools that has a sharp edge on it like an ice pick. I also like this end That's kind of slightly curved with a point on it. So you can do some of these also. If you don't want to use a little mechanical pencil, but I do love the mechanical pencil. I like this little tiny area right here. The color showing through is just so amazing. It's kind of burnt orange, blue kind of in there. And, you know, that's a little bit of a reason why I went with the Payne's gray out. Payne's gray just poked myself. I'm sorry. It's a little bit of the reason why I went with Payne's gray and this Rossi inner were kind of a little bit working with the complimentary colors on each side of the scale with the blue and the orange. And this bird aren't showing through the cow. Beautiful that one little area is I loved that right there. Totally made me happy. Alright, so let's go through with a little more maybe of the white with muffin palette knife here. Just getting some more yummy texture and stuff going. And you don't have to do white, you can do whatever color appeals to you. I just happen to want this to be a little bit lighter on the top. Almost want it to be darker bits showing through, enlighten us on the top. That's kind of fun. And once I'm, I'm just kinda throw in my paint brushes in the water there so that I'm not really holding myself up and I'm allowing them to not dry out because so easy to ruin your paint brushes. Alright, so I'm gonna just paint some of this, give me some texture with the paintbrush that's different than the knife. And I'm gonna have to let this dry before I can add anything on top of that. So I think I'm going to let it dry for a moment and I'll be right back. 5. Project - refining paint and marks: Go ahead and let this dry some. And I thought, as I was kinda sitting here looking at it before I turn the camera back on, I was just kind of looking around to see is there anything that I love and I love this area right here. I thought it might be fun for this next layer to add some stencil. Work on top of a little bit of this just for an extra layer of excitement really. And I have several of these Tim Holtz collections, stencils that I had gotten it my goals. And thank you. You can probably find some online possibly are fine to whatever the new stencils or available out there now because I've had these for a while. But I really like this kind of floral pattern. I love this diamond pattern and I have that in a couple of different stencils. I've got some big circles that I think is fun. I've got some punch Ella, which always fun is punch. All of this is that stuff they make sequence out of. So I have different ones of those. Just thought it would be fun to just add a little bit of stencil work perhaps. And I'm kind of thinking, I like the flower work. Like this. This floral pattern to this. It's more of them ask, pattern, maybe I'll use that because it'll kind of dress it up a little bit. And we could come back in with different stencils in different places. But I think I'm gonna go for this. And my paint has started to drop because I really have left this for a very long time. I decided to go eat lunch to give it enough time to draw completely so that I wasn't coming back working wet on wet again. But I think maybe this might be a fun time to test out this metallic ink that we have here. Some might just put some of this down on my palette. And it's got like a little dropper that you can squeeze a little bit out. And I can either do this with a paintbrush, I can do it with a stencil Dava or if you've got any of those, I could do it with a little piece of rag if I wanted to, maybe put that on with a rag. But I think for the moment I'm going to try it with a paintbrush and just see if I can dab some of this in there. I really want it to just be a sparkle, like a hint. And it may not turn out the way I want it all. But let's just see. And I don't want this to wet because I don't want the pattern going up under the stencil. And which is why a lot of times you'll find stencil paints are kinda dry or you're using that dollar. And so I'm kind of using it like I would a stencil brush, dabbing it down. And then we'll see you when I pick it up if I was successful or not. If we don't like the way it looks, then I'll just continue layering on top of it. So I don't want to be real square like I don't want to just see that square there. So I'm working a little more organically. Oh, that's very interesting. It's not as defined as I was thinking it would be, but it's still very interesting. So maybe in another area, I can just take this diamond one and see if we can add a little bit of diamond shine out here. And if we don't love it, we can just paint on top of it. It's not a big deal. Oh, yeah, that's fun too. I don't know that it's my favorite, but it is kind of interesting. See what the punch Ella does. Let's just, let's just throw out the kitchen sink. Oh, I do love the punch Ella, one. U dots here and there. I do love that. Especially on top of the pink. That's fine. All right. We'll go ahead and leave that there. So I think I'm going to start mark making a little bit on top. I wasn't mama and a successful with big color blocking that I had intended, but that's okay. It's all about, you know, going with the moment, going with the flow, just seeing where that moment takes you. Put some more, let all my stuff dry. So when I get to making my color palette, I'm probably going to have to put a little more paint out, but that's okay. I like I like lines, you know, occasionally having spots with the lines like that. That's one of my, probably one of my little goto Marx is creating some of these just sets of lines. I like that when I'm done, it's always pretty in my piece. When I can include a little of that. So I'm doing a few lines in here because I like them. That could be what I consider one of my signature marks. Probably. It's kinda fun when you can get to the point where you have what you consider signature, things like this might be a signature thing for me. I like little lines. So most of my pieces have some little lines running through out it. I'm just taken a baby wipe to clean my tools as I go. I could also have my broke my tip on there when I threw it down on the floor accidentally. Fellow pencil sharpener handy will just tighten that backup. I could also do some lined but tentacles are some lines of different stuff. I could go ahead and i2 and play in the pastels and oil pin and these little pastels just to make some color pops somewhere. So let's go ahead and do some color pop here. Ooh, that's RED, RED. So now that I did a little tiny mark of this color, I don't think I want to go any further with that color. It's much redder than what I have in here. So let's come back in with some other like Brown. And Brown's pretty. And I'm, I'm just doing some marks may be some areas of color. I could even take my finger and kinda rubs some of the color into the area that I'm working in. If you're using any pastels on your piece. And I do want to spread it around a little. I don't want to just use it in one spot if you're using it once, use it in a couple of different places. If you're using pastels, then you're definitely going to have to use some type of finishing spray on your piece because the past still is, you know, it's a chalky product that you're putting on there and you're gonna be able to continue to smear it, Lew other things to it later. This is what Pink little pastel here. And I want to be careful on the fingers I'm using. I don't want to stick my finger in my pink pastel, that would look terrible. But you want to be real careful with, with the piece at the end. We'll definitely have to do a finishing spray on here. You'd just take my wet wife and clean those colors Offer there. How about that? So let's just start making some marks. Maybe some little, little hash lines would be nice. You know, I did in one of our other classes, I do collage and market-making, and I made a nice fun little cheat sheet that I keep up here on my idea board of different types of hash marks and lines and circles and different things that I might like to use in my works. And it's really handy because when you're sitting here and you're like, what marks Can I make? You might, you might go blank and if you'll put like a little cheater sheet of lines and marks that you like up on your board that sits in front of you when you're at your art table. Then when you're drawing stuff, you can look up and be like, oh, yes, I like that, Marc. Well, let me try that one. Let's go ahead and put some little hash lines over here. Maybe I'll do it one more time. Let's see. Well maybe I'll just use some of this color over here. I also got some hard pastels. These are soft pastels, but I didn't get a thing of hard pastels. These are sharpen and they're water soluble. And what I like about them is they're hard and are not nearly so chalky as these really soft ones. And these were not very expensive. I got these off Amazon. But what I like about them is they're hard instead of as soft as those. So if I were to come through here and do a little drawing, I get a much clearer, tighter line that I got with the big fat, chalky, soft pastels. And so he's just came today. And look how pretty R It's a little pack of 48 colors. And it wasn't very expensive compared to what I've paid for the soft pastels, they're Boston LEA. And look at all the yummy colors that this comes in. So as soon as I got the UPS thing at the door, I was like, oh my goodness, I can't wait to try these out. I think collecting art supplies is is just as much a hobby as doing art with the supplies. Which is why I have as many supplies as I have. I used each new thing that I jumped into as an excuse to go gets new art supplies. So I actually really love this hard pastel for line making. Little bit of extra decoration here. These are amazing. We still have to finish these just like we do those soft ones though because and it does a much tighter, a little dash. If we do that little dash mark, much tighter mark there, I love that. Okay, these could definitely jump right into maybe being some of my favorite. And we've got some pretty, some pretty blues and gray blues and here. So if I'm looking at that and I'm thinking maybe I want to use something in here to go along with the Payne's gray. This one isn't real pretty color in here and they don't have the color snapped on it. This was just a pack of 48, so the colors probably on the bottom of this box. But I just like having a variety of play with oh yeah. Oh my goodness. Look at that. Oh my goodness. Alright. New favorite tool right here. Hard, little hard pastels. And then as I'm going, I could still bring my little piece that I've cut out just to kinda gauge, you know, I was kind of over here like in what I had and then I might just see, you know, is there anything in there that I'm loving that I'm definitely going to want to perhaps add some details to or decide whether I've added enough details and I should stop detail adding. Also made a bigger one. This one is five by five, which tends to be my very favorite size. This is like five by seven. And we could go through and find pieces that we like that are a little bit larger. Five by seven is a nice size. And earlier when I didn't have all these extra marks on here, I actually did not like any of these areas in the five by seven, but now that we've got all this extra yummy detail on it, this y here is kind of speaking to me. So try to make some of these in different sizes. And this is just a piece of watercolor paper that I've cut it into strips. No specific size. That's probably an inch and a half that I've used them but I didn't specifically well, almost two inches. You can make them smaller. I just like that. This thicker edge really helps me mentally. Get rid of the rest of the painting. So I just cut these into strips and then I take them together in the size that I thought I might like. So I took this, my ruler and I was like, okay, I think I want these five by seven. This is slightly larger than a five by seven. It's like, you know, five and an eighth Bus 7 eighth, then that's good because that gives you a tiny bit of room for framing if you decide to frame your piece. And then this was one that I made in a five by five. So do this. Several of these make five by 56 by 65 by 76 by nine, you know, some standard sizes there. And just see, you know, when you're applying four by four, I've done some in that size before. And then when your play and you know, you can pick out some bigger sizes and have bigger finished pieces. If you see some bigger in there that you are really Levin and I love all these details right in here. So we may have a bigger piece come out of this and we may not. We'll just see. So I think for now, I'm going to call this good. I'm not going to continue adding more paint and stuff. I like everything I have go in. Once I cut the piece out that I want the little pieces out, but I want to use a could continue to embellish that. But for the moment, I think we're gonna go ahead and pull the tape on this. And you know, when you're pulling your tape on a piece like this, it comes off pretty easily. I didn't have very much done, but kinda pull it close and slow and you'll be less likely to rip your paper. Because if it's a piece where you need that wide edge on there to look nice. You don't want to rip the paper, so keep it pretty close. When you're pulling and go slow and you'll be less likely to tear the paper, especially if the paper is still wet. And anyway, this is dry and it's coming off pretty quick. And this piece of paper that I'm working on, I don't know if I told you at the beginning, this is just a piece of Strathmore cold press watercolor paper in an 11 by 15 size, which may be slightly larger than what I was using the other day. But look at that. That's super fun, just like that. So if you like your big piece, you don't, don't feel like you have to cut it out. You know, you don't have to. If you end up loving what you've got. So what I'm gonna do here, I actually did like this piece right here in the larger size. Also kinda like it in the smaller size. I think it's fun to have an occasional bigger piece. I'd like it right here with the lines in it. So let's take a bigger piece out of this one. And what we can do because, you know, I don't have a five by seven wood board like I have used to cut around in some of the other classes. I'm just going to take my pencil and really lightly draw just right around here. And because I made the slightly larger than my finished size, then it can still frame it. I can still use it. And then leave the act even leave the pencil mark just outside the ruler to make sure that I don't have pencil mark left on my piece. And then you can take a pair of scissors and cut this. I'm going to use an exact DO knife because I have several of them. And I've got the pencil line right outside the ruler here. And very any, everything's gotta be dropped when you get to this point. So I'm, I'm pretty good with the drowsiness. And I'm going to hold the ruler down and just cut that line. 6. Project - cutting out abstracts: And again, I'm put in that little pencil line just outside so that it doesn't end up being part of my artwork. Are this paper is so nice and thick when I just moved it around, it was so yummy feeling. I love all the layers. Yeah. Look how beautiful that is. So do I like it better that way? Let's see if I can move this out from our view. Or do we like it better that way? Hall on, well, the myths, Oh my goodness, I think I might like it this way. That's pretty cool. I love the big splashes of white with the other colors showing through. And then you can see our collage element showing right through to the top there because I didn't actually cover that. And I've got some collage element here showing through. So I really love that. I love how thick it is. Okay. I'm loving that one right there. So let's go ahead and determine out of here. I love these little pieces over here and we can cut these into light two-by-two squares. If we want to have some little micro pieces, I can use them as part of my colors watching. I can go ahead and see do I want another one and this size so that I have a pair. It's a pretty cool pair right there. Actually, I like to kinda look up. You can't stand up and get away from your piece a little bit if you can. Let's go ahead and do another file by 711 That right there. You want to kind of step back a little bit because being so close to your piece, sometimes you can't really see the, the, the bigger picture basically. And with abstract, if you'll stand back a little bit to kinda look and judge, you can kinda see it better. So like when I'm doing this right here, if I look up into my camera viewfinder, it's almost like I can see the piece of art more so then as close as I am. So let's do another five by seven. And then I can already see that most of what's leftover would be little micro pieces are maybe a bookmark or collage papers. And I definitely want to be real careful and get that right, that line right outside. Because I like to frame stuff and hang it up. And I don't really sell a lot of art because most of the stuff I do is for myself or for teaching purposes or, Oh, I love my heart so much that I just want to keep it all myself. And I might change my mind once I have absolutely no wall space, but I like to make gallery walls or I can hang like 20 pieces aren't on the same wall. So I feel like there's still some wall space left if I make pieces that I love. Sometimes I give stuff away for gifts. So my goal in making art isn't necessarily to sell at all. A lot of times it's to use it as marketing for things that I do on my website. Look how beautiful that is. See every time I do one of these, adjust, surprise myself in what I end up with. I love that. I don't want to necessarily flip it because I don't want these lines to be in the same place. So I do like one being opposite the other. But these turned out so beautiful. And then the rest of this, I might make some little pieces out of or use them as collage elements. So I'm just going to cut up more of this and see what we can end up with. So I'm gonna get my really sharp pair of scissors. I need another pair of these. These are the greatest scissors there called precision tip is sharp and their cutter bee is what they are. And I got these years ago when I did sewing and stuff. So it's not like I've had these. It's not like these are brand new. They I've had these for years and years, but the tip on these are so sharp and so wonderful. And you know, you can't use the same Paris scissors for pay for and fabric. You need to have a fabric pair of scissors. And you need to have a paper pair of scissors. And I've been cutting paper with this pair. So this is now paper scissors. And I don't do stuff with fabric like I did when I was younger. I thought when I was younger I wanted to go to school for fashion design and I thought I wanted to. So let me tell you, I actually hate to, so I'll make blight far blankets for myself or for to give away. Did lots of far blankets for Christmas gifts one year. And I liked her blankets, but other than that, I just hate to sew. And my grandmother was a tailor. Basically, she did amazing things for the family because she sewed for everybody with Capri. These pieces are so I don't know how she sewed that much because let me tell you, it's just no fun. I really like, you know, if you look at some of these and you think I like a little bit out of here, like this piece right here is really pretty. These would make really good collage elements. I really like this section right here. That's pretty so I think I'm going to save these for collaged. I'm not going to cut them into small micro pieces of art. I'm going to let these be yummy collage pieces and stick with my two that I really, really love. And then I'm going to show you how we'll finish these, how we could finish them in the next video just to talk a little bit about that. So I hope you enjoyed this. I always love watching people art supplies that they introduced me to and the collage and the stencil on the different things. So I hope you enjoy experimenting with some of these techniques on a big piece and then hunting out little elements that you love. I could do this over and over and over with different supplies and different colors every day and get nothing that matched that what I did the day before. That's how different every piece ends up. And that's really while I'm doing this. So hope you enjoy this things that we played with today. Can't wait to see what you come up with. So I will see you back in class. 7. Finishing your piece for display: So let's talk about what you need to do as you're working through your piece depending on what you put on what layer. Like if I put soft pastels on the very first layer, I would have needed to go ahead and fix that layer before I put other materials on top of it. And so I would use a fixative spray. And there are several different brands of fixative spray. So you just want to experiment with the different ones. I happen to like the CLEA fixative for soft pastels. They also have a fixative for the oil pastels, which is the really creamy oily sticks that they sail. And what I like about this particular brand is I feel it doesn't change the color of my material when I spray it on. So I do like using the fixative spray, a couple coats. So on whichever layer you've used the pastel, if you're going to continue adding stuff on top of it, you need to fix that layer before you continue on or you'll smear all your pastels in a way that you don't intend. Now if we use it at the very end, then a couple layers of fixative spray. You want to put that on the top so that, you know you don't continue to smudge your artwork as you go. So I love the fixedness Bray, also, you know, a lot of people finish their pieces in some type of varnish. I like this you, the archival varnish, my cry on this is a nicer varnish made for art. And I think I may have got this at the art store, could probably get it online. But it is archival, it won't yellow. It's a really nice finished for the top, comes in mat and probably several other finishes like gloss and things. But I like Matt, I don't like the artwork is self to be super shiny because if you're going to frame it and put a piece of glass on it. The glass is shiny, so want the piece of art not to beat shiny on top of that personally. So I do use the mat UV finish to spray on top of that and these stinks, so you wanna take them outside, spray your piece, you know, do a coat, let that dry, do a code, let that dry. Couple coats. It's what you're going to want to do for that. There are several two that I've gotten at the art store. I've gotten cry, cry lawn Kumar varnish, which is the same company that makes the archival one. But this is non yellowing, perfect for oil. Acrylic watercolor may have gotten this one at the art store. Also, I'm not positive, but it's acid free, it doesn't yellow and a couple of coats on top. I again, I get the mat one on or SAT and I don't like it to be shiny. And I think I've got this one at the hardware store, so you can get some of these at the hardware store. But the thing about them is they're not usually made for nicer artworks. The polyacrylic is more of a urethane rather than a varnish. And unlike like clear satin, I wanted to say, you know, crystal-clear finish what I'm doing, stuff like that. But the longer I've done this, so I have these just because a header for years. The longer I do this and the better, you know, my pieces of art get because they get better as you work on any skill you improve. I do tend to like nicer art grade quality finishes. So just something to keep in mind as how you're gonna finish the top to keep it from smudging. And then the other is a couple of different things that you can do with pieces like this. You can mount it to a board. And I've got several examples of pieces mounted to the board. Just to kinda show you pieces I've done in the past. You've got these artists panels that are, you know, different thicknesses. You can paint the sides. You're not. These come with a hanging spot on the back. And then these are you could glue this down with I use yes. Paste because like how thick it is, I use a piece of Delhi paper to then smooth it out once I get the paste in the paper on there. And the yes. Pace is a really nice super thick paste that glues down this nice heavier watercolor paper. If you are going to use like a matte medium or gel medium, then the heavy gel medium from Liquitex or this regular gel medium from Golden. These are a nice alternative to the yes paste and they do the same thing, each braid it on, and then put your piece of work and then, you know, piece of Delhi paper to smooth that out so you don't really in any finished on top of your piece. And this has some things. So if you get one that's got double things on here, make sure you know which way is up so that when you put your piece on there, you don't mount it upside down and think, oops, now I can't hang it. So just something to keep in mind, also like cradle boards. And with a cradle board, you can paint the sides, yes, paste or glue on the top. Smooth your piece down. And then now these can be hung in any direction. And with the finished side there ready to be hung on the wall like they are, you don't have to frame them. And then of course another way that you can do is just a nice frame and mat of your piece. Which I do. I can do this with cheap frames from the craft store, which I've done plenty of those, or a nice frame from the framer and frame them up. So I've done that too. These are the nicest looking ones that I've done that the customer framer DID because I can really get exciting with my frame color and know what the frame is self look like. It's not a standard just flat gallery frame. I love that. And then she color coordinated their formatting rather than it just being white mat. So that's super fun also will say If you get unframed, tell the Franca which way is up because these are on there permanently. And in my mind, this was up. And when I got it, this is how it was framed. Sounds like. Hmm, that's a good lesson to know. Delta framework. If you love your peace enough to take it, to get it framed Teller which ways up? Because I might think this is up and they may amount it like this. And then every time I look at that, I'm going to be bugged because it was mounted differently than I had decided in my mind, I wanted it. So that's just some different options for framing and finishing I thought I'd share with you. So I hope some of these ideas really helped you out and I will see you back in class. 8. Saving our color palette: So I always like to do a color palette page for all of these projects that I do. And you'll notice that I'm getting pretty far along here in my yummy Vintage Book that I'm using for this project. But I want to be able to come back to these and revisit color palettes that were surprising that I really, really loved, like this one, really loved that. So pink and red and orange, those colors, those pieces are just so fantastic. Actually hung the finished art pieces that I created in a gallery wall in my bedroom downstairs. So I really love how bright and fun and yummy. This turns out so loved that. Some of the other color palettes, I thought I'm not going to love this when I began and when I ended on like, oh, I really loved that. Like here's another one. I really love Pink and ogre kinda, those tones. That's really pretty. This one, this one I have hanging up behind me. It's kinda like this color palette, but look how fun and beautiful that is in the ones that are really love. I'm hanging up on the wall in front of me for awhile or offer a moment hanging around the house. But I do like having this color palette books. So because I'm using an old book, you can use a art journal if you want. I'm just going to take a little tiny bit of clear gesso on this page because you want to have the paint, you know, kinda sit on the page, not soap down into it so clear gesso will perform the page for us. Love it. And all of these are kinda starting to dry. So hopefully I can get enough of these colors to just spread right on top. And normally I'd let the jess Oh, completely dry. So it may not be completely dry, but you get the point. And then here's this yummy ochre. See if I can get this blew out it, yes, got this yummy blue. And then if you really want to know exactly what those colors were, definitely, you know, right under the colors what they were. If you want to keep really good track of it, I just kinda want an approximation because even if I pull these exact same colors out again and use them again, I'm not gonna get the same thing with these little abstract things. Everything I do the next time is so different from the one I did the last time that there's just no way to duplicate it. And then I also want to take some of the tools that I used and just kinda draw in here with those also, I just want to remember everything that I did. So I used a couple of these hard pastels. And then let me tell you for mark making, this definitely is one of my favorite new gonna be going to tools because it has such a nice crisp look to it compared to a soft pastel. I did use a few of the soft pastels. And you can see that it's, it's not nearly as crisp and clear. It's, it's a little more smudgy and completely different feel than the hard pastel. So I like those differences. I did use a little bit of brown. I did not use the rest of those. I was drawing on the underneath with some of these Neo color crayons. So maybe I'll do that on there. Also experimented a little bit with the charcoal. Some age is put that over here. And if this is something where you don't want the stuff to ruin, basically when you go looking in at later than you can take the Finishing Spray that I've talked about in the finishing your pieces. And you can coat that page with Finishing Spray too, and that'll walk all those pastels down. Another thing that I did was use a little bit of this walnut ink. So I might just go ahead and spread a little bit of that on there. I used a little bit of this and that underneath. So I'll just go ahead and little bit of that on there. And there we go. Alright, so now I have a little catalog of stuff I shouldn't have drawn on this side because the one thing I really like to do with this is put a sample in here. And so this sample could be modeled sample piece. Let's just look. Oh, I like this sample piece that's pretty set. Got everything in it, that's got a lot in it. Let's just use that as a sample. Well, on a little bit of everything though, That's okay. We'll just use this. And usually what I'll do is just staple this right in here. And if it's your pages are real thing like you're using an old book like I am then stapled two pages together. So some of these, if I thought it was real delicate, I stapled two pages together and it works just fine. And then I will let this dry because this is the color palette that I use today. How we'll let this dry and now have a color palette page to add to my color palette book. Alright, so hope you love that, and I will see you back in class.