Create stunning Texture with Cling Wrap, Watercolor and Negative Painting | Camilla Damsbo Brix | Skillshare

Create stunning Texture with Cling Wrap, Watercolor and Negative Painting

Camilla Damsbo Brix, Teaching Whimsical watercolors

Create stunning Texture with Cling Wrap, Watercolor and Negative Painting

Camilla Damsbo Brix, Teaching Whimsical watercolors

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8 Lessons (46m)
    • 1. Welcome to Class

      1:29
    • 2. Tools and Materials

      1:11
    • 3. Experiment 1: Crumble it up

      4:47
    • 4. Experiment 2: Granulation

      5:10
    • 5. Experiment 3: Paper type

      2:56
    • 6. Negative painting

      2:48
    • 7. Painting the Class Project

      25:52
    • 8. Let's Wrap Up

      1:45
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About This Class

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In this class we are going a little nerdy when we dive in deep with Cling Wrap - film - foil or whatever you might call it where you come from. We will see how it reacts with different types of paint and paper and also how much we need to crumble it up.

And besides being nerdy we are also painting a beautiful floral piece in negative painting and we take a look at how to make some stunning white flowers.



WE’LL COVER

  • How to use cling wrap in watercolor painting
  • Painting in a negative technique
  • Painting white flowers

So grab your brushes and come paint with me.

/Camilla

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SHARE THE LOVE

Oh yeah and I would love to see what you create! You can do that in several ways:

  • Share your project in the project gallery
  • Share your art on Instagram (tag me @camilla_damsbo_art and use #camilladamsboartinspired)
  • Share on Facebook and tag me there too (@camilladamsboart)

Meet Your Teacher

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Camilla Damsbo Brix

Teaching Whimsical watercolors

Teacher

My name is Camilla and I’m a danish watercolourist. Mostly I paint whimsical flowers which I share on Instagram as @camilla_damsbo_art. Here on Skillshare I love to share my knowledge in fun and easy classes on watercolor and ink and I can't wait to see you in class.

I would deffinitly say that watercolour is the most magical kind of paint, and all you can do is just know a little technique, loosen up your brush and trust the process.

 

NEW CLASS COMING SOON!

If you plan to watch one class this summer I advice you make it this one. It will launch very soon and you will learn the very best technique for your summer vacations or staycations - Watercolor and Ink! you will learn to draw 5 flowers and then bring them into a s... See full profile

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Transcripts

1. Welcome to Class: Hi, guys. And welcome to class. My name is Camilla, and I'm a watercolors from Denmark. And today we're going to have a lot of fun with texture. And we're going to dive in deep with one type of texture of creation and that IHS cling wrap. And I know I love you've seen it in pains, and maybe you even tried it. Um, Also seen it maybe in my last class on on abstract landscapes. But this time we're gonna dive. Indeed. And they threw some experience. So we're gonna try it with the different types of paint. Also. Hot press Moses Copus. How is the effect there? And we're going to look at how much we need to crumble this out to get the effect we want. So a lot of fun with six years. Also, we're going to take a brief look at negative painting and the immigrants who create a beautiful painting with those two techniques and I'll show you a second. Here you go. This is our class project, and we're going to paint this together. I'm gonna show you how and then you can you paint along and hopefully shared in the project gallery and segment instagram if you posted there, and there's not much more to it than let's get started and dive into some materials. 2. Tools and Materials: Let's start up our chicken and look at our materials here. And we have e 300 grams cold press paper. It's cancelled Heritage. And I'm gonna do some experiments on the hot press as well. Same brand and same. Uh, wait, then we're going to you some paints. I'm just going to use Ah, chill paints that squeezed into a pan and dried Appellate And I'm gonna name the paints in the in the class project section So just look them up there to brush is a big round brush e size 11 and a detailed brush Synthetic around in size four. They're both synthetic eso. We're not gonna use more than that. Then off course, a cling wrap, which is regular cling wrap from our kitchen drawer. Some called it film and some call it something else, but we're gonna use it anyway. Tissue and paper as always. And that is it. We are good to go 3. Experiment 1: Crumble it up: let's jump into our first experiment here. And this is the great thing about the going in depth with a, uh, subject like this, you can really have fun and experiment and see what? How it will react. So this 1st 1 is going to be, ah, to see how the pain is affected by the thing wrapped if it's very crumble up like the left one or not so crumbled up. Ah, like the right one. You can see already in my first experiment that this is a good nerdy. Um, I do feel of a bit like a g here in the my husband just past the door and shake his head because I was playing around with the so many pieces of cling wrap. But I hope you, uh, uh, interested in the results as well. I'm just putting down a lot of pigment here to see, to get a nice patch off color to work with. I wanted to be fairly wet, so I know there's something to work with, and I'm just putting down some nice green here. It's a dark green and just combining it with a little bit of a greater and then I'm gonna take my cling wrap and crumple it up. Really good. Like, really, really, really tight like this. Tight, tight, tight, tight, tight, tight, Even tighter. We wanted to be. That's hardest. We can get it just to see how to react. Can see how that is. I think that I think what the The way look is a very, very textured. But I don't know, maybe it just doesn't react at all. We'll see. Um, I think when you I think it's so nice to actually detector through experiments like this on . Apparently there's not much off this going on on your trip or skills you at the moment where we really go in depth with the materials. So I really wanted to create a Siri's off of texture videos, and this is the 1st 1 just to see how how, uh, the different techniques work and what we can we can do to avoid the most common mystics. Yeah, I'm doing a not so crumpled up piece, and I'm taking my thing right here. You can see I'm just putting it down super easily, just laying it down flat like that. And already this gives a beautiful texture, I am sure, but so let's let it dry and come back to it in a second, and now we can remove it. You can see how light it right and I can remove. Oh, and this paper it dried up. Really? Worby. And I think that's because of the cling wrap you can see. I'm just removing it here. And that is a lovely, very detailed pattern, I think. But this ah, weird way of drying is really annoying, and this one is just beautiful. Um, I really love the colors in this one. Let's take a closer look and see what we have here. The left one is the one that's very crumbled up, and that is super detailed in the texture. But it also has a lot off patches where there's no checked at all. But it just dried up very light, and the one on the right, which is the one that's not crumbling that much, just has these beautiful big um, patches shapes that ah, just perfect for for the negative negative painting that we're going to do a little later. So I think I'm gonna go with that, and it is it just seems easier and not is tortured, the as the one to the left. So now we know that they react different. And now let's get to another experiment where we're going to look at how the type of paint will affect this. 4. Experiment 2: Granulation: Now we have our second experiment, and that is looking at how the the paint type will affect this technique. And I'm going to have a look at how it granulated. And for those of you who don't know what granule isn't, is some paint have particles that kind of makes the the paint split up when it dries. And that's the granulated colors, especially Daniel Smith. That has a lot of them, but also often, Ah, French Ultra Marine or something like that has thes granule ation effects. So it's very valid thing to look at. Yeah, I'm doing my granulated piece and I'm going in with with the Jadot General, which is a granule in color from Daniel Smith. And I'm gonna mix it up a little with a hematite Genuine, A swell just to to get a nice grand relation going. And I know that one is super granulated, so I just wanted to mix it up a little. It has a nice gray color like you can see here. I'm trying to put down Ah, good amount off paint like you saw before. The peace drives a lot lighter than, uh then actually, in normal circumstances, We know that water coast drives too polite, but somehow and for some reason, it rise even lighter when we're using cling wrap. So that's a good thing to know that it'll dry up really, really light. Okay, I did my picture, and I'm just taking some cling wrap and scrunch me up like this. And now from the last experiment, we know we want to put it down easy and flat like that, not crumbling too much. There you go. And I do a recommend doing some experiments of your own. And, ah, these pieces are seriously they are perfect little art pieces that just work so well together. And it's so easy to do and you can make them with your kids as well. So just a tip there. I'm doing a non granulated PC. I'm just keeping it in the green tone. So I'm using my sap green. Also, Daniel Smith, Uh, which is a nun Granulated color. And I want to see how that works as well. Just painting with some water here, too, just to get some different values. And, uh, I'm just going in with another color as well. Just a little burn number to see how how that'll affect it. I should probably have done to patches one with one color and one with you. But, uh, it's easier to say that when you have done it already. I guess I'll do that next time. Isn't it fun to just experiment? And I'm super excited to see the results. I must admit I'm a nerd. I know, but it is so exciting to see how how stuff react like this when you you don't know it. And I'm eagerly excited to remove the cling wrap because you have no idea how the the pattern will look and what you have to work with. I'm just putting down my thing, rap like that. They go and we can let it dry. There you go. It's dried up and we can remove it. Uh, easily it go. Oh, that's pretty. Oh, seriously, I should I hate I'm gonna hang these on my wall because they are just pretty pretty pretty . Ah, so beautiful patterns here. Let's take a look at them. The granulated colors on the left side has made this beautiful pattern and you can really see the regulation in Ah, some off the shapes, especially here on the in the middle top middle. But actually you can. It's not granulated my right piece, but you can really see the texture of the paper. Still, um, where the has been these gasps of air in the cling wrap, and that's kind of fun. But in the the underlying paint where there's no shapes, it's softer than with the granulated colors. So there is a difference besides, for, of course, from the color. But, uh, I actually thought there would be a bigger difference than there is, so that's ah bit surprising to me, and I think I'm actually going to mix the granular eating and the non granule in colors. In my final painting. You can totally do whatever you feel like, but now you know how they react. 5. Experiment 3: Paper type: Now it's this final experience, and we're going to take a closer look at the paper type, and I only have one paper here because I'm going to reuse one off the cold. Press examples before, and this is just the hot press version. So I'm using the same colors as it did in the core price, and I'm gonna compared in a second. And this is the sack green I'm using, Um, and you can see how beautiful it flows on the court press paper. And as you know, there's not much texture texture to this paper. It's just super super up smooth and soft and has almost the the paint puddling on top of it . So it doesn't really soak in too fast, not like with the culprits. So it's a very different type of paper, and I wanted to see how that affected the look thing wrapped, and for some reason, I think it won't affect it. Wanted him beard taking too much of the texture because it has a tendency to be super hot to texture. Um, hot press. But let's see how girls it dried up and and now we can remove the cling wrap and it did create some texture. How amazing is that? Oh, I'm so thrilled about this. And this didn't behave it all like a thought it would. So let's compare it to the cold pressed paper here can see it. And it has created some, both these beautiful patterns, like it did with the Copperas. Um, and it kind off gathered the pain in these patterns as well. So that's pretty cool. And an interesting interesting thing about the hot press sample is that it actually left texture in the shapes as well. And like I said before, it's so hard to get texture on hot press. Um, you can really of course, you can do dry brushing and stuff like that, but it won't have the same effect because it doesn't have the same texture to the paper. So creating this texture is so cool. It doesn't have the same texture as the cold press because the paper surface is different, of course, and you could see how it differs here. Um, but we know now that it will create texture, so that's a great thing to know. I'm going to stick with culprits for the class project, but Now you know it can be used on her presence well and create similar results. So let's dive into negative painting. And I'm just gonna briefly explain that before we can jump into our class project. 6. Negative painting: Now that we did some testing on our clean right, we can take a look at our other techniques that we're gonna use today, and that is negative training and in negative painting, you just paint the negative space instead of your main motive. So take a look at your at your painting and see shapes. And instead of looking at the flowers or whatever you want to paint, try looking at shapes instead and and see if you can paint those shapes instead off the what it you're actually going to paint. That makes sense. If you look at the example, it is a little hard to explain, and sometimes it can be a little hard to graft this technique. But you can see how I wanted to Teoh be able to see the stems of the flower here, and therefore I look at shapes that could shapes in the negative space that could shape the the stems, the set mix ins. Let's take a look at another example, and hopefully it'll make more sense. Basically, it's just that's just a negative and positive space, And the positive is in this painting the flowers and the beautiful leaves. Um, all the green and the white and the negative spaces all the space that's around these leaves and flowers. So when I want to paint a shape, I want to paint all the shapes that define the leaves and the flowers and just not touch the main will chiefs of positive space afterwards. Of course, you can go in and paint on the positive space as well, but for now, in negative painting, just paint the negative space and the positive space will just becomes so much clearer and a lot more in focus when you just paint the negative. And if this isn't clear to you and that's totally understandable, I would like to show you actually a whole class on negative painting. Uh, and this is it's called watercolor mistletoe in negative painting techniques. I promise you it's not Christmassy, so you can watch it even if it is spring or summer. But it does explain negative painting in detail and in this super symbol motif. So, uh, you can dive in deep with the with this technique if you want to explore it further. But I will, of course, try to explain a sweet go along in my class project, and that's what we're heading to. What's now? So let's dive in 7. Painting the Class Project: First of all, I want to tell you that this is the class project. So, uh, you can totally watch me paint, but I encourage you to paint your own as well. So have fun with some cling wrap and some negative technique and uploaded in the class project section. Of course, Technion is the grandnephew on their swell and share it. Let's dive in. I just start out by painting with clean water here and a big brush. You can see this is a really large round brush. It's a size 11. It's a synthetic brush, but it behaves like a natural hair brush so it can hold a lot of water, just painting around some shapes. And I want to. I know I want to make a floral piece, but I have no idea how it'll turn out. I want three flowers, so in the areas where I want my flowers, I'm going to not put water a paint there, so we kind of have a, um, a white shape in in that area. But besides, from that I'm just putting down paint here and up till now. I used Jada General and some Prussian blue, and I'm just having fun with green tones, and I know the blue tones will just tempt them a little. So I want to put that down as well. And, um, just doing some saccharine here as well. You can see how beautiful it looks when you mix that cool, uh, green with the warm tones of the sap green that really, really just emphasizes the colors. So don't be scared to mix woman cold and don't mix too much on the paper. In most cases, just tapping it like this is just perfect. And when we do the cling wrap, it'll kind of makes itself Ah, a little a swell. So at the moment, we have no idea where we're going with this. Besides from just putting down color in these white shapes. And you have to do this really, really fast does not sped up in any way because we wanted to a stay wet. Um, because when it's dry, you can, uh, really get any effect with the cling wrap. So we have to make sure that the entire painted area is still wet. So work fast, and they used a lot more water than you actually think You need. I'm just doing a little bit of the new composure as well. A warm yellow just to to give it some more interest. And I want to have a good amount off paint going on since we know from our experiments that this dries super light. So, uh, we want something to work with. I'm just taking a piece of my cling wrap here. I'm actually taking two to make sure I have enough. Just crumbling it up and putting it down. Just scrunching it a little here. So we have some some nice texture to work with. They go. And since it's a big pig page, I'm going to take two pieces. I'm going to be putting it down like this on and yes, that looks nice. It's a little more crumple up that I actually wanted, but I think it's gonna be be really cool. It might give some different textures and because the tough one was crumpled up. Now we can let the painting dry and come back to it and make sure that it's completely dry . Um, it does take half a hour an hour before will dry completely. How beautiful is that? Isn't like model. Actually, that that is really, really pretty. I love it. And so has this. The's big Petrus in the middle and the bottom page, and it's a little more textured in detail on the top of the page. And we knew that when we, uh, did the the experience where we crumbled up a lot on a little less, um, that it would behave like this. So I'm super happy with this result. Now is the fun part, and that is finding shapes. And the since I know I want to paint flowers, I want to be looking out for shapes that looked like stems off branches and leaves. But we have no idea what we're gonna get with this technique. So we're just gonna gonna try an error, and I will speed up this process quite a bit in the second because it takes a long time. I think this painting took me without drying time, Of course, um, 45 minutes or something like that, because there's a lot off small areas that you want to paint. But I am going to explain the technique first, and then we can speed it up afterwards. In the beginning, here. It's hard to see the shapes. Um, you kind off have to. Maybe it Just sit and look at it for a while just to see where can I see one leave? We're gonna see once part off a range Or can I get you? See, I'm just sitting here, uh, thinking at the moment, um, because it is hot in the beginning to to know where they are. But let's see, OK, we can start here by the flower hit because we know we want e stem to kind of go to to the hit. And we wanted to be fairly in the middle off off the flower, just moving my paints so I can turn the page. And it's a great thing when you are feeling a little stuck and can't really see the shapes . Try to tip the paper in another direction and it will be clear of when to where to paint and see. I actually found a, uh, line that looks like a stem. So I'm trying to go with that. And now I found something that looked a little like a leaf. And so I'm just painting around thes lines that I already have from from the King rap, and I know it's difficult and I know it won't look. It's exactly like leaves, and it's not gonna look like straight stems because that's something we could do it just by painting it. But we want these organic weird lines in the this unpredictability. It's a great way to challenge ourselves. And instead of doing a crossword or a puzzle or something, do this because besides from being super fun, it's always It's also a great way to, ah, use those brain cells to kind of great presidents and just try to to find that thing that makes this painting special. Does he have just putting down some pain? When I see shape, I want to paint, and I'm trying to Teoh get the shape on painting both, uh, in a very dark value color, but also just going in with water to to soften the itch and trying not to make it to much just like a blob of color. I wanted to be solved, and the toned also, you can totally drop in other colors as well. That's not a problem. Also, you, when you are doing this in your C shape that could look like a leaf. You don't have to Ah, go all the way around the leaf and be super clear on this is a relief just to one side or 1.5 side or something like that, just to hint that there's a leaf. Ah, but leave some of it to the viewer's imagination because, especially when you're painting like this, it will, uh, it's good to challenge the view a little. And the brain, the human brain is so spectacular it it'll actually do the math itself in the make it look amazing. So you can see I'm trying to, um, painting part of relieve here. But I'm not going to do it all. And you've been totally paint a shapes in the area where you already painted. You can still see the cling wrap underneath, um, but if you continue layering on top of the the shapes you already painted, you'll get and even a bigger dimension and depth in your painting. And remember that we are painting. We're not painting the Maine woods. If we're not painting, the flowers or the leaves were painting around it. So even though some of this the things I'm painting right now seems like the leaf. It's not. It's it's Ah, the thing. But in between, it'll get a lot clearer when we are getting closer to the end of this painting. But at the moment, I would suggest that you just sit down and watch this and enjoy it because it's a great way to learn and look at how the colors pop. When we're doing this as we talked about before, the the colors really dried up a lot lighter than we would expect because the cling wrap kind of I'm not suck some of the pain up, Um, but when we are adding this extra layer, it really, really shines. So that's a great thing to keep in mind. And when we are talking about the experiments, I wanted to just take a brief second to tell you that that well, we did this experiment off off the granulated versus non grand uniting colors, and I mixed it in this painting because I actually really loved both the effects that I got with that experiment. So I have ah, both grand you letting here and none granulated coz, and right now I'm actually I'm just painting with my, uh, with my granulated colors. The very dark green is a granulated car, but I'm mixing it up with my sap green. A swell, so kind of just using both. And you can see how you can really see how the different paints work. Here. You could see the light warm green is the sap green. And in this dark, shadowy green is that jadeite And I love both and they just give that painting so much dimension by being a shadowy cold and a warm that just draws you into the painting. So love it, love it, love it, uh, to recommend you just have fun with all your greens just to see what works and what doesn't work. And can you see how the the leaves kind off appear now just as we speak? And as I move around this flower, it really just shows up and becomes a lot clearer what the negative painting actually does . And it also it's also a lot easier to see the shapes now. So if you have travel seeing shapes, just diving and you can, it gets easier. It gets a lot easier when we done it a couple of times you can see how I'm not struggling too much anymore. But before I was just sitting and watching it, um, before just trying something. But now I'm just painting away and and finding the shape super easy. I did speed up this video quite a lot. It's, um it's double speed at the moment. Eso I'm not working this fast, but, uh, just tell you that I'm speeding it up. But if you don't want to watch it all, and I totally understand that there's not much more to it than me painting these shapes, then feel free to fast forward. And there's ah, that's a button for that on the bottom of this, of course, I am going to to paint the flowers well, and I recommend that you you slow the video down there because we're going to cover how to pain white flowers in in that area. But right now we're just painting the negative space around the flowers and around leaves. I can put some music on for you if you like. Um, just a second and I'll find some music for you, you. So I'm just checking that it's dry and, uh, I'm going in with a yellow new compose here and just doing some some small lines to indicate the center off the flowers and you can see it turned from a blob to a flower in seconds. Just doing a little saccharine here as well for shadow on letting it bleed into the into the yellow And that bottom flower. I'm just gonna leave that Ah, not white, but I want to, um, to have that turning for the sideways tunings at wakes so you can't see the middle of the center of the flower. Um, so we're gonna paint that in a second. Ah, and I just noticed that, but we're looking at my composition here that it was a little bear here at the bottom flower. So while I wait for my centers to dry a little, I'm just going in and adding a little more color here, so it feels a bit more bit more creasy like this flower isn't just a floating in thin air. I wanted to be part hopeful painting. It was feeling lonely, so I just I'm just going in here and adding a little more color, and sometimes it's good to just sit back and take a look at the painting and seeing where it's going. Sometimes the painting just needs a little more color or a little bit off tweaking before turns from okay to amazing. So it's worth giving it that two minutes or thought the reason I am procrastinating it a little. And no, it's ah, I should be working on those white flowers, but I wanted to dry. The center's just a bit. Now I'm going in with just plain water on the white surface and just letting it kiss the yellow center. And now I can see how bleeds into the into the pedal. And if I hadn't waited, it replete, Ah, lot more, and I didn't want that. I wanted to be more like a highlight or shadow on my on my flower here and just removing a little excess pain here. Just going in with touches off off pain. And this is a the same colors that I'm using in my green area and a little bit of Payne's gray. I admit it. I did use that because I mean I'm in love. Amanda. Sorry, I it's totally fair, but I'm just doing small hints of it. Remember, drives lighter, and you can always add more if you feel like it. But B coop super careful not to add too much. The good thing about flowers and white flowers is that they never white. Um, that would be a little boring, but they do somehow take the color from the surrounding area, and in this case, it's green. So, uh, here in the bottom, I'm just adding a fair amount of green, actually, especially at the bottom off the flower, Um, and in the settled areas as well. Make sure that you leave white, of course, in the flower because we wanted to be white flowers, a novel. Dry a little. And I'm going in with a smaller brush here. And I'm just adding details, just adding a final lines here to the to the pedals just to give it some texture. So it's not in a completely white but just has a little bit off of texture going on. I have these Ah, very. It's a very soft looking painting with all these patches off wet in wet pain. So it's nice to have some hard aligns with this in this final details, and that kind of makes it stand out. But I'm just I'm softening some of them, so it doesn't look too hard and too forced. We don't want that. But we do want some hostages. And I know we have some a swell in there in our negative painting because we have these stems that look pretty hard. And I think it's a good It's a good combo. No, just softening that. Because that was a little too much. You can see how little it actually takes to form a flower. Ah, this is someone who wants it. Are you must No so many flower shapes. And yes, I do, but often size. It doesn't take more than a circle and a center to turn a to nothing into a flower. Um, the viewer kind off. Do it Does the math for you. Um, you can see that middle flower I have. There is just oval shape in a yellow center, and that's that's not a lot. You really don't need much to paint flowers. I know it can be intimidating, but, um, sometimes it's really just to paint something that kind of looked like a flower. Um, the center does it'll. I'm just doing it a little bit off negative painting inside of the leaves here just to show a bit of the structure in the leave. I'm not sure if that's a good idea. Sometimes you really just have to know when to stop. Um, and it did kind of like it before, so I hope I'm like it afterwards as well. Um, but that's the hard thing about, especially this type of painting that you really need to know when to stop, because you can just keep looking for those shapes and and just keep going and forever. But I want to try to stop myself now. Um, I'm not adding too much more. I'm actually very content with this painting. And I hope you will join me in pin your own and uploaded to the Project gallery and take me on Instagram. There you go. It's the final painting and the I'll rev up 8. Let's Wrap Up: Thank you so much for taking this class with me. It's ah, been such a fun experience to kind off just to have fun and experiment with these textures in the me Personally, I have no idea how it would react to the different types of paper and granule ation. So that was super fun. I learned a lot, and I hope you did too. My next class is going to be on texture as well, and we're gonna dive into salt. And I know you're all used this technique a lot of times, I'm sure. But the thing we're gonna go in a little deeper to see how react on again different services and different types of salt and there, maybe even salt water. We're gonna dive into salt next time eso hit the follow button up here. I think if you want to know when let us out and please leave a review. I really, really, really appreciate when the I know what you guys think about the glass. So please leave a review and, uh, I will I will be able Teoh, adjust stuff that you didn't like. And of course, that smile when you leave. Really a good one. So thank you for that. Um, please share your projects. Of course. In the Project gallery and on Instagram, I always love to see your work and the I'm always excited when I release a class to see what you come up with, so please do that. And without further ado, I'll just say goodbye and see you next time.