Creating Texture with Salt in Watercolor | Camilla Damsbo Brix | Skillshare

Creating Texture with Salt in Watercolor

Camilla Damsbo Brix, Teaching Whimsical watercolors

Creating Texture with Salt in Watercolor

Camilla Damsbo Brix, Teaching Whimsical watercolors

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8 Lessons (48m)
    • 1. Welcome to class

      0:46
    • 2. Tools, Materials and salt

      2:48
    • 3. Experiment 1: Amount of water

      4:37
    • 4. Experiment 2: Paper type

      3:04
    • 5. Experiment 3: Salt type

      5:12
    • 6. Painting the Class Project (part 1)

      9:39
    • 7. Painting the Class Project (part 2)

      20:15
    • 8. Let's Wrap up

      1:12
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About This Class

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This is the second class in my mini series on alternative materials to create texture in watercolor. In this class I will guide you in how to use salt. We will try out different types of salt, see how it reacts with different amounts of water and on different types of paper.

After all the experiments we will sit back and use the techniques we learned  by creating an image using salt.

WE’LL COVER

  • How much water to use with salt
  • Which salt to use
  • How the paper affects the salt
  • How to paint with salt and watercolor

 

So grab your brushes and come paint with me.

/Camilla

Oh and check out the first class in this mini series on watercolor texture as well

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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 Sue Plats. My name is Camilla and I am me watercolors from Denmark. And this is my second video in this Ministers on creating texture in watercolor. The first, once one was unclean rap, and this one is salts and the well used it. But now we're gonna dive in deep and see how it affects different types of paper. And we're going to use different types of salts, See how much water do we need. And we're going to create a beautiful class project. And you can see that here. This is a field of dandy alliance. And this gonna be so much fun. So I hope you will join me in class and I will see you in there. 2. Tools, Materials and salt: Now, let's take a look at what we're going to need for this project. First, we have watercolor paper. This ace is 300 grams from cans and heritage Cold press. We're going to experiment a little with the hot press and cellulose paper as well. But this is the one we're going to use the most two brushes. This is a size 11 round synthetic and a rigger brush, and you can use a find tipped round brush as well. But I love to use this one. I'm just kind of remove some saltier, the sold everywhere. Seriously. Okay, paints. I'm gonna use these two pins that squeezed into the pants. It's pains, great new composure, a burnt umber and a submarine. So these four I'm paints I'm gonna use. Then I'm gonna use a mist spray. Of course, water has ah, hewes end paper tissue, and then we're going Oh, sorry. That was a cat not going to use that. I'm gonna use salt. Of course, because this is about salt. So different types of salt was this sea salt, which has some very nice big flakes here in this paint in here as well. So big flicks I'm gonna have fun with that. Then I have this beautiful pink Himalayan assault, which is big chunks of sold its rock salt and then, ah, just a fine grained table salt. So this might be the one that you have in your kitchen already, but you can see what you have in your cover, and that's it. Let's go before we get into the experiments. I just want to quickly go over what you can use salt for. Ah, and this is just examples. You can use them for flowers and backgrounds, like in this snowdrop painting I used here. Ah, you can use them for snow. It's perfect for snow. These snowflakes that just fall down. You can use them to create texture and sparkle in water, which is beautiful, a swell and finally conduce women on animals here. I used them as texture on. These whales can use them on rocks, and you can use it for so much more. So it's all about experiments and just imagination. But first we have to see how the salt it will react on different surfaces and with different amounts of water. So let's dive into some experiments 3. Experiment 1: Amount of water: In this first experiment, we're going to to take a look at how much water we need. So in this first circle, I put down a lot of water. This is like a swimming pool off paint, and you can see how spreads beautifully. But there is a lot of war, and this will puddle and probably make blooms and stuff like that a lot, a lot, a lot of war, but amount of water is one of the hardest things to control when we're using salt. So I thought that might be the first thing that we could look into. How much water do we need on our page to get the soul to show the effects that we want? So just putting down a lot of water and a lot of pigment here and now there's enough pigment so we can go in and put some salt on on the surface is still very, very wet dis using regular table salt, and we're going to experiment with different salts later. But for now, I just wanted to use the same type of salt in these three experiments. So first is a lot off water, and then I'm gonna continue on this right one, because that's gonna be the one with very little water. Oy dry. Almost so. I wanted to put that down to to get it to dry while I was working on the middle one. So now we have the three painted spheres here, and I can put down some some salt on this middle one, and this has a shiny surface. So no, no puddles. It's not dry, but it has a The water has has soaked a little bit into the paper and its not puddling anymore. Still not dry. So we're just putting down assault there. And now I just dried up the last one and put sold on that as well. So it's drying up and we can see the texture is forming nicely, and now we can just touch it and see if it's dry. And if it's dry, you can remove the salt. Just make sure it's completely dry. Um, I am speeding up this process quite a bit for you, so remember, it takes some time and sometimes even overnight to make sure it's completely dry. But just remove it with your hand, or, if you have a brush laying around. You can use that. Just make sure you're not using the brush for painting afterwards because the salt will go in, in effect, the paint and it can ruin your brushes. So don't use a $2000 brush. Or if there's brushes at that press range, don't use them. Um, might be the point. We can go and compare these and see how they differ. You go and there's a big difference. Yeah, I think first we have a lot of water, and I wanna say that this on cold press and it sold all the tables sold as well. So they're easy to compare 1st 1 a lot of water and have a beautiful texture. But it's, ah, it hasn't got this feathery texture that we often want in insult, but it has a beautiful texture, so I'm definitely gonna experiment more with this. Then I have a shining water where you have this Ah, pain and water that soaked into the the paper but still not dry. And that creates a beautiful texture. Ah, which is a lot different than the next one way. It's almost dry, and you could see how the soul hasn't really had time to absorb anything before it was dry . So that's just thes small white spots, and that might be in effect. You can use in some instances if you want white spots. So it's good to remember that you can actually use it, even if it's almost dry. But I do like this shining water in the middle effect, so I'm gonna continue using that in the next experiments. Now we can hit up over to type off paper and see how that'll affect this effect. 4. Experiment 2: Paper type: the first paper I'm going to test out is a cellulose paper. So this is canceled. Ah, qua Burrell, the paper. And this is a very common student paper. I use this a lot when I started out, so I wanted to test that out to see how it effects the salt. I think a lot of your guys are using this if you are beginners, so it's great to know a little bit about it. The 2nd 1 I'm gonna show you here is a hot pressed paper. This is cotton 100%. Cotton was also cancelled, its heritage and I wanted to test it out to see if hot press would work any different. That culprits with this technique. So I know that's only two types of paper here. That's because we tested on corporate just before. So in the comparison, we're gonna add the corporate as well. But for now, let's see how this dries. So now it's dry and ah, I just put down my finger on the the page just to check if it's cold. It wasn't so. I can remove the salt. Look at that beautiful texture layer. It's like a moon here in the celulas paper have a little harder time seeing actually, really electoral results. Let's ah, hip to the comparison to see how they look against each other. You go first. We're having the set of those paper, and, uh, I can see spots off off the salt flakes, and I can see a few of the texture areas. But the sold hasn't affected this paper as much as the two others. And, ah, the hot pressed paper in the middle has a beautiful, very light texture. These are not a spread out as a co pris, which is kind of funny. I have no idea I was why it's doing this. So that's why it's it's good to do these experiments so we know how it will affect the paper instead of just going with our guts. Of course, that's a good way to learn as well, but it seems like this will create a thin A texture. Lin with the cold Priss and the culprits is as result before it's pretty nice and spread out, and ah creates a beautiful texture like coral reef. So ah, not much texture on cellos, a very fine detailed on hot press and a a bigger texture on the culprits paper. And now we can continue to our last experiment, which is different types off salt. So I'll see you in there. 5. Experiment 3: Salt type: In this final experiment, we're going Teoh. Try out three different types off salt just to see how the different does. Salt types will affect that the painting and the absorb the paint, so we're going to start out with sea salt, which has a big salt flake, and I'm assuming it'll absorb a lot of pain. But let's see how it goes and see this is very uneven, and it's a pretty cool kind of salt. I love it in the food, so let's see how it works on paint. They just adding it to a shining water surface or shining pain service. So it's not ah, completely wet, like we we discussed earlier or completely dry. Now you go. The 2nd 1 I'm gonna add is a Himalayas. Salt. It's a rock salt big, big chunks off off salt here. They can maybe absorb a lot of pain. But maybe it's Ah, there to Rocky, and there won't absorb anything. Not sure, and I'm excited about it. So adding rock salt here it has a beautiful pink hue as well come curious if it's gonna affect the painting he had just table salt like we've used earlier. So we can compare to the other two types. And ah, that is the three types off salt we are going to use. Now we can let it dry and see what the results will be. Way salt. And I want to remind you that the drying process was speeded up to a crazy you 6000% speed . So it does take a lot of time to dry. You can see it's actually not completed. Rye, These a big chunks off off Rocky. Hey, Emily. Assault. So be super careful and just taking them up once one at a time. And they leave these weird marks in the middle. Um, because they almost, like, attach themselves to the paper and, uh, get sucked in and leave some salt on the paper. But we'll discuss that in a second. I'm just trying to use my my nail here, and you can use a plastic card or something like that to get rid off the excess salt, but make sure it's dry. Otherwise it'll just smooch and be annoying. So we wanted to be completely dry, and you can see I'm struck ing struggling a little bit with the removing some of the salted can affair gross into the paper, which is Ah, a little bit annoying, but I'm trying to work it with a meal or plus occurred. Just use what you have around. Um, they go just rubbing it. Just be careful not to ruin the paper when you're doing this, because that will just be, uh, too bad. Okay, Now we can compare these three Seoul types to each other. Now, let's look at the three types here. First, we have c sold than we have Himalayas sold. And then at last table salt. And I actually think that sea salt and Himalayas souls are pretty similar. They have these Ah, very condensed spots that looks a lot like each other. I think the Himalayas sold is a big baker. Um, but it still has thes spots in the middle. Both of them does where the salt is kind of attached itself to the paper. Um, and you don't see that on the right with the table sold? Um, here You also have a rather detailed texture, almost like a coral reef. Which is pretty cool, I think. But all of these are pretty similar. And of course it is salt. All of these. And it might be working differently if we tried this in a big puddle of water or eaten very dry water. Or maybe even with different pigments. So I will leave this to be the last experiment, and we can experiment a little bit more in the class project that we're going to paint right now. So I will see you in the next video where we're going to dive into some painting. 6. Painting the Class Project (part 1): So now that we did some experiments on salt, we can now dive into the class project. And that's painting and a field of dandy lines using salt and ah, police uploaded to the project gallery. If you try this old Technion Instagram, you can see I'm just starting out with you a big piece of paper and just adding clean border. And I'm using my big brush for this the size 11 brush. And now I'm just adding, so some paint. This is pains grand. You can see how it just spreads nicely. And I'm not being intentional all at the moment of just and going to put down some paint and the mortar to to get a nice uneven wash Here. I want this to be the ground off my dandy lines and the I think the the main thing about this image is that I want to and used. The salt is a way of creating these white fluffy flowers in the middle of this pigment. So I wanted to be in nice and thick so it can absorbs and pigment, and hopefully we can get a contrast between the white dandelions and the dark background. So I'm trying to push as much pigment in here as possible. Well, varying the color and and the texture just doing splatters, letting the water spread the pain around. And I'm adding first Payne's gray it waas, then burned number suck green and a near composure, and you can totally use other colors. I like to mix it up, so I have a cool that call. This, uh, Payne's Gray is grateful that and then these earthy colors that actually complements the blue Really well, eso if you have browns, yellows, stuff like that, that will work perfectly. We are going to use a pretty big amount of pigment here because there's also a lot of water on the page, so it dilutes the paint, as you know, but I don't want to put down just paint on the dry paper. As you saw in the early experiment, we do need a fair amount of water to create a texture with our salt, so I wanted to keep it nice and moist forest long as possible to be able to actually achieve my effects. No, I can go in. I'm going to use different types of sold in this and are doing clusters off salt here. So this is the sea salt. And I'm just putting it down in different places where I want my dandy lines to be. And I'm being mindful that I'm not putting this salt down in puddles off water. You have puddles on top of the the itch there. And ah, I'm not putting it there. I'm actually just going to spray this a little just sprayed just to get it flowing a little bit in this mystery is not working like I wanted to. That's only a little annoying. I'm just gonna find in your one sorry about that ago. They go on sometimes, and mystery is great just to mess up your painting a little bit and I just tip the page. So I got this annoying straight line and didn't want that uh, doesn't really look natural at all. So just a spritz it and see what I can get. And I do want some pigment as well in the sky to give a ground for some deadlines in there as well. So maybe I can I can You set excess pain on top of the page to create some something. They're just doing a very, very light peace off. Ah, shape. I think it's just the shape it's in. I'm using pains, great just to create the shape. And I'm gonna put down some salt into the shape in a second. So what I hope to achieve is to create some texture within the shape. Little somehow looked like eight. Any line just adding a little bit of yellow as well to give it a little sunshine. And I am painting this for the first time with you guys. I wanted to be authentic. And then I'm not sure I can with a intuitive painting like this that it would work well, if I did this like the fourth of six time time, it has to be intuitive in the experimental. So I'm, uh, hoping for the same results as you are just adding some color here in the sky. But you can see I'm using a very diluted color so it doesn't contrast with the compare with the compete was the word I was Louisville. So it doesn't compete with the ground. We want the ground to be nice and saturated, so our focus will go there non putting down sold in. These do underlines the once that standing out and just putting a little bit off pieces off salt here in the sky. I realize there's not much pigment here, so it might not be visible at all, But we'll see. No, I'm just going to go in and add more salt to the ground here now that now it has dried a lot more than before. Before, it was a lot wetter, so we'll get another effect now. I'm just gonna try using some of the other salts year also in the same classes as I did before. I want to see if it makes a difference. Ending this table's sold us well. I love how they are creating different textures in there, hopefully will benefit from that in this. In this painting, just adding a bit of table salt. Here's well, and if you see a few off Dannielynn's, you'll see there's a lot of thes beautiful, puffy Well, it's like balls off the fluff off. There's so, so cute and the cutting like in them. We know they will fly away in a second if we, uh, if the wind touches him. But there's so many of them, and they're so beautiful, translucent, and I hope I can achieve this by doing this. Otherwise it's It's a motif that's, Ah, I had to capture because we have these delicate white flowers and how to paint white, of course, in the water cause because we have no white paint. But it's also super hard to paint this trans loose and feel off a dandy lion. So hopefully this effect can can do that and make it possible. Perhaps we don't know. Not yet, anyway. We'll see in a in a 20 minutes or so at the moments, not looking really like anything. So it's totally fine if you're just going to grab a cup of coffee. I just wanted to add a little more salt to see if I could. Could could push the effect even more. Just, you know, before we're going to let it dry. I can't wait to see how this will turn out when it's dry. So, uh, hold your horses and I'll see you in a 2nd 1 This is completely dry completely. There you go. How beautiful is that? It's a little messy at the moment. I realize that, but is so beautiful, and I'm just make sure it's completely dry. And now I'm gonna remove all off these sold flicks. 7. Painting the Class Project (part 2): There you go. It's all removed and we can go in and see if we can. You didn't find a way to Teoh make this mess look like something we would actually want to hang in our living room. Hopefully it'll turn out like dandy lions. I do see some potential here, but we're going to work on details and we're going to work on pushing the docks to create some contrast because the salt in Crete as much of a white texture as I had hoped for and the background did dry up lighter than I had hoped for. So, uh, I should probably maybe have added even more pigment what I was. I was starting and doing my first wash. Oh, maybe less water. But to achieve the effect we wanted with the salt, I think maybe we we are good to just at the details and pushing the docks afterwards. So I'm just adding details, too. This just added a stem to that first Daniel and just to see if I could get it to look like a dandy lion. And then I just added a little bit of darkness in the middle. Off the off the fluffy ball there just to to get a center for the flower. If you see it, any lines, they have this transparent Look that there. But this fluff is kind of surrounding a center. That is duck. But you won't be able to see it completely like a round center, because you have this all this fluff around it. So we want to create some darkness but also diluted. So, uh, it's more like an impression off darkness, just doing some lines here as well. So I get a little bit of that texture in ah, inside the danger lines as well. And him just painting a little bit on the outside off the tender line just to to give it some. Given an etch here just softening the which as well. But now you can see how it actually shape the flowers a little bit and do this in stages because we don't want to go in and push the docks completely from the beginning. We wanna go slow and see How much does this painting need? Um, To create the effect we want. If we're pushing it too fast with the docks, we can way too quickly ruin it, and we don't want to do that. But if you're taking it nice and slow, um, almost certain you won't be able to to, uh, break it. Okay, when I talked, and you may have noticed that, detective, my brush in the salt, So don't do that at home. Um, just saying that's really, really stupid. So that's why I just moved one of the salt and put in my water instead. Um, usually, this is the place for my water. And that's why I'm just completely mindlessly putting down my brush in the water. Sorry about that. If you noticed in there left otherwise just go back, and I will be sitting here embarrassed. It's OK. I can handle it. Okay. This Danny lying, I think it's really cool because we have almost, like, 1/2 moon shape Daniel line. So I'm just gonna say this is one of those danged lines where some of it has already blown off and ah, been taking by the wind. So the center of the flower is actually visible in this one. How cool is that? That's really, really cool. And you can see how the different type of salt actually created a different texture in the dandy. Linus. Well, for the outer itch is very big and fluffy, and the inner section is actually very textured on his small, small sexual texture dip. It's so that's really cool. And I think that is why the reason I use got this is because I used the sea salt with the average in the table sold with the inner. It's okay. Just adding stems here. And you can see I'm actually just doing very light strokes to get these flowy stems going and deciding which of all these what, uh, clusters will be damned Alliance And which ones are just gonna be background and just texture? Ah, I guess you don't have to incorporate all of them and create all make make all of them into dandelions. No, no, don't need it at all. I just want to take the clusters that look the most like dandelions and try to turn them into the him again. I'm trying to paint a little bit on the outer edge. This is a lot like negative painting, and I cover negative painting in my my last class on cling ripe and make its of printing So , uh, you couldn't check that out if you I want to to learn more about that signature. Just really cool. Yeah, I'm just using it to to emphasize these textured pieces that are already there. Actually, it's a lot life lots similar to the thing I was doing in the cling wrap, where I had created a texture with cling wrap and just used negative technique to discover leaves and flowers, just adding a little bit off darkness here in the middle. Just spots, actually, and I'm not doing much. I just wanted to to a little bit, and I'm just stabbing it with water and just dragging it a little bit out into the flour. So it's not now a little bit more deluded and not completely like a black weird thing. And the darkness back I'm using at the moment is pains. Great, just for your reference, you okay? I'm beginning to do some grasses as well to give it this look off a field, just a long stroke and then just some mark makings with the side of the brush. And I'm kind of doing this alongside painting the dandy lines because sometimes it takes a little time to see where you want your stems to go or which classes you want to turn into deadlines. So it's good to just paint a grass or something, and it creates instant life. I think when you get these dancing grasses in the composition, and it also kind of and off sets the the mood here, it's okay to overlap, by the way, just gives a dimension to the peace. Um, when you're putting in grasses like this, which is a kind of it's an easy subject to see what it is. It helps the viewer see the the fluffy weird shapes as Danny Lyons. Because if you haven't had didn't have these grasses, people might say, What the hell is this? And just kind off, put it in a abstract drawer and say, OK, that's one of those abstract pieces have no idea what it is, but by putting grasses down, people will say, Oh, it's steady lines. Oh, I get it. No. So, and this is by all means it's not because it's ugly or if you're like you're Daniel Lines didn't work out at all, but we are using a pretty abstract technique for this It's not like we're just painting a dandy lion. We are using a technique that can just created impression off eight any line. So try putting down some some grasses and see how it'll just, ah, framed the picture. And this These are really just Mark makings just eight fine line. And then just using your brush to kind of stamp on some some marks here and let some of them be very dark, very a lot of pain and some of them very diluted with border. And now I'll just start by start pushing up the docks a bit, and I'm going to to speed this process up for you so you can totally watch it. But what I'm doing is just painting around the subject and pushing the docks so injured. - So I'm just adding a little bit more off the details, and you can see how that docks that darkness added before really, uh, got thes dandy lines to pop. But also you can see that a lot of our grasses and stuff drying. And of course, they're drying a lot lighter than we put it down, some just adding more color as we go and just adding small details. Just pushing the docks here again around this diner line and softening the itch. And it's okay if you soften the A trip it on the inside of the dandelions. Well, so you get this. You haven't got this hostage, but more like a fluffy itch. Um, so we can off keep that integrity of the texture that were created before. See, there was a beautiful flake up there, so I just wanted to add a flying seed from the dandy line. No, I can go in and add a little bit off shadow inside off the the Danny line here to create that effect of a round ball off fluff our seats. It's seats. It's not fluff, but it just so fluffy looking and corn. I just want to kind of cuddle them. But don't, don't they A little break. So sorry. Ah, just adding a little bit of texture in here and a little bit off most of just Payne's gray in a and deluded form. But it will create this this shadow inside of the off the deadline. That's really cool. This lines here. Oh, that was a big one. Okay, maybe it's to pick. I have to work this up. It, um okay, I think that I might have it might help. Um, just adding grasses. And I really think if you just, uh, do this without thinking too much, you'll do a lot better than if you overthink it. Because if you're overthinking a piece like this, you can way too easy get into Oh, how is that Grass placed? And the wise is not looking like Daniel Line And how on earth I'm gonna make it do that. So instead of doing that, just try to go with the flow and see How can I push the the contrasts and how can I give it a little texture? So it'll give the impression of a diner line. It's OK if it's not looking exactly like a deadline, and I'm actually not having any references for this painting of just trying to recall how to any lines are looking. I know if ahead of reference, I would will references a lot and I would lose this this feeling off, then the lines. I would just go way too much into detail and try to get the shapes right. And of course, we wanna in some paintings we can. We can do that and it's totally fine. But I think in this painting it's more about the illusion and not at all about detail and getting it completely right. And I really love how this pushing the docks really creates a dramatic effect that look so well with thes fluffy and ah, wild techniques that the salt creates. And I think it would be hard to create this darkness in a wash. A sweet talked about before. I should have maybe added more pigment to the wash first before we added the salt. But I think it would be hard to create this type off darkness in a first wash. It will always dry up lighter and then always drives up lighter than you expect. Um, I always seem to get surprised by this, um, so you really have to just keep layering and, uh, do it carefully so we don't overpower anything. We want to keep this light and fresh, and you can very easily ruin that by going too fast. I'm just going to reveal that dined lioness. Well, you can see I'm just painting around it and then softening the a chicken with a damp brush . This is such a important skill to have to be able to to soften an itch. So if you're a beginner, you might not be a beginner if you're taking this class and going all nerdy about salt. But if you are a beginner, that would be a great place to start to actually learn how to to blend your your you are edges. I just giving these edges a little bit of texture, putting lines into the danger line as well. And now I can just do some splatters with my brush, and I know this is a brushed that actually creates some very longs bladders. Um, so it's not just dots off paint, but they kind of fall in a shape. So I really like how that creates life in the image. Now we just add a little bit of yellow to the deadlines. You can see how that instantly created some life, and that's because it's a complementary to the blue, so it really made it stand out quite a bit. And don't be scared about painting in the areas the salt created. It's not like even though we got this beautiful texture. And this white. It's not like we don't want to paint on top of it. You can. You can totally do that and create some beautiful stuff. Just don't paint it with the darkness color and that it would just ruin it. So be mindful about it. No way. We're getting closer now to the final result. Eso. Now I'm just adding more strokes off grass, just a little more texture here and there and the trying to get some life into the composition. And I really love how this turned out. I think it's really cool, and I want to encourage you to share your your project. If you try this at home, I would love to see how how it turns out. So please share it in the Project Gallery or Technion Instagram, if you want to, to show me him just adding a little bit more darkness, and the important thing is to know when to stop. Of course, that's also the hot thing about it, but I must admit a really loved painting was sold, and I think it's such a cool texture that you can use for a lot of things. But I think for For these grasses and deadlines, it's perfect. And I really love how they achieved this effect that I really went for. So just ending in a little bit more seats here in the in the sky. And I think we ah, we are going to so say this painting is done. I hope you will try this. And, uh, I hope you'll join me in wrapping up in a second. 8. Let's Wrap up: thank you so much for joining me in this class, and I hope you'll learn some new tips and tricks on using salt. Remember, this is a part of the Minnis Aires on texture creating in the water cars. So check out my previous last own cling wrap and negative painting, which is just the sight bonus. But it's mostly about cling wrap to create texture. And if you like this class, please leave a review. I always want to hear how you liked it and the if you have any questions at all, please write them in the comments section, and I'll make sure to check them out and hopefully answer if I can. And the of course, share your projects in the project gallery and on Instagram and take me there. If you are sharing there, then I can see it in common and share and thank you again for watching. I really hope I'll see you next time and hit the follow button up here or here. If if you want to follow up and you're about my next class, see you