Experience Watercolours : Breezy Laundry Line | Melinda Wilde | Skillshare

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Experience Watercolours : Breezy Laundry Line

teacher avatar Melinda Wilde, master teacher of watercolours

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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

6 Lessons (49m)
    • 1. Hello and Inspiration

      1:09
    • 2. Supplies, Transfer, Mask

      12:53
    • 3. Backgrpund

      5:41
    • 4. Foreground

      4:35
    • 5. Detail Laundry

      16:25
    • 6. Tweek and Finish

      8:22
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About This Class

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In this class we will learn to create movement in a a painting and I'll give you a template that you and upload so you don't have to draw anything.  I'll be showing you how to transfer those images on the template onto your watercolour paper so you don't have to do any erasing. We will be using masking fluid, and learning to paint rich dark backgrounds without getting "mud".

Meet Your Teacher

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Melinda Wilde

master teacher of watercolours

Teacher

Teaching Youtube https://www.youtube.com/channel/UCkRR5TW5Zy8zMz9BwiZ-E1g

Instagram:@melindawilde

FB: /MelindaWildeExperienceWatercolours

 

Hello, I'm Melinda. I've been in love with watercolours for 35 years. I've been teaching for over 30 and love watching my students when they realize yes, they can create in this marvelous medium. I live on Gabriola Island, Canada and love the God given beauty and inspiration this place provides. Pursuing my art was the perfect thing to do while co-raising 5 children who are now grown and gone. Teaching is my main mandate these days and I hope you'll join my first class and look forward to the many more to come!

Gabriola is a real gumboot community so I couldn't resist painting all ou... See full profile

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Transcripts

1. Hello and Inspiration: Hi and Melinda while welcome to another session of experience Watercolors. I don't know about you, but I just love the look of laundry blowing on a line and the smell of it when it comes in off the line. You know, I really encourage you. If you love something, consider painting that because usually that passion for the project comes through in your painting, and it makes it just adds a little spark or something to your work. So if you want to paint something, you just haven't got a clue how to begin. Feel free to drop me a line. Send me a note and I'm happy to give you some ideas on how to get started. Anyway, today we're gonna paint laundry blowing in the breeze. I we're gonna talk about movement. And so in order to help you with that, I'm gonna upload a template of laundry that looks like it's blowing. And I'm gonna show you in the video how to transfer that template onto your watercolor paper without having to erase. So let's go have a look at some water to get us inspired. Such a beautiful domestic thing. Laundry in the breeze. I think it's worth the painting 2. Supplies, Transfer, Mask: Let's talk a little bit about supplies. I've got my £140 cold press watercolor paper mounted on a board. Well, it's not mounted yet, but I'm gonna tape it down quarter of an inch, all the way around the edge with some masking tape. I'm gonna use my one inch flat watercolor brush and a nice round that points comes to a nice point. We're going to use a fairly limited palette again, Likely just ultra marine and burnt Sienna. Today we may add some Carmine or Cem Gambo. Sh We'll just see how that goes. We'll be using masking fluid, and I will talk to you a little bit about masking fluid later. And it might be handy to have an eraser and a couple of pencils and HB so it was a good one to have around. And then today we're going to use a softer pencil, So anything in the B 246 b is softer. So you wanna have one of those if you can, and then something a little extra today we're gonna use graphite paper, or I'm gonna show you how to do what I call the poor man's transfer So we need some way of transferring our image onto our watercolor paper so that we don't have to erase too much on our watercolor paper. Ideally, erase very little or not at all. All right, let's talk a little bit about transferring. Okay, Let's have a quick look at her project again. This is where we're headed. So the first thing you want to do is lay in ah, horizon line with her HB pencil and just a one line swoop for a laundry line. Want to keep an eye on division of space? We don't want it to be exactly halfway. We don't want the laundry line to be tucked up to tall. We want to make sure we have different, uh, distances between our mean items. Okay, so I think if we just think a little less than halfway for horizon line and then it can meander, you know, down enough for whatever and then the laundry line. Let's not make it go straight across the page, either. Let's start up a little higher and then have it kind of have a natural swoop to it. Like so. All right. The next thing we need to do this transfer on our laundry images. Now, I've put on attachment on the project section of this class so that you can download these images if you want and then transfer them. Or if you feel comfortable, go ahead and just draw them right onto your watercolor paper. That's fine, too, but I want to show you have to transfer because I think it's an important skill. Sometimes you do a really nice sketch in your sketchbook and you want to put it onto your watercolor paper. But you don't wanna have to re sketch the whole thing. So learning how to transfer is not a bad idea. Now, as I mentioned before, we can use transfer papers. Okay, Comes like so I will just warn you a word of caution. There is also an item called my mistake transfer papers. The one you don't want to use. There's an item called transfer paper. Do not get that you want graphite paper. Okay, so graphite paper is will release its graphite on one side and not on the other side. So what you can do is take your image that you want to transfer. Lay it where you want it on your watercolor paper, and then you'll take a little piece of masking tape and just tape it down at the top. I'll take, take their say, I'm gonna transfer this sheet onto the laundry lines so it place it where I wanted put a little bit of tape the top. Because that way, when I do the transfer, I can lift this up and check to make sure it's transferring. And when I put it back down, it will always land in the same place. All right, that I'm gonna take my transfer paper, dark side down, transfer paper. Keep calling it a graphite. Okay, I'm gonna lay it underneath that, and then I can just draw over, talk with my image. Don't want to press too hard. Otherwise you'll score your paper, and then then you're pigment will run into the scores and make a hard edge. You will not be able to paint around that. Okay, here we go. So now I'm just gonna have a quick peek and see removed the transfer paper. There it is. Nice light. Piece of laundry. Kind of didn't get it in. Quite the right place. Lined is gonna draw that up like that to make that fit in a little bit better. All right, so then we can decide. Well, maybe now we want to sock. Or maybe we want a shirt. So where we gonna place that shirt? I think we'll put it right about there so again, going to take my tape. But this time, I don't have as much room up here, so I'm gonna actually take it on the side. You just want it taped somewhere so you can check and make sure that your image is going in the right place. Okay. Putting the transfer papers, graphite paper underneath. Got a mental block about that today. There we go. Let's have a look at that across there. It is a nice little shirt hanging on the line so you can use graphite paper. If you want. You can just draw it on yourself. If you feel comfortable doing that, the other option is you can take this image that if you've downloaded it and put in honest printed onto a sheet of paper and this is where the soft pencil comes in the four b, we could turn over your image and you can draw with your four B just like this on the back of the image you want to transfer. This is what I call the poor man's transfer. And honestly, it's my favorite because the graphite that from your pencil is easier to race than the graphite from graphite paper should you have to do any racing. So I honestly prefer to do this, and I call it the poor man's transfer because you don't need any special materials. Just one pencil. Take that. I would turn this over again, deciding where my socks were going to hang on the line. Maybe about there, take my piece of tape tape down on the top and draw on top of my socks. Now let's see what you see. Transferred Justus. Well, is the graphite paper okay, So what I suggest you do now is once you've created your horizon, your laundry line, transfer the laundry. You want to be hanging on your line. Consider Division of space this way as well. You don't want to have them all. I mean, you might hang your laundry nice and neat, but let's make it more interesting for a painting and have larger and smaller gaps between things. And then once we get those done, we'll just go like this and suggest close pics holding them up. These guys, you're gonna have to come up a bit. No, you look like you're falling off. I could just leave you there. Another thing I want to show you. I did make one piece in this one falling off the line because my laundry always falls off the line. And I'm telling you, I have pulled so many king size sheets out of the pond. It's not even funny, So I couldn't resist putting a piece of laundry that's falling here. So, um, the falling laundry it looks good if you put it in front of another piece of laundry, gives you a painting, better depth of field. So consider doing that as you're putting your laundry on your line, having a piece that's falling and maybe falling in front of another piece that you've got on the line. And the other thing I want to suggest is have one piece that breaks the horizon, comes a little bit lower than your horizon line again, gives you depth of field in your painting. All right, I'm gonna leave you to get your laundry transfer and then we'll talk about masking. So here's another little tip I'd like to pass on to you. After all that talk about transfer, you could make your own transfer paper. Just take a piece of paper, sit down with a cup of coffee and you're soft pencil and away you go on, just fill in the whole paper. And when you get that finished, just fold it in half because it will make a massive. You rub on it, you'll get it on your fingers. Just fold it in half and then tuck that in your sketchbook and you've got your own transfer paper all ready to go. So I've got my laundry more or less drawn on here and now, because of the overlap, I've got a few little areas that need to be erased. So I'm just gonna take, um, I haven't needed a racer. These air. Great little item, not too expensive, and you can mush it around into different shapes. And what happens is it kind of gets clean that way. He opened it up. Impressive. Then you'll always have a clean area. Plus, they're really handy because you can point them into a little fine point. If you have an area that you just a little thin area that you need to erase, you can use that. Okay, When I just erased a little overlap line here with a sheet is overlapping. This one, there's a couple of lines there will take out. And here where my sheet is overlapping, my horizon will just erase that ideally, little or no erasing on your watercolor paper. But good to have a nice soft eraser when you do do the erasing, because it won't damage your paper, the paint on and will be accepted well at the paper. All right, let's talk about masking fluid. Okay, let's talk about masking fluid. I'm gonna just put a little a lot of my masking fluid somewhere where I'm not gonna put my elbow in it because it will wreck your clothes as well as your brushes. Here we go. And then you must preserve your brush by soaping it. So just any old soap that you've got kicking around just so pure brush right up into the pharaoh of the metal part of your brush. And then it will be protected and Then you just dip your brush halfway into the masking fluid and we'll just paint masking fluid on our laundry. Pretty basic. Here we go. And I also want to put it on the clothes pegs a little bit here and there, and this one goes right down. Propel, horizon line. Here we go. A couple things about masking fluid sometimes has little bubbles in it, especially if you shake it. Don't shake your masking flute. Sometimes it has little bubbles in it, though, and they will pop. And then that will allow the pigment to get into that area. So if you're masking a larger area, that just has to be pure white. I recommend masking at once letting it dry masking it again. In this case, I'm not so concerned about it being absolutely perfectly covered because it's laundry and, you know, it can have little spots and this and that on it. Okay, an extra little close pig there. Looks like this guy maybe slipped off the line. Okay, Now we want to make sure we wash your brush out immediately so it doesn't get ruined. And then I'm gonna take a masking fluid pen and I'm gonna draw in the laundry line, show you what I'm asking. Fluid panel looks like so this is kind of a cool little tool used to be used for drafting a long time ago. But now that all that's gone digital, you'll find these in art stores, and it comes with a little screw at the top that you can tighten or loosen minds pretty old , so it seized up. But you can tighten or loosen it so that this will open her clothes and you'll get a skinnier or fatter line, and then you just dip it into your masking fluids, and then you can make nice, thin lines with it a little bit easier. Then using a brush, here we go. And that's a great way to make your laundry line. You can use a fine brush if you like, but that's just another option for you. All right, let's let this dry and then we get to paint 3. Backgrpund: Okay. My masking fluid is dry. One way of checking to make sure it's dry. If you just touch it, it always feels a bit tacky. But if you could do this and turn your fingers over and it doesn't stick to your fingers, then you know you're good to go. All right, we're good to go. So I'm going to start off with some burnt sienna and I'm working on to dry paper, but really quite juicy because I want to buy myself lots of time to play in this background . Just be brave. It's Grab the burnt Sienna, watch your arrives and you're only painting down to the horizon. And I'm thinking mostly vertical strokes at this point because we're working on making a forest in the background. And don't be afraid of it. Keep it quite deep, dark and again watching that arise in line. I'm gonna grab a little ultra stick it in there as well. I don't have to be entirely just whores. A vertical stroke. She can put a few sideways strokes in there, too, but I kind of want to suggest the idea of growth in the background. That's why I think the vertical strokes. Air kind of nice, more ultra Marine. Just slap it on, get that background covered and want to keep it a little moist. Now let's play a bit. How about a little bit of Carmine in there? Just for fun? Smooth. A little more depth here, look a bit darker. Remember, once we get our mask off, our laundry's gonna be against that background. It's it'll look very attractive if the background just nice and dark. Okay, while this is damp, gonna take very, very thick on my brush. Ultra marine and burnt Sienna. It's gonna create a nice, rich dark and I can paint in some of those tree trunks in the background. Go. You want it to be quite thick on your brush so you brush is almost separating, maybe even block that off a little more. And I'm going right from ultra Marine to burnt Sienna without cleaning my brush. I know that's hard if you're a super Nate person, but just give it a go for this one exercise. You can clean out your paints later, okay? And when we put these background trunks and we wanna have different distances apart, different thicknesses just for interest Sick. I'm just using the corner of my brush to suggest some branches. Let's put a few more trucks in here. I'm thinking off having them different distances apart on. There we go. If you find you just cannot make your big, flat, flat Wantage brushwork for the for the branches. Go ahead, move to your around And what I recommend is the way they grow. So start with in the trunk and then just work them up the way they grow. Just him. They don't all have to go right to the bottom either. Okay, now this is beginning to dry. It's getting to what I call the impressionable point of dryness, which means we can have some more fun. We can clean out around rush. Just keep a little bit of water on It just does this shine leaves we can paint in Clearwater. You see how that separates the pigment and we can create some lighter trunks back there just to keep it interesting. A little bit of both. Try some appear. This is a very interesting back for us. Another fun thing to do. It's one of my favorites. I'm gonna move this water bucket right in front of the camera so you can see what I'm gonna do dipping my fingers into the water, shaking them off and and then we'll just go flick. The idea is you want to shake your fingers off well, so that when you flick, you only have a little bit of moisture on your fingers, and what it does is it will separate the pigment to So you get interesting little white spots. It just adds a little more texture to your forest in the background. Okay, Have fun with that. So I think that will just a boat do it for this. Here we go. Let's let that dry, and then we work on the foreground. 4. Foreground : All right. First, I want to congratulate you for getting in this lovely, rich, dark forest. I know that was a bit scary. Lots of pigment onto dry. Well, this is a little less scary. We're gonna moisten the whole foreground right up to the horizon. And it's okay if it fuzz is a little bit from other horizon to the background. That's all right, too. Okay, then I'm gonna take a bit of my burnt sienna and justly in some undulations. I was thinking when I did this painting of laundry that gets put out a little too early or a little too late in the season And where, you know, we're anxious for spring or were hoping to hang on to summer. So we put our laundry out, even though the weather might not be the best for it. And lo and behold, it begins to snow. All right, so let's cozy in the corners here. So what? I'm painting now. It's just the undulating snow background here. We left a little bit of dry there. I'm just gonna moisten that every go because I want soft edges. Nothing too hard and starting with burnt sienna. But I'm going to throw a little ultra Marine in there, too. And they said I usually like to cozy and my foreigners a little bit. Let's see. Want to make sure I get some deep over top of this laundry that's hanging in front here. Okay, Now, while this is slightly damp, I'm going to take my brush. I'm going to do what I call Norling it up. Basically, I'm just gonna pound it onto my rag. I'll just show you here with my Actually, Here's my rag pounded onto my wreck so it gets very dry and the bristles all separate. Then I'm gonna go over into my color ultra Marine and burnt Sienna, Actually a little more burnt. Sienna? I think so. It's super dry on my brush and the brushes all separated. And then I'm going to suggest some grasses poking through that snow. Now, you can do this with a, uh, Sam brush if you have one, but I think you can do it fine with your wanted flat. And it's just one less I am to have to go and purchase. Here we go. And when you lay these guys on, try to have them different sizes in your clumps of grass. Minor looking. Pretty similar. So I'd better just fixed it up a little and different heights. Maybe the ones in the foreground here can be a little bit taller going right off the page, and I'm using mostly burnt Sienna. But I feel like I wanted to add just a bit of ultra Marine two x he ho go darker there just to make it interesting. No si place. Just a couple little there. Have to stand back and look at my composition a bit. Decide if it's pleasing or if there's too many regularities. We want it to be irregular. What I did there, I guess I'll have to have another clump of grass they want just a little bit back here. The reason for doing this when it's slightly damp is it just gives you a softer bottom edge to these grass clumps. And so they don't look so kind of fake smaller ones as we get into the distance. Okay, nothing wrong with hanging your laundry in the snow. I've had a lots of prairie people tell me how they do that in the winter because it comes in a frozen and it smells like a dream when it dries. All right, I think I'll stop there and we will get that dried. And then we'll moved on to doing some details on our laundry. 5. Detail Laundry: now that our background and foreground or dried I'm going to remove the masking fluid, my masking fluid remover. You can use an eraser if you want, but this just is a bit easier because the pain of masking fluid actually sticks to it. So you see, you can just erase it off. I think a little easier than trying to use an eraser. - Here we go. Just get this less little bit off, then a way to make sure you've got all the masking fluid office. Just run your clean fingers over and you'll be able to feel right away. If there's any left. Think that feels pretty good. All right. Ready to render our laundry? One of the first things we have to do is reinstate the lines where, for instance, this piece of laundry has blown in front of this piece of laundry. So I just want to redraw that line in so that I know what I'm doing. When I go to paint. Same with this little sock over here. He's kind of hanging in front of that piece of long you, so I'm just gonna have that little line in there, Okay? There's a little something I want to show you, and it's gonna help when we go to rendering our laundry. One of the things show you is if you want an area and then go in with some moisture and some color on your brush into that area, you see how the pigment, you know, it explodes. Right now. If we do that again on Lee, just moisten the area. Don't have it's super wet and going with the pigment a little bit drier on our brush to then while we're going into wet, it's still more or less stays where we put it. So rather than getting a big bloom, you just get a softer, softer edged shape, the shape you can make almost whatever shape you want. It'll have a softer edge, but it won't fuzz all over the place. So we're gonna use that thought when we go to render our laundry here, as the first thing we want to do is suggest the waves and the bumps of the laundry to make it look like it's moving. So, for instance, let's take this little guy here and I'm gonna moisten him. But just moist, not puddle Lee, wet and then I'm gonna add a little bit of ultra Marine cause it's my go to shadow colored and quite dry on my brush so it doesn't bloom all over the place. I'm going to think about the light may be coming here from the left, So if there's a little lump in this, there might be a little shadow on the left hand side of that can clean my brush, making thirsty and just soften that edge a little bit more. Okay, and then maybe I want to suggest another little little area where it might be wrinkling and there might be a little shadow. So again, cleaning my brush, making it thirsty, just softening that area. We're starting to get it to look like it's rolling along. Okay, maybe right here could use a little depth. Now I'm painting onto moist, so it's giving me a soft ish edge, but it's not running away on me, Okay, we'll put a little bit right in there. So I've had a little bit of ultra Marine also into this edge, and because this one's overlapping, I had to let the whole thing dry a bit because I want to put a nice, sharp, dark edge under here to suggest a shadow where that pieces overlapping. So I'm gonna grab a little of my ultra marine again and then just paint in that little bit of shadow there and again, cleaning my brush, making it thirsty and just gonna soften off that age a little bit. Okay, so this suggests now that this is curling over towards us Now, once those air dry, then we can put on the local color what I call the local color. If you wanted to make it red or blue or have little stripes on it, then that's the time to do it is after we've already created all of the lumps and bumps. And so I've decided I want this dish child to be white, but I think we'll put some red Trimble so grabbing my red and well, let's say we want a red stripe on this. So we're gonna meander this stripe following the shape of the laundry since meandering along here. Mm. Maybe we'll make that a double stripe, you know, have details can be. You see, I'm making it kind of jump. Whoops. That's not very good. Making jump a little bit as it goes over the edge is this. Thes lines don't have to connect one big long street when you want them to rule with the shape of the Tito. Here we go. So I guess we better put some on the top two. Maybe it disappears there a little bit. It appears here again. The double line reappears here, but I didn't get very shape, so it starts to look like it's rolling in the wind. Now, these will also come around this. Here we go. So I'm going to just put on some music, continue rendering this laundry and interject little bits of information I think might be helpful for you along the way. - So motioning the whole thing, taking a little bit ultra Marine, my go to shadow color and putting it in areas where I think there might be a little bit of shading. For instance, light coming this way. So light on this side of the lump darker is it goes to that side of get right in here softening edges. Sometimes Becker gonna leave a little dry edge between where the sleeve overlaps and the back of the shirt. That way I can paint the whole area without them running together a little too wet drying my brush story may notice whatever. There's a little lump is where I'm putting a little shadow, a little shading wherever there's a little low Penis. - So I've decided I'm gonna glaze this with a bit of Gamboa. She's a soft yellow kind of to the orangey side. The shadows, they just glow right through the local color. Good. Now we need a color for the shirt. I think I'm gonna makes a little ultra marine and a little carmine together make a soft violet because I like the idea of the violet against the yellow. They're complementary, and I think that will be nice. Nice combination. Make that very soft. Wouldn't hurt to leave a little light edge here and there on the sunny side. Give it a bit of a glow. So leave a little bit of weight here and there we go. Now the socks. I think I like the idea of red stripes on socks up here, the cuff and perhaps a little bit at the toe. Looking at that shirt, I feel like I want to lift a little bit of late out of it. I'm taking a clean, thirsty brush just softly lifting back a bit of that pigment. And then we have our tell or sheet or whatever it is. I think I'm gonna make some stripes along. Maybe a thin one underneath. What? The thin went on top, too. That's better. There you go. Have about the same along the bottom. See, I'm following the shape of she not making a straight line following the shape of the sheet . This gives us movement in our picture. 6. Tweek and Finish: so we thought it might be kind of fun to put a little pattern on this sheet. Doesn't have to be anything too fancy. I'm just gonna suggest maybe you flowers something like that. I could see nothing too fancy. Don't get too carried away with detail. It's in the distance. You just want to suggest something a little more interesting, perhaps, than a plane yellow sheet. And you don't want to make your patterns old exactly the same distance apart because the sheet is blowing in the wind, so make sure you get some a little closer together to suggest movement in the sheet. Here we go. I'm also not entirely thrilled with this pink shirt, so I think I kind of want to punch up the shadows in a little bit. These air always little detail the things that we might want to do. At the end we go. It's a good idea to really look over your painting critically and decide what needs adjusting. In this case, these shadows needed to be just punched up a little. My thought Here we go, just makes it stand a little more might even give it a glaze of pink But let's just let those dry and then we'll see other little fun thing you can do in the foreground. Gonna take a little bit of burnt sienna on a finer brush and let's suggest some weeds or something that air poking out through the snow. I think maybe in here again, the way they grow bottom to top on a just a few maybe some Queen Anne's lace will just put a little head on these guys. A few other little bits. Here we go. Just adds a little something to the foreground, back to the color of the shirt that I'm not crazy about them. I think I'd like to give it a carmine glaze. So glaze being quite thin on the brush? Yeah, I'm just gonna go over top of this thin paint. A little bit juicy, little bit watery. Never go. I like that better Now. As for these clothes pegs, let's just put a little shadow on them. So on the shadow side, just gonna go down leaving part of it. Wait, let's go here one side white, one side with a little shading on it. And you can also thin out your clothes line if it looks a little bit too thick by just putting a little bit of ultra Marine on the underside of it. My clothes lines pretty thin, so it doesn't really need too much of this. But even so, just a little ultra Marine on the underside, which would be your shadow side. Is it a little more life, as I say, these air Just little piddly things that you can do to tweak your painting at the end. I find tweaking sometimes just makes a piece jump or pop or whatever you want to say Now we talked about maybe having a little bit of fun with a toothbrush and some wash. So here's what I'm gonna do. Just gonna place that there so you can see what's going on. Got stomach wash here, Squeeze out a little into my trey a little bit more than taking a toothbrush thes carry a lot of water. So I'm dipping in my water, really padding it off to get rid of a lot of the moisture rubbing it around in here. I can still see that's way too wet. I have to add a little more pigment and then in order to make it snow are painting. You're gonna hold your toothbrush at the very end and just lately, like so tap it against your finger. I recommend doing this on a piece of paper or on your palate before you get onto your painting so you make sure you got the right size drops. You can get blobs very easily if you're not careful. There we go again and let's just see what we got here. He's look good. Okay, so then we can go on tour painting. Just create a little snow. Don't forget the foreground. You could make it just gently drifting or make a blizzard. Your call. And if you want some snow that looks like it's more in the distance, get your finger wet and do this just a little bit of drifting snow back there. I kind of don't want too much snow falling. It's sort of a I hung out the laundry and oops, guess what? It's snowing, so I don't really want it to be as if it was the middle of winter. All right, I think we are just about ready to take off the tape, so I hope you enjoyed creating your laundry line in the wind, and I hope to see some of your projects uploaded. I'm really curious to see what kind of laundry you come up with. Okay. Thanks for joining me.