Expressive Brushstrokes - How to Loosen your painting style | Clair Bremner | Skillshare

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Expressive Brushstrokes - How to Loosen your painting style

teacher avatar Clair Bremner, Professional Artist

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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

5 Lessons (54m)
    • 1. Intro

    • 2. Expressive Painting Tips

    • 3. Sketching and Blocking in

    • 4. Creating Depth

    • 5. Adding Details

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About This Class

In this class I will be demonstrating some tips and tricks to painting in a more expressive and painterly manner. After going through some key tips and tricks I will demonstrate how to implement them in a full painting demonstration. The demonstration is in acrylic on paper however you could also use canvas. Painting in this expressive way does take practice and a lot of confidence so don't be discouraged if you find it hard or messy to begin with. Keep working at it and practising. 

This class is suitable for anyone that would like to create more expressive and loose artworks in any medium, although I am demonstrating in acrylic, these techniques can be used for oil, ink, watercolour and gouache.

Meet Your Teacher

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Clair Bremner

Professional Artist


Hello, I'm Clair.

I am full time artist based in Melbourne, Australia. I specialize in abstract expressionist landscape paintings. I have been teaching in person workshops to art students for a few years and I am excited to be able to bring some of these techniques and lessons into the online world. 

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1. Intro: All right. My name is Claire and I'm a professional artist based in Belbin. In this class, I'm going to be showing you some techniques that you can use to help loosen up your artworks and to help create more expressive brush strokes and brush marks. This is something that I have a lot of students ask me to help them aptly. Sorry, I have compiled a list of tips and tricks and also some demonstrations to help show you how to loosen up. We will go through these steps together and we'll also work on these mixed media pace together using the old The question that I have spoken about. So if you're wanting to loosen up and experiment with a ferocious style of painting, then please join me for my class. 2. Expressive Painting Tips: One of the most important things that you need to remember when it comes to expressing brushstrokes is that expressive does not mean random. The mocks that you make still need to be intentional. You still need to be thinking about what it is that you're actually painting and the subject matter, what the shape of it eats. And you need to keep that in mind when you are creating these expressive brush strokes. So for example, when you're painting a landscape, the brushstrokes of the land full horizontally across the page. So that is the direction that the brushstrokes need to be placed in. If you put them in more of an up and down motion, then obviously it's not going to read his land. So in this example you can say how this pathway, I've painted the lines to indicate the pathway across the tree trunk, however, is a very vertical, sorry, all the marks that I've made have been up and down in vertical. These leaf shapes are more dotted and I'll sort of like random dotted leaf shape patterns. So there's things that you still need to keep in mind when you're painting loosely. The second important thing that you need to remember when painting in the expressive brush with a brush strokes is dark. I blamed. Normally in traditional painting it you'd think about a noise, smooth blended gradient, like what he's already they on the left. However, with more expressive brush strokes, you don't want to be blending and smoothing out your colors. You want the colors to have a lot of texture and movement in them. So you can see on the right here, I'm just putting down different colors and creating a gradient. However, are not blending those colors together. They mix because they're a bit wet, but they still look. They don't have that smooth blending as what the example on the other side has. And this is what you need to keep in mind as soon as you find yourself smoothing out and over blending your brushstrokes, you're going to lose that expressive quality and that movement that you're trying to find. So you can still create the feeling of value changes, but you don't need to blend. So you can see how the especially of brushstrokes still have that feeling of light to dark, but it's not overworked. To achieve this look, all you need to remember is to vary the marks that you make. Sorry, make long strokes, short strokes as you change up the color. Create different sized brush strokes and push the paint around a bit lighter colors without over blending them. And don't worry too much about keeping everything nice and smooth and meet. When you're wanting to paint it in a more expressive and loose way, you need to think about how you're holding your brush. You need to choose brushes that have as long a handles as you can find. And you need to hold them as far back as you can. If all of your brushes have short handles, that's okay, but still try to hold the brush quite far back. Because this is going to reduce the control that you have on the brush, which means that you're more likely to make Lucia and random at looking marks. Another thing to remember is that you need to make sure you have a lot of paint on your brush. The brush is your tool. And if you don't have enough paint there that you're not going to be up to get the expressive brush strokes that you're looking for. Another really important key when thinking about painting, loose and expressive way is to simplify your subject. You want to eliminate as much detail Glick goal the details embrace the simple value changes and the simple shapes abortive are these that you are painting. You can add interests through layers and changing the values and brushstrokes. But interest doesn't necessarily mean detail. In this really simple exercise here, I'm just quickly painting a little teapot with a simple foreground and background. And I'm just using three colors, sorry, even though I've haven't got any detail in this at all, you can still tell by looking at the shape that this is a tape hot. And I can add a bit more interests into this artwork by changing up the values and adding in some extra brush strokes. So you can see that I'm not worrying too much about smoothing off the edges at the stoke quite rough and the colors a wet so they're blending a little bit here and there. But it has so much more interest to it. Then if I was smoothly forming all of the elements perfectly, It's not about perfection. It's about capturing your subject in an expressive and painterly manner. That's it. Just having a guard at something simple like this yourself just choose three colors. A simple subject, Mehta. And without even using a reference or anything there as a guide, just paint what you imagine the table to look like or whatever deja painting. I'm not using a reference for this. I just know what a teapot looks like. And so I'm just using my imagination to create a really simple teapot on a table with a light black background. And all I've done is just add a bit of white to vary up the values. And I'm not blending my colors at all. You can say that there's some really nice, beautiful brushstrokes and mocks being made. And I'm just having fun slipping. Thank Dan. So if you are really hesitant and timid when it comes to applying paint, just get some scrap. It's a pipeline like this. And do a couple of these little warm-up exercises where you just, just draw out something we paint, doesn't matter what do these. Keep it as simple as possible. Don't worry about details. Here. I'm just adding in a little bit of a shadow just to define the edges of the tape. Bought a bit more shadow underneath the pot, but really there is no detail at all. And try and resist the urge to smooth out all of your brushstrokes, keep it as missing and as loose as possible. And the more you do this and the more frequently you practice this method, the easier it will get and you will have a lot more confidence when it comes to painting a finished piece. So to recap, what I've mentioned, expressive does not mean random. The marks that you make in an expressive painting still need to be made with intention. You still need to think about what are these your painting and the shapes and the values that you're trying to convey in your paintings. So when you're painting a landscape, you need to think about the direction of the land. You're painting trees, you need to think about the direction of the trunks. Still lock objects used in I do think about the shape and the values and the structure of those objects and make your brushstrokes emphasize that structural. Don't try and fix a blend your brushstrokes when you make a mock, just leave it as you'd like other colors on top of the initial colors, you'll be able to build up texture and build up interest. When using your brushes, hold them fall back to reduce control and encouraged random movements. Make sure you load your brush with plenty of paint. And remember to simplify, lick of detailed and embrace a single value changes. The more you simplify two basic values and shapes, the more expressive you are going to be able to pay. 3. Sketching and Blocking in: Welcome to the main project in this video, sorry. For this project you will need paper, acrylic paint will pass TO masking tape and water-soluble crayon. The paper that you use should be a heavyweight watercolor paper. I have one large sheet of paper and I've divided it up with masking tape into four sections. And I will be then cutting those sections up. I'll alternatively, you can just use four separate sheets of paper and you can type them altogether. So to begin with, I didn't type this first part, but I basically just covered the entire pipe out with random colors in like an abstract kind of white. This is just to create a base. And now we've a, this is a pest out too, so it's a water-soluble crayon pastel. And with this I'm just really loosely sketching in some vessels. So we're doing a still life. So I'm just doing things like vases, cups, plates, some circles for oranges. And you just need to sort of roughly sketching a series of different vessels. And the idea is to fill up as much as the spices as you can with different things that you would find on a table. And I'm just free handing this. This isn't there isn't a reference that I'm using. I'm just familiar with the shapes of the vessels and so I'm just sketching the mean and this crayon and amazing, it's a water-soluble crayon that sorry, it means once I start painting, these marks will disappear. If you don't have a water soluble crayon, you can just use a soft pastel like a child PESTEL. Or you can also use Chaco will have the same sort of effect. Now the important thing to remember when you're laying out these shapes is to have some things that are overlapping and no, don't, don't make it too symmetrical. Truncate it at random, and also vary the size of the objects. So you can see that I have some were quite large vases and some small ones here I'm sketching in a large plight shape with some circles on it that will be oranges. You say I've got some cups and sources there as well. A small vase. And just try and keep them all different shapes and sizes. You want it to be as interesting as it conveyed. And try not to think about it too much because the reason why I'm using that sort of type as well to divide up this piece of pipe up is because it's going to help add to the sort of surprise as to what this looks at the end. Because instead of making one lodge pace, it actually ends up being four smaller pieces. And because you're typing it and sectioning off those pieces. But we're painting that the whole shape, only one God. You can't have lift with a bit of a surprise at the end as to which parts kicked in each individual painting. Now obviously you can just keep one sheet and just do one large piece in exactly the same why, that's totally fine. But just for the sake of this project, I thought it would be fun to divide it up. On YouTube. I have a YouTube channel and I actually have another video showing a similar technique to this. However, it's an abstract painting. And with that, I actually use six separate sheets of paper. I type them together into one big shaded PIPA, and then I create an abstract artwork on that. And it's a similar technique to these, sorry, I'll put the link to that video on YouTube in this description so you can find it and have a look purely because it's a similar sort of theme is what this is. Anyway, you can see that I've just sketched out all of my still life objects as if it's just one big table full of themes. And the sketches I really loose. They're not perfect at all because we are going for a really loose, expressive top of painting here. Sorry, now that I've blocked out all of my objects, what I wanna do is start to build up and develop his painting in a really loose manner. So the first thing that I'm gonna do is I'm going to focus on some of the dark areas because at the moment, that abstract background, It's the same sort of value with column. And so now I want to start grounding some of these objects by adding in some shutters. So I've got like a dark color here. And I'm just going to use this to block in the shadows underneath somebody's objects. Now, I haven't mentioned much about my color choices in this particular lesson so far, because it's not really important. What we're trying to explore in this video is the loose of brushwork and letting go of perfection. And that's the conda, purpose of this video. It's not really about making something that looks exactly like this. Sorry, the colors that I'm using, I didn't really note them down. I think this particular blue is midnight blue. I remember that, but besides that, what I've done is I've tried to keep it my color choices in a sort of harmonious family, sorry, they're all going to be in the blue, green, and purple. Area, sorry, because I'm choosing that sort of harmonious color range. And sticking with that, it doesn't really matter what color I add e1 as long as it's on the blue, green, or purple. So my suggestion for you, if you're trying this out, is to just pick two or three colors and to stick with those colors to try and keep it as easy as you can. I do have a lot of videos on here talking more about color choices and color mixing. So if you want to be more information about that, then you might have to watch one of the other videos. This video, it really isn't about the colors, it's about the brush strikes. So you can say that at the moment I'm using quite a large round brush and I am holding it very far back and I am just blocking in the shapes. So I'm keeping it super simple like I said at the beginning, but just focusing on simple shapes when we're painting in this really loose y. And so I'm just using this lot, a collage to blocking some of the plights and the cops. Within this composition. You don't want to make everything exactly the same. Sorry, that's why I'm leaving out a few things. Some of these vessels are going to be gloss vessels. So I'm not worrying about blocking the cuisine. But a few of them I am adding this sort of, it's not white. It's actually like a really pale blue. So it's the original midnight blue with lots of wash in it. But I'm using this just randomly add in the areas of interest and to stop blocking in the areas of the type of cloth, areas of the different vessels and things that are on here. And try and keep it as random as you can. Sorry, a few things that I spoke about earlier in regards to using expressive brush strokes. You can say that I'm not blending my colors, so I'm dead that area of white that I put them up the top, it's got quite like a house edge to it. That's okay. I'll just lift that harsh edge as I add more colors on top that will start to disappear. And I will just work my way around blocking in some areas of light and some areas of dark. And I'm also sort of defining some of the shapes. So this little copy of block D in the 18, a bit of this stuff purply color. And then I've used some of that same color to blocking and define the edges of that vessel up the top. And sorry, I'm just working my way around. And you can say even in that purple area that I just put down, it's not blended. The edges are quite harsh. It's just slip in the Sudan. Sorry. I really highly recommend that you just try in that let guard and accept the fact that for a little while it is going to look messy. A whole pot of these expressive painting process is building up the layers and building up the values and the Tarjan's and the colors can't happen in one line. It has to happen over several layers and several possible passes over the painting. Sorry, you need to just accept that it will look a bit messy and chaotic to begin with. But you have to embrace that. And stop. Start with quite large brushes. Sorry, as I said, this is quite a large round brush. Don't ask me what size the brushes. I have no idea. It's just a large round brush, a soft acrylic brush that's a LIDAR. And I stick that, I am going to add in a little bit of more of an orange, greeny color at the moment, I think, sorry, yeah, this is lit looks quite yellow in this video, but it's actually luck I released a secrecy grain. Again that just to add a little bit of contrast because I just added in that purple color. I'm now coming in with a bit of a yellow, a green here in the AI for some foliage. And I'm just going to continue to build up the painting. So another thing that you can see me doing is I'm not just working on one the area of the painting at a time, working all over the painting. So I added that light grain onto the paper. Now I'm adding some up into this corner and I'm just working all I VAB not focusing on just one area and completing one area. I'm looking at the whole painting, the whole piece of pipe up all in one guard. So amazing that grain to add in some foliage into one of these vessels. And just add little pops of it here. And they the paint underneath. Not the very first layer, but obviously that purpley color that I put down, it is still wet. So I can use that purple too. So smoosh into the grain to emphasize some of the brushstrokes as well. And I'm looking purely from imagination as well. If you'll not really comfortable working like this thing that you can't sit down, setup a bit of a still life and sketch directly from it. But just remember that we're not going for realism here. That's why I'm not using a reference because I don't want it to look realistic. And sometimes when you do have a reference or something in front of you that you're copying, you can get a little caught up in d tau. Sorry, you are going to use something as a reference or inspiration. Then just try not to focus too much on the data side of things. Try and keep everything flat and simple. Sorry. So yet, but you've course, you can sketch, sketch some designs first. We'll just do what I'm doing and just go with your artistic instinct and just play around with shapes. And I do apologize at the bottom of the screen is cut off. I didn't realize when I was filming it to that. I was missing that last little two inches page down the bottom. Sorry. And I that's that's probably a little bit annoying for some people, so I do apologize for that. So I've now switched over to a flat brush, still a really long handled brush, but it's actually got a flat into it instead of the round one. And I'm just using that to define some of the edges of these vessels, mainly the glass vessels. That because I don't want them to be sold. I want them to have that sort of gloss effect. So I'm just using this and some creamy white paint to go around the edges of the arteries and to define the edges of the gloss areas. So you can see with this one here, I'm just using it almost like a pain. It's like super super sort of loose, not worrying too much about the shape. You can see it's a very wonky vessel but are really lock that. And I'm just using that to add in some of the background. So because it's transparent, it's a gloss vessels, sorry, it needs to have some of that background color in it. And you can say really, really loose. You can see how I'm not correcting any of those brush strokes. 4. Creating Depth: So now I'm just bringing in that some docks again. This is actually a more of a blue color. I'll do it again. I don't mean what the colors were. I think it's the midnight blue with some Prussian blue. Probably not something liberally, sorry. And that, but I need to bring in a little bit more contrast. Everything is looking a little bit flatter at the moment. So I'm coming in with some darker shutters in around most of these objects. And again, that the shadow is just a line of blue. That's my shadow. I'm not worrying about blending mode, gradients or anything like that. It's just a simple law and underneath each of these little vessels to indicate that they're sitting on a table. It helps to ground everything. And I'm still using the same long flat brush that I was using before. So I thought, wow, you guys are watching me do this painting. I'll talk a little bit about some other tips on how to sort of loosen up and paint in a more expressive way. Because this is something that a lot of my students strive for and seem to always ask about. And to be honest, there is no quick and easy solution. It is something that does take a little practice. This style of loose, expressive, odd. It's a lot harder than it looks purely because it requires a lot of confidence, a lot of confidence in yourself, and a lot of trust in yourself. If you hesitate or a worried the whole way through these courses. It's gone to Shari in the way that you paint. Sorry, you need to just trust the process, trust your instincts, and put down the paint in a confident manner. But along with that, there are some other tipsy you can then sort of have on board when it comes to painting in a really loose, expressive way. One of those tips is to work really quickly. And this is something that I know a lot of my students struggle with. I do teach in-person workshops and also online workshops. And in-person workshops. I always have students comment how quickly I paint. And there was a standard and amazed at how quickly I can get paint onto the canvas. And a lot of them that struggle to get that paint down as quick as our jury. And that's just a mental barrier that you need to get through. And a lot of that mental barrier is the barrier of perfection. Trying to make everything neat and perfect and tidy. And this style of painting, it just, it doesn't matter. It's not about being neat and tidy. It's about expression. It's about putting energy into what you paint. And the easiest way to do that is by working really quickly. Another way of adding energy into your art is to stand up while you paint. You can see that I'm standing up here, which means that I can step through the back from my Hazel. I can move my whole body. It's not just my hand that's moving, it's my whole body that's moving around the canvas and adding in mocks and gestures. And it keeps you a lot more freedom. You can step back from your canvas and you can look at things from further away to see whether something's working or not working. And it's generally a much better way to paint, especially when you're painting large in this format. So if you are mainly setup on a disk where you are sitting down, I would suggest that you try to standing up. Good luck. A piece of cardboard and type you'll pipe it to the cardboard. Maybe stick it up on a chair if you don't have a nasal and working away, that's gives you the freedom to move around. Another thing that you can do to try and stop yourself from being quiet, taught with your brushwork is to put the brush into your non-dominant hands. So if you're right-handed, paint up, try painting with your left hand. It not doesn't need to be the whole painting we go live hand. But when you feel yourself tightening up or putting down marks that are a little bit too forced. Switch over to your other hand and try and paint for a little while with that hand and see if that helps you to break out of that routine of constantly making everything perfect and taught. A lot of this style of painting also has to do with an understanding of values. And really the core of old painting is understanding values. If you didn't have a good grasp on it. The values, the lats, the docs, that different times, then anything that you do is going to look a little bit odd. So if you don't have a lot of practice working with values and determining the values and playing around with different contrasts, then that could be something that you might need to spend more time practicing. So you can see here for example, that Nevin up putting those docs, I'm coming in with a much lighter color. And I'm using that to contrast against the docks, and I'm also using it to define some edges. So I've defined the age around that orange of defined to the edge around that cop. But I'm not going to cover the entire tablecloth in this color. I'm just selectively adding this lot of polyhedron they, to help emphasize ages that were a little bit lost before. And you can do these sleeve a darker color or a lot of color. But it's all about contrast and the value change. So you can say, I know it's cutting off the bottom of the picture, but you can say that I'm doing the same thing with that lot color against that really dark blue. The contrast between those two values really jumps out and it stands out really strongly. And so that jug now has a bit of a shop at age to it than it had before. And so I'm just working my way around the painting, having a look at where I feel like we need to add a bit more interest. And this is something that comes with a little practice. It's not something that is super easy to do. I never say painting was A-Z. It just requires a bit more of a bell. Tom spends looking and observing. But I'm bringing in a bit more of a highlight here and there as well. With these lotta color. You can also think about in regards to soft and hard edges, a really interesting painting. We'll have a lot of variations. So often hot edges. So where I've added in that contrast of the lot and the dock creates a softer sorry, I had to age against that with that contrast is MIT. And then as the Lhasa area fights off into the type of cloth, it creates a soft edge. Sorry, alternating between those hard edges and soft edges helps you to define the different elements in your paintings. In order to be successful with this kind of expressive and loose style of painting, you need to be in the Rotten mental state to do it. You need to have a positive attitude and you need to be enjoying the process if you're not enjoying the process of painting in this way and then it's going to sharp. So you need to make sure that you don't have unrealistic expectations and you allow yourself to make some mistakes. Like, for example, I started putting in a bit of a cross hatching patent on these fissile. As soon as I did it, I knew it wasn't gonna work, so I immediately started covering it back over again and I was ready to let go of it because instinctively on you, that was the wrong shape, that was the wrong patent. And so I just covered it up again and moved on. So stressing about what the painting look like or what other people are going to think if they see it. Or whether you're wasting your time, you're wasting your money that you spent on the pint. All of those thoughts are just going to have really negative impacts on your painting. And it's going to not make the process as enjoyable as it should be. And it's also going to stop you from having that expression and that freedom to just create. So if you're relaxed and you have a really positive feeling towards your painting, then that you're going to have a much more enjoyable time. And you need to just remember that it is a low prices. You will create artworks that are horrible and you hate and that he's perfectly normal. But you need to kinda do that to get through to the opposite side where you start to create work that really speaks to you and really helps you to enjoy the process and feel like you're getting some way, if that makes sense. Sorry. This type of painting, it is notorious for making people think, Oh God, it's cropped. Everything I'm doing is terrible, excuse the language. But this style of painting is notorious for that because it is a really simplified style of painting and it does require a lot more from the artist in regards to imagination and creativity than painting something that ease realistic. For example, if you have a reference image of a bird or flower and you are representing that realistically. Yes, that requires a lot of skill. But at the same time, it doesn't really require as much creativity, as much imagination as painting in this particular style does. Because you've got nothing to work from your working purely from your own expression. And that does take practice. And that is a challenge for some people. There are a lot of people out there that are really hard to visualize. Something that's more abstract. Sorry. Yeah, it just takes practice. So the first time you do this, it doesn't really work. Philip, just hot And then that I really encourage you to have another go and just keep trying and you will get better at it. And you will live a Fonda way to push through and create something that you like. And yeah, that's I guess that's just select my way of trying to encourage each and don't give up too soon. So now that kind of block elements, and I've gotten pretty good idea of vessels visible. I'm going to start adding in some other details now. I wanted to make this little vessel up the top. And so I'm painting it in a much more opaque white color. So a bunch, a lot of value. And I'm going to add a bit of a pattern onto that as well in a minute. And never been working a lot with really big brushes. I've now moved to a smaller brush because this painting loose and expressive style, while it is great to use big brushes, you can also add more sort of interests and variety of line and texture by working with a smaller brush to add in some details but just different elements. So I've now got this smaller flat brush and I'm just using that to add in some highlights and to emphasize some areas of these plates and vessels. It's called bit more visual interest. So some thin lines and the lines next to the thick lines. Just to add some interesting. So the areas, sorry, I'm adding some highlights onto the orange. I'm just still despite the process of building up these lines. 5. Adding Details: So now I'm starting to adding a lot more pattern and details and edges to make the whole artwork a little bit more interesting. Because some of the areas look at the boot flat and I just want to bringing that be more interest. So I've got a, again, it's still working with the smaller brush. And I'm using that to add some more shadows and some more darks in the ransom of these objects to make them stand out a little bit more, gets the background. And what's I sort of get to the stage where I'm happy. What's happening here that we will start to add in some more detail. We've the oil pastels that I talked about. So yeah, that will be key to making an appearance soon. And I know again that you can't see the bottom, that you can't see what I'm doing and I am sorry about that. I forgot to sort of adjust the camera out and go down a little bit so you can see the bottom half of the artwork. But I'm essentially using this darker color to add in some more folded shapes into the vase. It's down the bottom in that corner. And just add a little bit more into there. So that's what I'm doing at the moment that you can't see. Okay? Okay. Okay. Hi. Hi. Sorry, this is where the oil pastels I going to make an appearance. The o pascals, if I can get my teen urban, struggled with it for a minute. Yeah, I feel oil pastels. I really great for adding in a little bit more of a textural quality to this kind of painting, because we're painting on paper. It becomes more of a mixed media sort of painting slash drawing. And you can use these o pascals to add in a different element and some more foliage. Assemble passion, and some pops of color that to help settle these certain areas and edit a little bit more interests. I really liked the quality of the line that you get when you, when you draw directly onto paintings. So if you don't have o pestle, you can use things such as paint markers, soft pastels as well. More of those neo, neo color to water soluble pascals or crayons if you have them, anything like that that you can use to draw onto this pace is going to add a different textural quality. Okay? Okay. Okay. How they should deal with regime. So of course you can spend as much time as you like adding even more texture and more pattern and more color and brush strokes. But this is where I decided to finish off. Sorry, this is some close-up shots of the whole pace. But if you remember it at the beginning, I typed off this entire big shade, a pipe up into four sections and sorrow when I then remove the type and catch the pace up into four individual paintings, this is what I ended up with. So the great thing about doing this is that you get some really interesting compositions that you wouldn't normally think of yourself. So you end up getting these random little cropping, This whole a pace. And you get like these really interesting details and suddenly the areas of interests change. Sorry, these are the four separate little paintings that I got out of this one big painting. And as I said at the beginning, you could of course just keep it as a big painting, but I really like these smaller paces. And I was really happy with how this turned out. I think the colors are beautiful, some of the textures are lovely. And you can say like the compositions that you end up with a really unpredictable because you're not really thinking about these individual paintings when you're creating these plates. And this one here is really lovely turkey. So yes, this is, this is the end of the demonstration. Um, I hope that you guys enjoyed it and that you've got some interesting information out of it. And I really like to see your examples. Once you've had a guard. If you haven't looked at my other videos yet, hit to my profile, they were used quite a few videos. There's some landscapes still are all sorts of different types of videos. And you can also visit my YouTube channel, which again, I'll leave a link in the description for. And yeah, I really look forward to seeing the results of your experiments in the discussion. And if you have any questions, let me know and I will do my best to come back and answer them. And I really hope that you enjoyed this lesson.