Learn to paint wet into wet in watercolours to paint these foxgloves. Just follow me. | Nicola Blakemore | Skillshare

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Learn to paint wet into wet in watercolours to paint these foxgloves. Just follow me.

teacher avatar Nicola Blakemore, Professional Artist, Teacher and Creative Entrpren

Watch this class and thousands more

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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

7 Lessons (59m)
    • 1. Introduction

    • 2. The colour palette

    • 3. The background

    • 4. Starting with the flowers

    • 5. Adding more colour

    • 6. Finishing off

    • 7. Looking at two versions of the painting.

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About This Class

Many people enjoy painting floral subjects and this one will show you colour mixing from a very limited palette, exploring light and shade and how to face a blank piece of paper and go straight in with some paint. It will help build you CONFIDENCE too

This painting procedure is for those who want to try a different way of painting. Perhaps you are feeling:

  1. 'stuck in a rut.'
  2. That you pictures look dull and lifeless.
  3. That your work lacks drama.
  4. That you want to paint in a more relaxed and loose style.
  5. That you want to explore what you and your paints are really capable of.

Work your way through the easy to follow videos as I demonstrate each stage, explain every step stopping naturally as the paint needs to dry.

If there is anything that you think is not clear and you do not understand in any way then please ask me and I will do everything I can to make improvements.

Meet Your Teacher

Teacher Profile Image

Nicola Blakemore

Professional Artist, Teacher and Creative Entrpren


Why choose one of my courses?

Because, as a self taught artist I understand how a lot of people feel about their creative work, sometimes anxious, sometimes overwhelmed and often that it's not 'good enough'.

Well I will hold your hand as you overcome these fears as I offer a friendly, relaxed and sensitive teaching style.

Do one of my courses and you will feel as if I am in the room with you every step of the way.

Here's a bit about me.

I originally trained as a graphic artist, and then followed a different career path working in the national media, travel and public relations in both London and Paris.

After sometime I returned to my creative roots full time, so to speak, and became a full time artist, teacher and creative entrepreneur.

T... See full profile

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1. Introduction: Hello. A clutch decided to take the plunge into this latest painting procedure. It's gonna be a lot of fun. Trust may. You've just got to let go of your fear on your you'll need to be in control. It's so hard, I know, but it's really worth it. If you could do that, so you're gonna get started. You're gonna get lots of clean water, get big brush. The number 10 is what I suggest You're gonna get your paints ready on. You're gonna have some fun. Believe me, if you want to loosen up even if you go back to painting in a war control precise way, that's fine. But loosening up, you'll learn so much more by working in a wetter and loose away, you'll learn more about how the paints really work with the water, have the colors mix and play together. And you're gonna get some lovely surprises so well done for trusting yourself to have a go something a bit different. Really take you outside your comfort zone. So enjoy it. Make sure you share your pictures with everybody. Asked me any questions if you've got any prep problems and I'll see you in the first lecture. Thank you 2. The colour palette: Let's go through the color palette What you're going to need for this love painting. It's very, very simple. There's really only three colors. Let's have a look. I've got a rose color there, which, when mixed with your saree in it, looks a bit murky. I do apologize. I got a bit of There's something else in there. It will effort give you that pinky movie color for your bloody life. Okay, um, then we have Cappio yellow strong, really strong car again, mixed with your cerulean to varying degree. Look, a few your greens, More civilian dark, agreeing. So that's only three colors I did in the second painting. The darker painting. Put some Payne's gray in, But you know, if you use a mixture of that Andi to that, that's not a reason to. Possibly. You could get pretty murky grey color, but paints graze good if you don't have surreal yah. So okay, you something else. But as always, I say, Don't follows me slavishly. It's just a matter of getting the colors as near as you can. So remember that the more surreal in you put in the blue that will look if you mix the mix , The movie color the mall pink. The banquet will walk us so on the more yellow, the bright green will get the more line green on. It's interesting as well. This is great. What, by really working in this very loose manner is interesting for you to learn more about your pains and you pigments and how they work. So that's your color palette. Can't get much simpler than that, Um, and your brushes while it's your big number. 10. Andi, I think I fiddled around with this number one, but again, as near as you have got to it. So the other colors you're going to be using. So come on, let's get cracking that see some paintings. 3. The background: Foxgloves are wildflowers, but we do sometimes grow them as a cultivated type in our gardens. When they're in full flower, that can look marvelous on mass on. I'm going to show you how to go about painting this very loose, unstructured painting of Foxgloves. I'm sure you have them wherever you are or something similar worldwide, but I will be posting some resources, some of the pictures to show you what it is. It's a tall stand with this lovely trumpet type flower which enables the insects to fly inside and collect the pollen. They come in mostly this sort of purple color, but sometimes they're wide tour there. Pinker and they can assess a look absolutely beautiful when they're in a large group. So where am I going to start with this? Well, I'm going to start, strangely enough, you might think with the background, I'm using a large brush number 10 something like that. I'm going to start with, um, get some wet on the paper and I'm going to use really into star. So let's just get some coloring. We could see what we're doing. My main foxglove is going to be off center. Unlike that one. So what I'm going to do is just effectively make an outline with the blue. Okay? So don't get too up. Tighter. Violated. That's the sort of structure, like a Christmas tree. Really? But if you think about it that way, it will help you to see the form. And I'm just going to drop some. They're so this is gonna be very relaxed, wet into wet painting. We're gonna have some in the background. I don't want it to be too structured. Us supposed to too precise. I want really that the paint in the water to tell May where to make the marks. So let's just get some water that just suffering those areas out. I'm gonna make this the dark side, as it were. The light. Let's have the light coming from that way. So I'm gonna drop some more color in blue. See that runs Just gonna make a few a few shapes is a good getting this. And bring some color down here because when I come to doing the greens, I'm going to use a mixture of the surreal Ian Andi yellow. So I might as well bring some of the blue down and you're probably thinking that looks like absolutely nothing on us. And you'd be right, But don't worry about it. We want to work in a more intuitive and spontaneous way. We want to see what the paints on the water present to us or gone idea in my head. But I'm not gonna slave, actually follow anything now. I think I want more area there for perhaps a more foxglove. So I'm just gonna lift some of that Left a bit more on TV. Okay. Remember when you paging you can put song on takeoff? It's just even too much. Okay, No, I've got the cerulean blue, and I'm going to take some cappy amulet that makes it all the paper here. So do good. Why, that's still wet. I'm just gonna drop some hate in the see what it tells me. Maybe this and leave structures or something like that. I just have a sort of an idea. Stem that Kristen, get a started. I'm quite happy just to let the paint make the marks. Don't with that too strong. Just don't you think the idea? See, if you see that's lifted up, they can be quite forgiving. sort of leave structure there. Now, I know the little butts that originally covered the flower for quite alarming green. So I'm going to put a few dollars in now just to give me a markup. And also because I wanted to play by with paint comes to so a little hat for very just give me I do you? Well, that's still certainly worked very wet in areas I'm gonna do here is I'm gonna just drop some clean trend. I'll take a little bit of the pinky movie gonna use. Just drop in a few Flory triangular shapes and see what happens. I think you could call this a watercolor. That's gonna paint itself. Don't fret. Don't worry. If you know that some state you're thinking, Oh, this is looking such a mess. Yes, the world we stay just like that. But it's OK because at the end of the day, it either works and you're happy with it or it doesn't and it doesn't matter. People put themselves into a lot of pressure when they're painting. There's no need for it supposed to be fun. I just love watching those colors run around. It was the trumpeted baby, it's just and it's a bit he has to say some of content white, more pink home souls. I'm just gonna that still wet, going with small blue to make greeny there is, And now I'm going to just let that dry and we'll see what we got when we come back and I'll start building up the color. 4. Starting with the flowers: Well, this is dried out nicely. Andan go to start adding some more color. Now we've got some lovely blooms and happy color merging is going on here. See that piece of paper? There anything? See that? Just just camera that there was a really dim dimple. A little dip in the paper on the blue has gathered in that little pool. Made that nice puddle. And they've got some lovely, quite nice hard lines Here, look at that lovely blue around. And also here I must have splash my paper and I've got a blob there. So I'm gonna work with that. I'm going to add to it. Like I said, I was gonna work with what? What was given to May. So this is what I'm gonna do. So let's just put a bit of color up here. You may well be looking and thinking, Crooms, I don't know where to go, what to do next. Don't worry about it. This is a say. It's a very free flowing piece of work. Really Don't want you to get stressed about it if you don't find it comfortable, that stopped doing it. But it really is a good way for you to grow in your style on learn about your paints and learn new techniques. So it's worth having a go if you want to make your paintings a little more interesting, maybe or dramatic or you're feeling that you've got a bit stuck somewhere on line. Now I love this lime green, but that's me. Personally, I don't want to get to, um, over taken by the colors, but I want some of this over here. In fact, I'm gonna do is I'm just rinsed my brush off slightly sea but not alone because thes fox close before they actually come out into flowers. That they're green little Hutz covering the flowers so we could have a few of those track a bit north. And I was very pale, very pale bit of that pink wash. So let's just could a little bit of here. And we look as if we've got a ghost of one s o. We might as well, just like we have that happy little lodged there. Now, the thing that concerns me slightly andan like things to go out of patent and symmetry when I'm doing natural objects is this sort of angle going up here. So I feel that I'm going to want to make one of these just a little bit tour, maybe feeling one here. There's also I can see a faint ghost of foxglove. Okay, just so you will probably feel a bit more comfortable, probably so alive. I'm just going to, um, mark a little bit the trumpet shape. I'm working with what I've been given. Look, that was already there. It is nice. This is what I mean about often. Talk to people about going backwards, forwards backwards and forwards. It helps you to see the images on the shapes a bit more clearly, especially when you're working in this very free and wet format. I don't want it to be too strong, but we just want to be able to see a little bit where we're going. We're all going well, you certainly meter next it outside your comfort zone. So it's sometimes helpful. Just take a deep breath and say, OK, I'm just gonna make that a bit clearer. So I know what's going on. Okay, That's a lie. I agree. Really gets larger. Don't worry about your moment, so you can see we're starting to get some sort of form. Now I'm going to go in. As I said, this is gonna be the dark side, as it were. So I'm going to go in a bit, dog just here. Is it gonna room? This will make us okay. It's a bit of a muddy Siri calls in order to appreciate the night, we have to have the I enjoy this study days with that. The rainy ones. That's what I say. Okay, let's just keep moving things about a bit. Don't want to money hard adjust. This needs to come across a bit more. Sprinted for the cross. That surreal Ian. It's really staining on marking quite quickly. I feel that I want to go down here a little bit, although that's not literally sky area, which is what that sort of is. There is gonna be blending into the green so we'll take it. It's got a bit there, so at least we've got one thing that hopefully one can identify Safak split and the rest was just sort of happily blend. So to some degree, I, um, making definite marks. I'm defining it, but I'm also working with what I've got It's something that time a bit, right? Let's take it. Okay, now let's put a bit more green area as it were done, Uh, the leaves on the fox believes, really very big. That sort of shape. Just don't do that slightly dirty water. It's OK. Dirty wars could be very useful, especially its schedule colors in that you being working with. But you're not cerulean. Mix about it that it's come down here. I couldn't get some nice blooms coming tonight since what? Kristen for Green Ray see really being haphazard? Just let go of the forms. Don't think this is a leaf. Therefore, it's like this is got this and veins and just let it flow a little bit. I'm quite sure about that. They're so that's true. Some more. I don't want the washing line. I wonder how it would be if we had some ideo. Maybe there were some Stanton's so go through with things I thought they I do approach painting a lot in the way of I wonder. I wonder how it would be if I did that because it's experimented, playing. I think that's really nice. It's going in here. Just define some sort of a shape and again Lisi sort of feeling like that dark, But there. So consequently I'm gonna go darker here and let that blue, because if they're all grouped together but it's gonna be quite dark. Donna, what's the leaves and the stems? So let's just let that happen shape. I don't like that shape. So that's ultra does that you don't like, Have a play with it as you go along. Its nothing to say you can't define Cem definite shapes. It doesn't all have to be free fall, is it? So you could put Okay, I want to keep that very light of the moment. Do you need to just It's just special around of it. Maybe with a I thought of the symbol things in the background that what what it is, we'll take some just take off that edge a little bit. Good. Um, a little bit dog down here, right? Okay. I'm going to just go over here a little, because that's all pretty wet of the moment. And I'm going to just define these little would it CD flowers. Where? The plaza. So coming through it's a little bit too dark up there. I want to know. It's just sometimes nice. Just put a little bit of detail. So the eyes got something too. Not long to you can always just self dropping beat award from it. Okay, Right. Let's leave that to dry. Andi will come back to it after that. 5. Adding more colour: Okay, we have another go. But this now that's dried off beautifully. I'm getting a bit of confusion round here. I'm not quite sure which way this is going, but for now, I'm going to start working in a little bit more on these flowers just to make these shapes come out of the box which are there. So I'm going to go up to the top and start in that area. What I'm going to do is paint them again. I'm going to small a brush. This is number eight, but whatever you're comfortable with, I just want to define these. In fact, used. I was going to something fiddly. This is where I was saying we are loosening up, but I'm gonna pick up this tiny, tiny brush. That's okay. So what I'm doing some building in to what is actually the marks awarded there. Just defining them a bit more because this is the way that I believe this can go. Remember, this is just a suggestion. You make things as you wish, but it's a a way of loosening up. It's just another way painting. And sometimes it's nice to mix the loose and a bold with a bit of the more details. Stuff right here has got another foxglove coming in out of the mist, so to speak. So let's just whether it's a little gap there. Look, see that light bit just because the notion I'm gonna have to soften their yourself because that one is really quite in the know exactly in the distance. But it's very, very vague, so we don't want that to define. Were more concerned about this one here, maybe there to add a little bit of detail. Let's put a bit of shape home. Look at that lovely blue there is if the trumpet of the flowers folded back from the like that. If you got things looking bits that you like, that's okay, let them just don't just be okay. Let's have a little bit more here. More that little stuff in that as well, because these quiet like thorns as well they're not know to ping. And, of course, the flower when it's in Bird doesn't always show it's full color. It's just fun off them with that, Okay? No, I'm good too. Come back to the flower area and I'm looking at this one now. so that's good. Well, that might be a bit too bold. Step up so we could brush. Starting to think about these shapes on because it's a trumpet. That will be some shadow food. I was saying, Make sure you mixed up in, of course, before you start. But I am not actually too worried about maintaining a rigid color palette because it's nature after all. Get out of here. Remember, dry brush suck. Come out something return image quite a bit blue without bit. But let's not get too concerned about. I got a bit of lips too bold. Like those marks up there. No, just I think I want that. Cory, just do, okay, We could we could figure with it. Never forget you can always have a player with things looking that patent. I do hope you're enjoying the little, um, happy accident, shall we say, or lovely magical marks that you're paint war to make. Okay, Lets go and address a little bit right here with a little bit more color and create some more shapes that may or may not be there, was it? So we've got a bit of them vague space appear not quite sure what's going on up there, so I'll tell you what we're gonna do. Good to do anyway is I'm good. Just not keep up outside this site. Come. That's just and okay, just blend a bit of the pinky color. There was some degree in just two. It's just look, a bit of I'm just going to apply Samoud the foxglove digitalis color. I've been here. I'm leaving out there to stay for a couple of minutes. I'm lifting off of it coming out. That just from Penn. It'll their various places. So how we do in, I think we're doing okay. Let's put, um, a little bit of color. Do you find that check shape the the lip. What? You because this trumpet, it's Phil's back on itself. - You're sitting in a little bit. I mean, way want white space? But you got to see how you feel about generally. Okay, Now I'm came back to the big brush. I'm gonna have a look at this leaf area here because it doesn't seem to be working quite as well as the the one did. They're very big leaves. So let this. Let's see what we got. Let's just go with a big leave shape. We're building the color up now. I've got to get more dark in here because that's where it's It's really quite dog in the shade of the fox clothes, the flowers and the other things that go in there. So I didn't more cerulean blue just putting some lines in. Let's just get this a nice, big wet. I am sticking to a very limited color palette because I think it's, uh, most helpful for you, and it gives you work a look of cohesion. But I may have to add something else to that to get it so much darker. Okay, we'll leave that for now. Or sorry about that ruffle in the jam jar. Andi, we'll let that dry and come back to it. 6. Finishing off: welcome back. You probably will notice quite a big change from the last lecture. That is because I started to put some darker areas in, and then I had a little technical problem. So I do apologize on I've had Teoh just stop filming and continue gay. But let me explain what I was doing anyway. I wanted to get some darker areas in here because this is the light appear of Kurdistan's coming this way. And this down here is a lot of leaves and other plants and everything else. So I wanted that to be darker so that we can appreciate. We get that contrast into the light area, so I started to put dark in. What I've used is some Payne's gray on. I put some leaf shapes in. Can you see that? Nice leave shape there on that on there. Okay on. Then I put lots of war trauma and just let it juggle itself about a bit on, although it looked a bit scary to begin with. I am pleased with that now because it's got some nice depth into it. What I'm going to do now is I'm going toe draw down some stems and things in a lighter shade from some of these talks, blows like a did early was sort of stem shapes. I'm going to do that a day, so that's just rock n roll. And we shouldn't have any technical, which is this time, I hope, right, Let's see what we've got. Got a very light lime green. There's let's just have a look and see how good. It's quite interesting exercise as well, actually, because if you look at this one next to it, it's totally different on. That's exactly how it should be on how your should be as well. You start off with this, but yours is gonna be quite different. It's not meant to be a copy. This is just to show you some some direction to go in. Andi. I often do the same painting more than once, because you, every tolling have a little if you leave bits going off. So it's a learning process, and that's good is fun. After all, it's not. What's the point to two definite? This looks with a straight line. It's not railway track, so let's see if we just put something in there a little bit self retired. No so sure, like that hard edge there. So let's soften it a little bit. Just something that and bring in some just to give an idea of something else going on and growing into their and you don't like it to definite soften it out. Okay, let's leave that for now. I think there's plenty of room for work there. But what I'd like to start doing now is to have a look at these flowers a little bit mine or a lot darker in this painting than they were in that painting. I'm happy with that. I don't know. Let's just see if we can lift a little bit of come around. So how you said that I'm obviously not happy with it. See lifting. Of course, it does all depend on the paint pigment that you've used some Maura amenable to being moved bad than others on bond. If you look up by the courses and workshops, you find out I do a a table, which you can do to show you how to do a test on your pains to see which ones will comply, to be Mestre by, with which ones weren't I have some tires lifted some paint off a painting weeks, even months afterwards, after I painted it just because it wasn't quite what I wanted or something. So it just depends. This is This is the learning bit one of the many learning bits I should say. Okay, that's like, Let's leave that That looks a bit too conspicuous somehow. Okay? I think what we'll just do is it's just something that edge also isn't sort of quite such a perfect cynical. Okay, now what I'd like to do now is I'm going back to the tickly brush. Would you send them Wong? Because I just want to put a few of these spots in this lovely spot effects you get on the Foxgloves. I suppose that's there to attract the sex, to come and collect their Poland. So let's mix up slightly stronger and I'm going to first. Let's just have a little bit of gently gently approach It's question every day. I just got a bit more of the really is cut to that, and I'm just the only thing I am gonna be careful about is keeping the spotty bit under that curve. That's where the top of the trumpet as you were. It's the bear Laden what you call a trumpeted big that thumbs are to end through. Some are going to be very smudgy. Johnson will be quite precise. How do you think I prefer the little precise ones? These little, um, marks on these folks close. They're not even little spots. Of course, they are looking some of the air it some of tiny spots. And quite big. Yeah. I'm not so keen on that bit. I'm not so keen on that. So if you've been having a panic attack about doing all this big wit brushwork, you can calm down doing a bit of this. I do remember. Don't make your little these marks fall in. Nice, symmetrical, Patton. Because nature present often work like that. Okay, let's be methodical. Started the top. It's late for that, man. See how I'm resting my little finger on the paper. Just access a steady of my hand and I won't open up. Then it shouldn't she just be lived, but really but rebounded. All right. Just got to be careful. That still dumped on the because you can always put a piece of paper roll something on the dump it. But if you don't want to spoil the marks, the pain to the waters making, then you might not want to do that. Who would be, Do you feel? Oh, this is for, like, this bits. This bit's good. Well, it's all good, isn't it? Okay, he's come very nicely now if you're gonna be scared at the beginning, when you started to pay, don't worry about it, because it happens to everybody. I go through a cycle, but it's not so much. Is cycles a roller coaster ride? Really? And it's what I'm doing anything creative in the painting art department. I paint a lot of murals, people as well. And that could be scary, cause it's a big space. Big, empty wolves. Sometimes I loved in ceilings as well. So the that's crazy. But you go. You start off where you just staring at the blank space and thinking, Oh, I can't do this. And then you start on your anxious and then you get a bit further than you think. Yes, he's gonna be great. Oh, yeah, I love it. They go through another stage where you dip again. Only think, Oh, no, It's just dreadful. I'm like old dear and you go through all this stuff and it's the same with this. So if you do go through a stage of old, it's a load of rubbish. I'm hopeless. I can't do anything. Stop. Walk away, Take a deep breath. I've come back too late because it isn't a case of life and death. It's only a painting piece of paper, water, a bit of paint. We are all all of us still learning. Alright, that's enough psychology for today Coming along very nicely. I think that was scary at first, Not dark down there. But now I think it's gonna be is gonna be OK just May of an artist. So I'm going to let that dry off thoroughly. I need to go and do some other stuff, let you have a breather and I'll see you in the next lecture on. We're getting quite close, so enjoy 7. Looking at two versions of the painting.: come back to the closing stage of this painting process. This has bean, a very different painting process workshop that I have offered up online as part of a teaching process. And that's because it's the 1st 1 that I have done where I have done the painting before. And then I'm do me to gain. Quite often the workshops do a based on a photograph or a specific technique, so it's more of a structure thing. But this has bean much more of a spontaneous and fluid intuitive painting, and I found it really beneficial on. I hope you have to. We are all still learning, and that includes me. So I'm gonna do a self critique on this, But not before I have done a little bit of fine tuning, which really isn't gonna involve much more than a bit of what I like. Doing quite a lot is to free this up with a bit of smattering, and I've gone on to a dry surface, and I think that's okay. I'm also gonna correspond with that is it were some down here. So what I'm gonna do is mix up a little bit more of my green quite like green. Go into the base here, let it find its own way and sort its own way out. Okay, I would like to just add a few more of the tiny, tiny, tiny little drops in a bit more of a slightly controlled way, which isn't quite different from the rest of this painting. How it's gone. Um, I've got too much pain to take a bit off, So here we go. Tiny, tiny, tiny. This will please the really detail people that one of the most important things, probably to learn with painting with most of the things, really, I suppose, is knowing when enough is enough when to stop. And also I come back to what was my motivation for choosing this subject and painting it? That's something else that is always worth asking yourself whenever you embark on something , so you're acting a little bit there to an area that's not really there, but that again is Do I want to merge into your Thursday? Outside argued a bit is spattering on here, but they weren't a strong. I think some of them might benefit from just being let's just have a look and that This is where it is. It's not scripted. This is live. And this is how it is painting. This is your work. This is your free expression. I'm just gonna do a little bit of water, clean water and see where it lands. So let's call that a day. There's not to say I might come back to it at the end of filming ago, but I just do this not just do that, but I'm gonna do a critique. Now on this. Let me just just the camera slightly so you can see a bit better. So that was the first painting I did, which made me think. Okay, let's do a painting process on this. What do I like? What don't I like? What I like about that better than this is the structure of this flower, its farm or what? It's chunky. It has more substance, though, of course, flowers, thes Foxgloves. They might be thick that might be brought. They might be very skinny, so it's just how it is. But I like that that pleases May. What I'm not so pleased about is that I've managed to put it in the middle of the composition so I like that better because it's off center. I like thes very dark areas, though I think I might have gone too dark on. I've sacrificed some of the lighter tones that we have seen this. I like this very light area. I like that difference that this one is more even. They both have you and they both bean Amazing learning. I can't express enough home painting is what is. It's not structured, scripted or planned. Not unless you're doing a specific technique which I'm not here. I'm doing something which is really is life. It's happening, is spontaneous. On that is something that could bring so much more drama to your life. Because you look at this and you're thinking, Yeah, color. I can see almost these little spots like the insects coming round, going in and getting the pollen I to go make their honey or whatever they're doing. And this is the dark undergrowth era with ALS the leaves of the moisture going on. So it really is a painting adventure on. There will be more painting adventures coming up. This one was specifically aimed to help people to loosen up. It's one of the biggest things that I hear when I'm teaching in person. I want to paint more freely. I want paint wetter. I want to play bigger. I want to pay looser. Well, this is your chance. But you have got to let go of control. This is what a lot of people come up against. They can't let go of that need of control. And if you can, you'll have a lot of firm on. You know, it doesn't matter. At the end of the day, this isn't something that needs to be in a competition or to be sold. This is something I have done for the pleasure of doing so. I really hope you've enjoyed this painting process on. I really like your feedback to tell me what you think. The difference between the two, what you like, what you don't like on. I want to see your work as well. It's very helpful on. It's very important to me to get your feedback. Thank you very much.