Watercolor Gems, Crystals and Geodes | Ashley Triggiano | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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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 (51m)
    • 1. Introduction and Class Overview

    • 2. Getting Started: A Look at Gems, Geodes and Crystals

    • 3. Start with a Sketch

    • 4. Practice with Painting Gems

    • 5. Final Class Project: Painting It Together

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About This Class

In this class, we'll explore how the angles and various surfaces of gems and crystals allow light to reflect in different ways. This means that you can have a lot of fun experimenting with color values and wet-on-wet techniques! You'll be sketching the gems, creating gradients, pulling and charging paint, and blending different colors for this class. I'll make the sketching easy, by simplifying the overall gem into little geometric shapes, and reminding you that watercolor is meant to be fun and this class doesn't require perfection!

Meet Your Teacher

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Ashley Triggiano

Artist + Designer - ashleytriggiano.com


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1. Introduction and Class Overview: and this class will start by looking at some examples of gems, and diodes will then look at how to sketch them as easily as possible, and then we'll work together to paint the gems with watercolor before we start the final class project. 2. Getting Started: A Look at Gems, Geodes and Crystals: 3. Start with a Sketch: So let's get started. You'll see I have sketched up. Um, a few basic gems appear at the top. Just toe have for reference as we talk about thes. Um, this is a pretty I think it's considered kind of unenrolled Cut, maybe little curved at the top. We won't worry about the names of them right now. Uh, what I wanted to do was put some here so we could look at the shapes talking about how the bigger shape overall has little geometric shapes. These are all the different facets that create light and diversity on a gem. That's a If I can make this work, you can kind of see even on my just emerald cut emerald here. How it a little bit. This is a pretty simple ringing. Overall, Um, there's really not a whole lot happening. Um, it's really one main rectangle here. Let's do with taught one to make a big one for you. Don't worry about being too perfect. When you're sketching and playing around. I want you to watch for a second, and then you can try to sketch some on your own. So again, I'm gonna look at this here. Um it basically again is just that one rectangle and then on this, it kind of goes down on the side. So we angle our lines to show that this is really just of this ring. With this shape, this might be the easiest one and the best one to show as a demonstration of what I was getting at about the light in the different ways that light reflects on the different edges . Um, so we will come back after we sketch out a few more and paint that when you're sketching these air, just practice. We're gonna have a final product final project together that you have a handout for. It's a geode crystal. So for right now, before we get to this geo crystal, I just want to focus on exploring how the light hits different surfaces reflects brightly, is more shadowed and dark in certain places. Eso That's what we're going to do here with this practice sheet. So let's do just maybe two more. Let's do kind of a redo of these, this one up here, but on a big scale, right? So it's a rectangle in the middle kind of skinny rectangle, and these were kind of just from my imagination, those little three gems at the top. So I may not do it exactly the same way that I did it there. And that's OK. Remember, this is about having fun. This is about kind of letting go with needing it to be perfect. Um, yeah. Look, I've already done not exactly what I wanted to do. That's okay. I'm gonna bring this here. So we just kind of build on Teoh what I started with, I start with the center. It's, uh, square rectangle, um, and kind of built onto it. Or you can start with the outer piece itself and then add lines inside of that's totally up to you. No, this one ended up being kind of short on this side. I don't love that sleep. I could make it a little bit longer. Just gonna add on to it again. We're not going for perfection. Just fun. So this end is a little bit different than that in, but I'm OK with it. Um, let's do the circular one here. I'm gonna actually start for this one with the overall shape. My circles air never beautiful. Anybody out there has perfected from the circle or the oval without making a bunch of little marks like this, You let me know because I would love to watch your tutorial on that. How did you hear my cat? D c my cat? That's great. Go extender. Occasionally, I feel like this year you guys might get a little hello from her. She gets a little bit, uh, media this time of day. Anyway, back to our circle. Um, our circle gem. I think I'm gonna let it have a little triangle up at the top and a matching triangle at the bottom. When you are sketching your gems, it's not obviously the most important thing. Just like this one doesn't show it, But symmetry is helpful. I think this middle gem is symmetrical enough. Um, but again, it's gonna be your own preference. Um, not necessary to be symmetrical, but toe have similar shapes. At least, I think is important for it to feel like a balanced, um, drumming. So keep going here. We're doing here, here and when to match the top. And then I might do something here. It definitely needs a long line from a long line here. I think that I will actually want these edges to be a little bit harder. This top edge. I want to be harder about a measure. Want to be harder, Less circular, more kind of angled. Okay, so we've got some basic sketches. Um, most simple, a little more complex. Teoh. This one is just a little bit maybe messy, but it's okay. We're just exploring right now from playing around with our gems crystals. So I want to invite you if you have not been sketching along with me. Um, totally fine. I'm glad that you were watching and hearing me think out loud. Um, I think that's kind of how I teach is explaining as I'm doing. Um, but take some time and sketch out a few of your own and pause this and meet me back here after you get a few sketch down so we can practice putting color onto the paper. 4. Practice with Painting Gems: All right, so let's get started. You can see I've got my water out that I can rinse my brush off in. I have my palette open on, and I also have a paper towel for cleaning off my brush in between. So I want to actually start back over here with this big plane, right? Untangle and kind of go off of Shoji earlier. My ring. Um, just since it's kind of ah, here, live in the moment. Example. You see, when the light hits, it reflects differently the way that I'm looking at it. I'm not positive if it shows up for you, Maybe, um, with my camera. But there's some variation over on this left side. I get, like, a glimmer of light right on that inner line, and then it's a darker shadow along the edge. Um, that's just what I'm seeing right now as you're doing it. You can make it however you want. Honestly, um, you're not trying to make a scientific or 100% realistic depiction of the way light hits a given object. It's just three idea of showing that reflection by varying the amount of paint that you're putting down or the, um, thickness in the case of watercolor, Um, because if you remember, I'm gonna show you down here. When you have a lot of paint on your brush, good bit of water and you lay down color. You get a pretty dark swatch, right When you rinse off your brush and let some of that color out, you get a lighter color. So that's what I want you to keep in mind as we start with this, um, appear so like I said, the way I saw it in the light waas a bit of a dark, dark er I should say edge. I'm gonna go ahead, lay down paint on the edge. It's kind of darker. And as it got to this interline right in here, um, it was lighter. Someone who rents off my brush and come back in with a lighter value and have some of that light by the other line. I'm sorry. This is gonna be a little bit messy and painting at an awkward angle because of the way that the light in my kitchen is set up, um, or is coming through, and I'm trying to stay out of it. So that I don't put a shadow on the page, but it's hard to paint from over there. I'm simply here. You can see I have a darker line here on the left or a darker side of this. Um, so the light is hitting that top part of the top part, Um, where it's raising up a little bit. And like I said, he doesn't have to be perfect. Doesn't have to be accurate. A 1,000,000,000%. I'm probably gonna say that, What, five or six more times? Um, I promise I'll stop saying it, but have fun with the way that you put in the color. So I'm gonna put some more dark shading down here at the bottom. They do that by making sure my brush is filled with color, um, in water. And then when I want it to be lighter again, I go in and dip it in the water and get some of the paint off, load more water into my brush and swiped that on. That's fun, right? I like that. Keep going with that light value. Um, when you're painting, when you're talking about color, this is like a technical thing, and it's not necessary to know, but I'll share it. Um, value refers to the lightness or darkness of a color. Um, so this one color that we're using this emerald greenish blue has a very light value and then a darker value down here, it's just the depth of the color. Eso If I talk about value, that's what I'm referring to. And if your paint is still wet, um, mine is a little bit towards the top. You can go in and add some more. It's once your paint starts to dry that it gets a little bit difficult to add. Um, to get a blend, you can still paint on top of where it's dried. It's just it won't blend. Um, it'll just be like a new layer of paint. So all I'm doing is kind of playing around with the lines the way the color would hit the light would hit. I'm sorry and what that would do to the color. So just keep playing with that. I'm just gonna lay down a medium value here, and as I pull it across, we'll get lighter. Since I'm kind of distributing the pigment from the brush around and remember if you get it darker than you'd like it to be. Initially you can rent your brush out, dry it over on a paper towel so that now you're just brush is dry and pull it through. And that will actually the belly of the brush will absorb some of that color. And you can get a pretty fun, um, variation. And then once you've done that, we still got a little bit of water on the paper. You can go back in and drop some more color in just toe, have, like, a little color splash on the end and get some pretty deep contrast. Um um what I want to do things gem in the middle is maybe do a variation of colors. Some of the G odes we looked at This is really kind of like a crystal. Not with so many geo, but some of the crystals we looked at had, um, blends of colors. Right. So I think I'm gonna do a pink and a purple combination on this one. Somebody grab this pink, and I'm gonna start down in this corner. You can get straight lines by using the tip of your brush. You can push down with your brush to get more coverage. Use the belly of the brush also can help distribute your pigment from the paint's. I got a lot of pink, captain. Their rents, my brush off to pull that color again. We talked about that, Um, in the beginning. Watercolor lesson. I see. Do you see that variation there? That's kind of fun like that. But I want to drop in some purple while we've got some wet still happening. It's gonna pick up that purple pain and doll said in the sides and my cat is me yelling at me again. If you can hear her or not, I'm gonna just push that in. Let that go. I'm not really, um, approaching this with end in mind. I'm just letting the paint down and letting it deal kind of what it does. I actually think I might pull it into this pink. Yeah, and kind of blended. It's fun. I think that's pretty. So it's darker around the edges. Appear at the top. Thank God that I'm actually straighten necks. Let that be my middle. Okay, So you're going to see where I'm going with this is a multi multi level have multi shade gems. So let's pick up the pink. And this time I think for this next little section, I try. It'll work when you start getting more complex shapes. I tryto work, um, in sections that are not directly adjacent to each other. So you can. This paper is not terribly thick, so it dries pretty quickly, and it's not a huge deal. But it's still kind of best practice to move over to an edge that's not connecting to your last drying piece, because if any part of it is still super wet, um, when you add another wet color next to it, it's gonna bleed on over and might ruin your hard lines that you're working on. Um, so I'm gonna go down here to this very bottom section. I'm just gonna put some water in because I want to do a little wet on wet here. So far, I've really just been doing wet on dry, mostly with a little bit of pulling, but here, So I've got the water down. It's got a little bit of a purple tent, but that's okay when a pick up some pink on my brush I just want to drop it in. What? I'm gonna have fun with this one and see how it turns out. Maybe, like a little tight. I won, so it's gonna be darker on the right. That's fine. I was gonna clean up my line a little bit with tape of, and I'm gonna dry off my brush a little bit, Um, so that it's try and I can pick up some of the paint with it on the left side so that I keep that light too dark. So it's darker on the right variation, if you will, Um, and I'm gonna do something similar. I think this will be pretty up here at the very top. I think this has had enough time. Nail that. I can go in with water kind of wet this particular part. I've got water down, and I want to pick up a little bit of this purple and get my brush recovered in it so that it's nice and saturated. I'm gonna start right here on this edge, man. Trying to be gentle about it so I can keep some straight lines since I'm painting from a little bit of an awkward angle. I may just let this one this section since it's wet. And we know, I think I may just let it do what it's gonna do. It might help it a little bit here and push this edge up a little bit. Yeah, but I'm gonna let this kind of white space is very light color, be what it is. I think that'll be really pretty when it dries. There's a little bit of, ah, radiant happening, actually a lot happening with darker value at the edge to light at the top. And I think that a look cool, like the light's hitting it right there. Um, I'm gonna leave that that way, and I may do something similar, um, along this edge and try to mimic the pink purple transition that's happening in the middle square middle rectangle. So to do that, to do the same thing as the top section with the colors make sure this is nice and wet. I'm going to put pink down here at the base. Drop that in gonna put pink down here, and I'm gonna transition that two purple rents my brush, pick up some purple, and bring that in very dark purple. How? That's okay. So you see that pink is kind of traveling in. I think that's pretty fun. Gonna let that continue lightly, help it a little bit so that I could get a blend that I like. Um, on this particular paper, you may find yourself needing to help the paint move if you want it to bleed and disperse because it doesn't have a very deep we've it still has some. You can tell there's texture to it. Um, papers with more texture, like, um, cold press. Heavier cold press papers, um, have a rougher texture. And really let the water kind of disperse. This is a little bit flatter. You still get a similar effect. Me? Not in the same. But when you're using student grade learning, this is really the best value for being able to learn what to do. And then when you upgrade to that a little bit higher quality paper, it'll do some of that four years. So for now, we'll learn the basics. And if you want to upgrade to a better paper, you can. But I would recommend continuing on this for a nail so that you kind of get the hang of the concepts because this definitely forces you to do that. So I'm laying in water. I'm gonna do wet on wet on this side. I'm gonna keep doing what I've been doing, which is to drop color in and along the edges and let it kind of oops. I mean it too big there, um, let it blend up and in. I'm gonna add some pink in here. I'm really enjoying this one. This one's fun on drops in pink in up here. Come back, Slide it in a little bit. Think that's let's do it's thing. I'm really enjoying that, um, ingredient in that contrast. You know, I really like this gemstone. This is fun. Um, let that dry. I'm gonna do some more dark around here. Um, I may go ahead and do the next gemstone, um, on a time lapse or a hyper lapsed, if you will. Just because I realized that I'm talking a lot and just kind of explaining what I'm doing, which you can see, You don't necessarily need to hear me say it, because it's gonna be a lot of the same thing on this next, Jim, basically, I am using wet on wet and wet on dry in order to drop color and get darker colors around edges. Play with the way that the light would hit. Um, I'm gonna do a dark one here, let it be dark and dark there and maybe similar on this one. Then I'll rinse me brush off and just with more watery brush, pull that color in so that it lightens up well, that color in. So that lightens up toward the middle and stays dark on the edges. Right. So I'm just kind of doing the same thing over and over again. I don't want you to get bored with this video. Um, but I'll finish this with you here. Um, and one last thing you can Dio, once you've completely filled in your gemstone, we'll go back over to the left one if you want to sharpen the edges just because, um, I didn't work terribly hard on making sure the edges were sharp. Here, you can go back over its dry nail and you can even add another layer of color. If you want to keep in mind that it will build on the color that's below it. so if it's already dark underneath, it's gonna get. You'll see Yep, darker right here. But that is OK. You can always go back and add, um if you decide you want more depth in some way. So that is that. And I might add, I just I don't want to put my hand right here and the, uh, still wet gemstone, so I might just try to carefully build alive all the weight after there you go. So I'm gonna go ahead and just see a time lapse thing. I'm gonna do this one in like a crystal. I see blue, um, same techniques doing wet on wet, wet on dry those air your big ones and keeping in mind that you want to try to vary what you're doing between dark levels and light levels. Just remember that the more paint on your brush, the darker your lover will be. Your level will be on when you add water to your brush and kind of take off some of the pigment blighter it will be. And you can pull that pigment across. It'll lighten as you pull it out to play around with it. Like I always say, you know? Perfectly right. Way to do it. Just play with it. Have fun, See how it feels. And I cannot wait to see what you make with ease. So I will see you for the final project that will work on together. 5. Final Class Project: Painting It Together: So in the handout section of this lesson, you will find this little geode cluster that I Andrew on my iPad. I printed it out and, um, you also complaint yours out. We've got a few different ways that you can go about this. You can totally disregard this. If you want to create your own cluster, it is truly just a Siris of lines and triangles. I mean, that is the bottom line. It gets a little bit kind of wonky when you think about the bottom of it. And I'm in the little edges that it has at the bottom. Um, but you can make yours as complex or simple as you like, or you can print this out. You have a couple different options for tracing. I've gone ahead in traced mine, um, using a light box, which is just a light pad, I should say, which is really just basically a screen that's bright white. You can use a tablet computer screen, anything that gets bright light behind it. You'll put your sketch or my sketch. I should say you put my drawings underneath the paper and that light will shine through and allowing you to trace it. Another option. Great. Standby on when I have used before. I got a light pad. Waas, Just go to a window. Hold this up against the window, put your paper on top and trace that I did that until I got a light pet. And if you want to get a light pad, you totally can. I think I got mine for 13 or $14 off of Amazon, maybe 20. I can't remember. I can find it, though, and put a link to it as well. In case you're interested in that, um, I just wanted to have something that I could create that you were also creating. But you can definitely Like I said, create your own Draw your own. I even noticed I missed a few lines when I was tracing it. Um, so for this crystal Geo, I am not going to tell you what palette you have to use. You can definitely decide on your own. I, um, and probably going to use the pink and purple. I just think that comes out really pretty. That's just my preference. But you could use red and orange. You can use blue and green. You could use yellow and quarrel. You, um really, honestly, any color combination that you feel you're drawn, Teoh. I'm in that complement one another. I definitely say Go for Probably don't mix like gray and yellow together. That's probably not your best bet those air not compliment or calories, but let your intuition and your artistic side lead the way. Decide what colors, even like it could be one color if you want. You actually can have a lot of fun using one color like we didn't that first emerald and playing with all the different shades that you can get from that. But like I said, I'm going to do pink and purple for mine, and I am going Teoh do the exact same thing that I did with the crystals except in a final composition where they're all together. So I'm going to mix up my purple here, and I think I actually so you have a couple different ways that you can work when you're working on a bigger piece. I try to work top left to write bottom, because otherwise what happens is if I start doing here at the right bottom, I will eventually dragged my hand through my painting. Um, you can always turn it. I do, actually. When I'm working on larger pieces, turn it. But for the sake of this video and simplicity, I am going to keep it as in and, um, start here at the top. So I think here at the top, I wanna have a really rich deep, dark purple. And I am going to make that into a radiant that goes all the way down. So I'm gonna rents my brush off so that I can pull this purple down. You see it? Cut him touching my brush and coming down with it. Um, and I'll help it along. I love that dark purple. So pretty. Um, keep coming this way. Pull it. Damn. So we've got that dark corner up in the top. It's gonna transition down and to And don't feel like you have to stay within the lines just here. I went up a little bit past where I originally had traced It is okay. Try to stay within the general guideline of your shape, but I don't feel that you absolutely have to follow the shape that I made for you like that I like that dark. Might pull it a little bit of death down and kind of at an angle. Hard angles. It's kind of like a long night triangle there, making an imaginary line with the shading. Yeah. So dark room at the top. Um, I think, but I will move to the next section here because I don't want to start right here and end up bleeding into that. Um, so I'm again going to do the purple dark of the top, this one of Mina. Just get some water down on the paper and then just pick up my purple and drop it in, and I might help it blend itself a little bit by just pushing it around, diffusing it that diffuse. I think that's a pretty, um, and I mentioned that I wanted to do a pink and purple mix, So I think I'm gonna work down this main section of this column and start with purple and have it transition down to pink. So to do that, I am going to get my brush nice and wet on the lay down some water. It has a purple tent. Since I put so much paint into this water, but that's OK. Um, just get my paint down. Keeping in mind again that this is not super thick or textured paper. So it starts to dry pretty quick. So I'm gonna work quickly. I'm gonna pick up my purple and drop it in here at the top. Every paper will be different. So if you buy another paper, you might find it behaves a little differently on the push his pigment down Cool, cool, Cool. And while this is still wet I'm gonna go back over to my palette, pick up some peak and let me get dark at the bottom and pulled it up to blend into the purple Mix together and do what it's gonna do And I'm gonna go back and pick up a little bit extra purple because I kind of want to keep that deep dark line at the top. I blended it out so far that it traveled all the way down the column But I wanna keep it. Uh, no one to straighten this out. I loved love, love, love watercolors. Let's keep going. Well, it have it dark all the way. Degale on. I'm gonna go back and pick up some pink and do the same thing on this side without running my hand through it, which is always the most difficult part for me. I'm really good at ruining paintings by dragging my hands through them. I don't do it at least once during these lessons. I'll be amazed. Okay, so I'm gonna let that diffuse and blend and do its thing, and I'm going to move on to this size, actually, not only going to that column continue working towards the top so that I'm not dragging. No. Did you in mind again? I must work up here. Just cause again. I start pinning down there and I come back to dio up here. I will drag my hand through. I'm gonna leave a little bit of space, though, since I didn't just kind of finish this one. Um, I'm leaving. A tiny bit of space is a little white space there between sections just so that they don't touch. And later I can go in with a darker color and kind of cover that up. I like those mauve color that we've kind of made just by using this pink purple. I think that's pretty, Um I like how I've been keeping darker colors, kind of to the top left and then brighter colors or lighter values, Um, right top kind of each section. I guess this one here goes against that. But again, like I said, not trying to be completely realist or scientifically accurate in terms of the way the light and angle should mathematically bounce off of one another. Um, I'm just trying to do what's fun. So drops in that pink in up here because this is your crystal. You can totally make it whatever you want. It's like Bob Ross says. I don't make mistakes, Just happy. Little accidents, right? I also understand why Bob Ross talks so much and says such funny things and his videos. Because when you are painting like this and explaining everything you dio when you make a mistake, you have to explain that mistake. Why not at least entertain the people who are watching, right? So I'm gonna keep going with this dark colors against where I had done lights of this section right here ended in lights. I chose to do a darker value of that pink up against it. My mother and drag it down. Just pulling it across that shape there. It's pretty. Um, go back. I think I might pick up some of the flight lilac and just see what that looks like. Mixed in kind of a fun in between Between the dark purple and the people, the transitional middle color. I guess that blends nicely with the pink. Take this couple and I actually want to drop it in and have dark again down here. I think that would be fun. Really dark contrast down in the box. So I'm gonna let this dry. Well, actually, I want to clean us up just a little bit. No, I've made a weird swirl with my brush. That's okay. Happy little accidents blended in. You know what came out even better like that. I like it. Don't forget. You can kind of read your brush off, dry it off and use the belly of it. Just soak up some excess pigment if you end up with maybe more than you, Um, intended. Okay, well, let that be. Let that dry, and I am going to come back over and finish this long side here. Drop the paint water down. I'm gonna let that be pretty light. Overall, I'm gonna, um, take some of this pink and drop it in, but not a lot. I think I'm gonna let that be a pretty light section for contrast. Think that would be pretty when it's all said and done. It's a little of that Dr there. I think I might do the same thing over on this side. Since I've got such dark to kind of medium values, I'm gonna keep it light on this side. I might, but the very edge accent this outer edge with some dark, dark, dark purple and leave this inner part. Let's see what that looks like. Worst case, an aerial. Just have a completely dark edge, but we'll see. Drop this and right on the edge. Highly. People make lighten it up a little bit as I finished going down, and that is I use a lot of short, sweeping strokes and then sometimes I do use a long ones to kind of diffuse. There's not a right or wrong. It's well, there might be right across depending on what you're actually trying to accomplish in a given technique. But, um, for this, you can do pulling that dark color and down the edge here. Yeah, I like that. Nothing looks good. I think I need to finish that triangle right there. So I think what I want to do with it I accidentally brought this pink piece down a little bit too far. But that's OK, because I think if I use a dark color, I can counteract that. I think that's what we do. And I think I'm actually going thio going to show you. I'm gonna take the purple, remembered it over here into one of the mixing wells. Add a little water so I can get that pigment in there on a risk rush off. I'm going to pick the pink up and also drop it down to them, actually mixing the shade before I put it down. I'm gonna take that and let that be a supersaturated dark edge here. This color mix, I think that will be pretty. Yeah, the brush off. And I am going to pull that in a little bit. That's fun. No, Let it be light on the inside. Dark on the outer peace. Perfect. Jensen's They're so fun to paint. You really get to play with the levels of color, which is what I really wanted to do in this lesson is let you see that Grady in, um, I think that's important when you're working with more difficult projects in the future. Um, not that we're going to get into super complex projects, but once we start actually legitimately talking about where shadows should be, um, you know, if the light was hitting a simple object object like a flower, um, where a rose will start thinking about. Well, if the light's hitting this pedal on this side, then there's probably be a shadow down here. And by using this knowledge, knowing how to make that light and dark, you're gonna be ableto make some really nice shadows when they do matter and have an important place in your overall painting. Dropped someday on here. All right. Perfect. Would that be appeared? Great. Just a little bit. Do the same thing. This They pushed a little bit too hard and went past the original line. I drew for myself. But that is OK now. I intended again, guys, it's might end up being a to cider just because I got a little sloppy. There all this. Leave a little bitty white space in between them. Come back later and put a dark color. Actually, since there is that space Lee, I think what I'm gonna do is drop this in, like so. And hopefully I don't mess it up. Yeah, So by keeping that little itty bitty white line up, if you can see it that well, but there's a little bitty white line separating where it's just The paper was dry, the colors didn't touch That allowed me to pick up the darker color, put it here on the edge and not have it bleed it because that paper is not wet. So it doesn't have a way to get over into that left inside. Let that drive for a little bit before I met anymore with it. And I'm gonna start working on the bottom. I think that I've done a good enough job explaining how I'm doing this light from dark. I'm doing the shadows in the light. So I am going to close up here. I'm gonna put it on time lapse so you can see how this finishes up. And, um, you can ask me any questions in our group discussion. If there's anything that I said that did not make any sense or that you want a little clarification on, please just let me know. I cannot wait to see your final piece. So happy painting.