Watercolor and walnut ink abstracts: Exploring with walnut ink in your art | DENISE LOVE | Skillshare

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Watercolor and walnut ink abstracts: Exploring with walnut ink in your art

teacher avatar DENISE LOVE, Artist & Photographer

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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

4 Lessons (40m)
    • 1. Welcome

      2:39
    • 2. Supplies

      5:43
    • 3. Abstract project - Color blocking

      14:37
    • 4. Abstract project - Adding details

      17:19
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About This Class

Hello, my friend! Welcome to class.

In this class, I'm going to show you a fun technique I like to do with watercolors. I love experimenting with my supplies and seeing what fun things I can come up with while just letting myself go with the flow. Letting them lead me to where ever we end up. We'll play with watercolor and walnut ink in this class... along with some bold mark-making for some interesting abstract pieces.

This class is for you if:

  • You love learning new techniques for your art
  • You are interested in learning more about watercolors and making some fun pieces
  • You love experimenting with art supplies
  • You love watching how others approach their painting practice

Supplies: I encourage you to use your supplies you have on hand to do your projects. You do not have to purchase any specific supplies for this class. It is all about experimenting with the supplies you have and learning to let loose.

  • Watercolor paper - I Iike cold press watercolor paper about 140lb for most projects
  • A few sizes of¬†watercolor brushes
  • Watercolor paints -¬†Start with what you have in a few of your favorite colors
  • Walnut ink... or some coffee if you don't have access to the walnut ink. (or brown watercolor would work just fine too... but I like experimenting with different supplies so I learn how they work with each other.)
  • Some mark-making tools - pencils, micron pens, etc... your choice on these.

In this class, I have kept the supplies I'm using pretty simple... please start with what you have and add some stuff from there if you think you'd love any of the ones I'm using. 

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Meet Your Teacher

Teacher Profile Image

DENISE LOVE

Artist & Photographer

Teacher


 

Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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Transcripts

1. Welcome: I'm Denise love and I want to welcome you to class. So let me show you what we'll be doing in this class. I'm going to show you how I create some really bold little abstract pieces and you could do this much larger too. I'm just working on smaller papers to film in class. But I started out working in my sketchbook before class, just creating beautiful little abstract pieces where I was experimenting with color and mark-making. Just testing out new supplies and different ideas to see what it is that, you know, some of these do and what colors, how they react to each other. And in that I want to show you, we're going to create a couple of pieces in the same techniques so that you can experiment with different supplies too. So we're using watercolor or trying out some walnut ink, or you could use coffee. We're trying out some little colored pigment which you could use or you could do something else in its place, and some favorite colors out of our little deck, I'm using a little bit of graphite from our mark-making, which you could do that or you could use pin. But I really like experimenting with different suppliers to see how they react with each other and how I can create some fun little abstract pieces. And then when we're all done, we've put a little frame on the ease. You can see beautiful. These would be framed up and hanging. So definitely want to see some of these after you're creating them. And I hope you enjoy this technique and it lets you really get loose and not get so stuck on do I want to do this or do I want to do that? Or maybe I don't like this or whatever, I just want you to create and you have permission not to like the pieces when you're done. But I guarantee if you do three or four and you come back tomorrow after creating, you'll think, wow, those look so much better than I even was thinking. Some of these, especially in this blue color, are so pretty. I just love these. And I think you're going to love it too. It's all about experimenting and playing with color and letting yourself just go without any real expectations here and seeing like what can I create with a bold mark-making element and some color and some different supplies. So I'm excited to have you in this class. These are really fun. Abstract is what really makes me happy camper. And when I'm playing in March Journal and, uh, come up with little pieces like this that inspire whole series. That's what really gets me excited. So I hope you enjoy doing these and I will see you in class. 2. Supplies: Let's talk about some of the supplies that we're going to be using in this class. So I'm doing a little abstract pieces on a 140 Pi on cold press watercolor paper. And so I've just got a non Bus 6 book from the Michel's that was a 140 pounds and it's a medium grade watercolor paper. It's not your artist grade or your, or your cheapest grade. So it's just a kind of a medium grade. I like the a 140 pounds. It's a nice weight. And the cold press has a nice watercolor texture. You could try hot press, you could try rough press. You can definitely play there with different papers if you wanted to really experiment. But at the minimum, maybe some 140 pound watercolor paper. And if you've got the big pads, maybe cut those into a size that's manageable for you. And then I'm also using some walnut ink. You can use walnut ink, which is the pretty brown here on, on these abstracts. But you don't have to use walnut ink if it's harder to find for you because I had to get mine online, you could use coffee. Just gets an instant coffee mixed with hot water. Get it nice and strong so that when you put the coffee down, it's a nice, pretty brown color that you could dilute with water or not. So that's a nice alternative to walnut ink if you can't get that. And then I'm also just randomly experimenting at the very end of these pieces with a little bit of acrylic ink, I have Payne's gray and an iridescent copper here. Also in spirit, experimented on these and particularly love it. These infusion colored stains. And I recommended in class what this is is pigment and little, little bits of pigment and little bits of brown walnut crystals. So it's the walnut stain. Won't like the walnut drawing, but it's the walnut crystals and you can order those online. So if you wanted to make your own, because these are still available, I've looked them up recently and you can still get infusions, colored things, but if you want to try your own, you could get colored pigment from the art store and walnut crystals and mix up some of your own stains. That's a nice option. If you don't want to get some of these, you can do some of your own. And I'm using just a couple of colors of watercolor in class I was using this Mayan red and this yellow ocher. I actually have, sorry, that's Venetian red. Now is using these two colors, mine, red and yellow ocher in class. Just because a thoughtless just play with these and see what we get. That was on this one. And then on these I was playing with the rare earth green, which is these are Daniel Smith colors. And I love this rare earth green because more of a turquoise kinda like aqua color, not quite turquoise, but more of an aqua. Aqua is my favorite color. So all these that idea and even though I did work outside my comfort zone with the red series, I really loved the blue series and I love all of these and I did some of them lighter and some of them darker, and just played with different things on top. So couple of colors of watercolor. I've got some watercolor brushes. These are the Aqua Elite SaaS tin size 12 that I was using in class. You can use any watercolor brushes that you happen to have on hand. You'll have to go by any if you don't want. I was using a 12 bold drawing pencil to make my marks because I like graphite marks, but you can do other marks with different pens or pencils or whatever you have on hand if you use a pin, my favorite pin is the Micron, Pigma Micron 05. And these are archival. They're black that you have these other colors. But if you're going to use an ink instead of a graphite pencil, that is one of my favorite. And that is basically the supplies for this class. You know, you want to paper some coffee or walnut ink, little watercolor, little pencil, and then just kinda let yourself be free, do some mark making and, you know, kinda spread the color around. And I want you to not think very hard about these so that you're working a little bit more organically and you're not trying to come up with some exact outcome. I want you to put some bold mark-making in there. It can be any mark making. And that you happen to like I do show this little cheat sheet that I keep my desk of different types of marks that you could consider. And I do kinda like add to this as I see something and think, oh, I like that Mark, let me add that to my little idea sheet. So keep yourself an idea sheet. And then you'll have different marks and things that you might consider doing. You might like doing little x's and o's or O's are zeros or circles or squares or, I mean, there's all kinds of mark-making you can do. You don't have to do the exact same that I'm doing. This just happened to appeal to me and I love how these pieces came out. So I think you're going to have fun doing these. Keep the supplies extra basic. You could do these on the kitchen table while you're watching TV because it's not really very many supplies. A couple of colors, a watercolor brush, some water and you're set to go. So I hope you enjoyed this kind of short class. It's not a real long one, but I just wanted to show you this technique to get you experimenting with. And I will see you in class. 3. Abstract project - Color blocking: In this class I want to do a few more water color abstracts. You know, I'm, I'm obsessed with little watercolor abstracts. I've done lots of them in my little art book here. I've got a couple of our books. Then I just experiment with different ideas and laying down color and design and just seeing different things that I might want to then continue and experiment with. Just kinda flipping through to show you different things I've just played with. Some of these worked out great. Some of them that didn't work out at all. But I like using my sketchbook For kinda fleshing out ideas. And I really love these abstracts that I've done recently. And I wanted to show you how I did on, because I'm going to play in this technique for awhile. And I think you're going to enjoy making some of these because it's just fun to experiment with new art supplies. And this is using some watercolor. So I couldn't have out my two pallets of different water colors. Most of these are Daniel Smith. These are some LEA, these are some of these Grumbacher artist Academy series that you can find. It's kind of a medium grade watercolor or as the cilia. Cilia is the higher grade. Most of these are Daniel Smith colors and I've just kinda pull these out of some bigger boxes of color that I have. And I'm also going to be playing today with some walnut drawing ink. And that's kinda how I got started on. This one was the walnut ink. This one right here before that was just all watercolor and experimenting with the color being water color. This is walnut ink and color. And what I like about playing with something like walnut ink is, if you don't have walnut ink, you could play with coffee. And most people have coffee, or you could play with really super heavy strong tea. So keep those in mind. I did have to order the walnut ink at some point, so it sits over here in my cabinet and I thought I should play with this. So have the walnut ink out, got the watercolors out. I've just got a couple of larger watercolor brushes that I'll be playing with. And then I also have out some of this fun product called infusions, colored stains. And what it is, it is pigment mixed in Walnut crystals. And so if if this is a product that I have found is still available, I've had these for awhile. But if you can't find this exact thing, you could make your own. You could get artists pigment, which you can get that from someplace like natural earth pigment. And it would just come as say like a solid color like this. You could older walnut crystals because they're available online. And you can mix your own pigment with water, with crystals and have a little jar of that. If you wanted to have some, you might ask yourself. Because what I like about this is it's real fine pigment and beryllium speckles kind of all mixed in there together. So on this one, it just kind of adds to it. You can see the brown a little bit, you can see the color a little bit and added an extra texture I just made it really fun to play with on something like this and add an extra dimension, an element into the work. So I bought a box of different colors. So I have all kinds of colors here and I just put a hole in the top with my art tool. And then you can just take the top when you're not using momentum, haven't used all these kinda lives in my cabinet. So I thought, well, I want that, I want whatever, wanna do, whatever experiment that I was watching them do with it. And then I never did it. Basically, you just punch a hole right in the top and then you're ready to sprinkle it out. And that's how I'm going to be using that today in class. So that's super fun. So just get creative here I'm using watercolor paper. I'm just using some pre-cut nine by six, kind of a medium grade watercolor paper. I like this. Grade 2 for playing round that the Michel's carries, but any cold press, 140 pound watercolor paper is fine. And I thought I'd work on more than one at a time because you want to put some layers on here and perhaps let them dry before you try to draw on it. Because I will be drawing on these. I do like drawing and mark-making in my abstracts. And you can see I've got fun little hash marks going in there. So that's kinda what we'll be working on today. But I love the walnut ink to experiment. I'm going to lay down, Let's just start one. I'm going to lay down some water on here so that I can really get this pigment to move around in some abstract kind of ways. And then I might just kinda drips some paper, drip some of the ink down on the paper. I'm turning to see where the water is in the shine of my light over here. And I'm just going to move that around. And kind of tour. I'm kinda tutorial on my brush. I like to do that a lot just to get some different looks there. So I like that. Then I'm going to dive into my water color, but actually might do this on another one. We'll let that dry before I jump into the water color a little bit because I don't want it to completely disappear. So let's just go ahead and do that again. Being real organic here, I'm not really trying to do anything specific. I want to just experiment and play at this point. So let's set that one to the side. And I like working on more than one piece because when you're throwing lots of water on your paper, you want to give some of that term to dry a little bit before, unless you just want all your colors to blend together. And I'm not necessarily wanting to do that. And I might even want, you know, darker walnut ink and I might come back and do another layer, you know, as these dry a little bit, I could come back in and then add a little more in here for some darker areas, spots, dots. I might do some. Little brush speckle while I've got the walnut out. Might do a little speckle and all of them I like that. Speckle. Yeah, like that. All right. So we're going to let these dry a little and then I'm going to get into the watercolor. And this is a Daniel Smith color. This is rare earth green thing and we'll try one of those, and we'll try one in the ocher, yellow ocher. Daniel Smith. I might even like, I like, I like this Mayan Red. I like some of these greens. So we'll just see we're going to, I don't want them all to be the same, but there are certain colors that I'm kind of drawn to. Let's go back into this one because it looks like it's a little drier. And I'm going to start in here with this rare earth green, which is a really pretty light aqua. And I'm kind of building the layers here. I just want a little more pigment as I get higher up on this. And then I might let that dry and come back and add some more. Maybe I'll do another one this color. I love this color. This is like my color, aqua, but I love it. Now see if you don't let it the underlayer dry enough, you really do get it blending right in. So let's do a little bit of that and then let that dry. And then maybe we'll come back with a different color. They get the walnut ink up that we have right here on the table. And then maybe this one will do with the yellow ocher in the Mayan Red. I'm not sure I'm going to like that, but It's always fun to experiment and this is how you figure out what you like and don't like. So this just really doesn't do a whole lot, does it sits right on top a little bit. Let's try the RED. Really think the aka ones are my favorite, but you never know until you try something new. You know what you're going to like. And I may need to let that dry a little bit to come back for another thicker, heavier, light coat of color there. Yes. So let's let that dry in. And then I'll get my heat gun and dry this a little bit. Calvary this is That's so pretty I don't even know if I want to keep going with more color. That's so pretty bullets go ahead. And you can also play with other things at this point, you could play with acrylic inks. You could play with acrylic paints. You could stop right there and start mark making with different materials that you like to mark make with. You could do that with pastels. You could do it with charcoal, graphite. That's fun. I like this color. You could do that with quite a bit. Just experiment that a little drier, a little more color on the top of here. Because I'm really trying to layer this color up in this one. This is not a super heavy color. Some of these colors are Serb ready and you get a ton of pigment. This one I'm having to work a little bit on getting that pigment up. And then, you know, before this dries too good, I might want to come back with mine fusions. I like this color. It's kind of in the right shade. And just add some of this in there for an extra interest in texture. And I'm being a little more specific in where I shook that. And you can kind of see a little tiny bit of texture there. And what we can do at this point is take our pencil and move some of this around. And this is going to really give us some beautiful marks and lines while that's still wet and we're moving that pigment around. And I'm just using a 12 B pencil. So it's really soft, really pigmented console here that pigment it. I mean, really soft, graphite. And I mean just kinda organic layer. I'm not trying to create anything specific. And then I might set that to the side to dry a bit and come back to it in a moment. Well, I love these. And I want a little more of this blue on top, so that's fun. Now, I might want some more infusions on top. I think I'm going to go, there are several colors here. It'll have to go with the same color. There is a brown in here that might be nice lyse. So different color of blue. And you're pretty green. Here's a black. Lots of colors in here is a different color of blue to green. This is a real pretty color. It's a different shade than this color. Let's try that. I'll put a hole on the top of that. This is how you figure out what these different things do and what colors they really are. You just get them out and start playing. Well at that. And then again, I'm going to take my bold drawing pencil. I've got some ink over here that's still not mixed. So let's just kinda go through all of this and get some fun marks in there that are not any particular shape I'm going for just really just completely random ear. If we end up with something that looks like a shape like this right here, looks a little bit like a flower. Then that's just a bonus. All right, and then we've got this third one. I've let it dry kind of quite a bit. Let's add a little more of this Mayan red. Not quite the one I thought I was picking up. That's a little brighter, pinky red, but that's okay. And then I might want some of this infusions. Look how pretty this terracotta is. Let's go ahead and get that in there. And then going to again, just take my pencil and start moving some of that pigment a little bit. All right, so I want to draw some more on these, but I want it to get a little drier. So I'm going to draw these and then I'll be right back. 4. Abstract project - Adding details: So these are mostly dry and I think at this point I'm going to go in and do some mark making. And then I did notice on my peace and my sketchbook, I was a little bit lighter handed with the watercolor and I do like this lighter bit. I'll lot. So definitely think about that as you're being heavy-handed, practice with being a little bit lighter with your color and a little bit heavier with your color and just experiment with that. Sometimes I just have a lighter hand and other times, so I'm going to start this off with just doing the rows of lines. And I kinda wanted to run all the way through this piece because I like that. But you could do lines going this way. I've also kind of experimented with lines going other directions and all the way through the piece. And that was super fine. You could do completely different marks. Then I do my little cheat sheet that I keep up here. I like this one right here. And that's kind of what I'm doing is the little rows of lines. But, you know, look at some of the other things you could do. You could do long lines, you could do little crosses or cross hatches are little x's. You could do circles, bigger circles, x's. You could do botanicals on these. And I've got class where I do botanical drawings on top of watercolor, and that would be a really good thing to do on top of here, if you like the botanical aspect of things, you could do. Little m's, little XOs, little lines, I mean scribble, kinds of fun stuff that you can do. And you might look around on a Pinterest and just kind of take note when you see an artists doing different marks, watch Mark's kind of interest you. And on Instagram, there's several collage hashtags, hashtags and one of them's like collage fodder FOR ODD, ER, I think. Where people just do pages and pages and pages of different types of mark-making to then cut up to use and collage. But all the mark-making is what interests me on looking on those groups. So you might look up collaged pieces or collage making or collage bought or something like that on like Instagram or Pinterest. And see what comes up and what Marx look interesting and make yourself a little cheat sheet of marks to use later for pieces like this are for abstract things that you're enjoying doing. C. Now there we go, It doesn't have to be perfect, but I love the element that I'm big. Strong set of marks kinda adds to a piece. And, you know, you could do that in ink, pen and ink if you wanted to work in ink. My favorite ink to work in are the Pigma Micron pens though five is my favorite size. It's archival ink. You can draw on the paper first or on top of the watercolor and it doesn't smudge. So really love. And that pin, and it comes in different colors if you don't want to work in just black. So that's the pin I'd recommend. I'm working with graphite. I've got lots of different graphite pencils and thing. You can work in charcoal if you wanted, but you'd have to be careful about the charcoal smearing later. And I like that about the pencil. It doesn't necessarily smear with without a finishing spray. That being said though, these pigment powders, if you ever got this wet, you're going to spread those around some more and they could easily reactivate on yes. So you'd have to just be careful layer. And I might just do little bit of implied writing in here. Looks like riding a might've been right in something, but maybe you don't know what it was and you can't really read it, but it's almost letters. I love doing that. If you have good handwriting and you want to put quotes or scripture or something in there that you like, I'd be the perfect time to do that. I also think now that I've got this one or I want it, maybe I'll come back and drip some walnut ink kind of on top and just see if it'll do like a splat somewhere. I don't really want it to be drops. I want it to be more like a big splat. Be like some little splat. We could even make them run down the paper. Like do we like spots with runs? We're not. Oh, that's fun. That going that way. Total to the point of experimenting here. I know when you do something and you're like, I don't want to ruin it. You know, I think the same thing, but now I don't need to put that all the way down in the ink. But now I'm just like No, I'm just gonna go for it and see what I get. That's kinda fun at it. Completely different mark in there when it dries, it'll lighten up a little bit. And let's just see what we end up with. So in this one, I'm still going to do those marks, but maybe a little different. Maybe I'll make it run through the piece this time. I like using the same elements in different ways in a series that I think, because that's the way you get interesting pieces, but not all the exact same. But kind of cohesive like it made a collection or a set or you could tail. They were all part of the similar idea with like the other abstracts that I do. These elements like this are just little tiny elements and bits that add to the overall piece. Whereas on this particular technique, I would like. Your mark-making pick one element to become a super dominant part of that abstract. I want it to be a feature in all of that. I don't want it to just kinda sink into the background and you're coming to look at it and you'll see it when you get closer. I wanted to be an element that draws the eye and really becomes a dominant part of that piece. That's kind of my thought behind these. Look at that. I love it. And you know, if you take off your piece, then you'll even have the pleasure of pulling tape and it being in its own frame did not take these off. But if I were to pull out my piece of mat board, which I'll do here in just a bit. Me go find it. I think I'll put it in a drawer over here. If we put a piece of mat board on, this, will instantly elevate anything that we do to a piece of art ready to be framed. In some of these are artists just experimenting. And, you know, for years and years and years, I was afraid to even get started. I would see that piece of white paper and kind of have white page paper paralysis. And I wanted to create a masterpiece and create anything. I just got stuck and nail a kind of free myself from that because I just start throwing something on the paper. Not worried about if it looks good. I do want it usually to be some colors that I like and I like to do more than one at a time because if one of them has a color that I hate, which I have some over here, I've thrown away. I'd have to dig them out from under the tape, but they're truly terrible. Well, there might have been yesterdays trash, and I thought I hate these colors. And no matter what I do, I'm not going to like this. And so if you do something like that, give yourself permission to say, Okay, I like these two, but I don't like this one or set it to the side and come back and look at it tomorrow. It doesn't have to be something that you have to decide on right now. I like to let things sit for a day and when I come back, I'm usually like, oh, that's so much better than I thought it was. Sometimes you're just too close to it. Like it's that super cool. And awaken that. Maybe a few marks out here. Maybe we'll come back with some of this paint, could even throw another thing in there. I've got some acrylic ink here. And we could try to throw some acrylic ink in here. Let's see. We would get doing this on a little spare piece of paper. I'm just trying to see like what that would look like if we spotted that out. We could splat it out, move it around. Oh, never mind. Let's just splat it out and let it do its thing because I could do that. And then run this through it for some art-making. This is a coppery color acrylic ink. Look how pretty that copper is. All right, I like that. All right, Let's let that do its thing now. So we're gonna let this one dry. We're going to set it aside and let it dry for a bit. And we will come over here to our third piece. This one I think is my favorite. And I'm going to, let's see, what do we want to do here. We could even do our lines a different way. So I think I might do that. And I don't like it when it's a little bit off the piece and then works its way into the piece. That's why you're seeing me go into the white and into the color with my marks. Who I like that. Let's come up a little higher. Ooh, I like that. Okay, so what might these same little technique that we did with that last one, but maybe me shake this up. Maybe what Payne's gray and just see what we get. Now, like just randomly experimenting, all right, so the Payne's gray is not a not a stopper. So maybe I'll stick my brush in that scene at the craft store, bigger dollar like that where you can squeeze it in, squeeze stuff out and probably just need to grab a couple of those. It's a curve like that, but I kinda wanted them to be more of a splat kinda like on the spot to well, I'll just go and work these in with our mark-making here. That's kind of fun like that. Alright, so let's let these dry for a minute. I'm going to find my little frames and think there's anything else I want to add to these. So I will be right back. Okay. So these are mostly dry, used a little heat gun on it. I have noticed as a little tip there if you're being impatient like I'm doing here because I'm filming something and using a heat gun to dry in between your layers, then your paper tends to work a little bit. And it's not a big deal. You can stack these under a heavy set of books for a couple of days and that'll flatten back out. I have found if I do this a little more organically and walk around and leave each layer to dry on its own that the paper doesn't do what it does when you're heating the paint up like that. So just keep that in mind if you're getting it. Were there were there wrinkling and you think, well, how do I get that flat again? Just stack them up and under a flat, big heavy books for a couple days and that will flatten back out for you. So as promised, here is a set of mat board that I got at the Michel's to use in this exact way so that I can then look at stuff and think, Am I done? Doesn't need something else. Would it be beautiful framed? And this is a little bigger than my frame is, so it's kinda going outside the frame. But still, as soon as you see a piece of mat board around a piece of art, you instantly think that finished it, finishes it off so beautifully. And then you can kinda decide, stand back and look at it. Are you done or do you have more to add to it? I really love how this one turned out. And you can turn these different ways to see, you know, do you like it one way better than the other? Or do you like it the way that you did it? And a lot of times too, when I'm working on abstracts, I'm turning things in different directions as I'm working and looking at them to see when it really goes off the page like that, how it finishes off the piece of art rather than if I just stopped it right there in the middle where the color was. I love that. It goes off the frame with my mark-making and became a really dominant part of that piece art. So actually like this one More than I thought, the blues and the greens are my favorite colors. Usually when I'm working on stuff. So I do like the blue tones the best in my inspiration pieces that we were looking at. I like the lighter bit of water color versus the heavier bits. So experiment with that quite a bit. And I really love experimenting with the shapes. This is a lightweight layer of watercolor, heavy layer of watercolor. This in, these infusions, colored stains that have the walnut crystals in it is in there and then a really big swath of that. And see if we put these on here. Instantly elevates even our scrapbook pages. Two pieces of art that are ready to be framed, like, look how beautiful that is if I'd kept these bigger ones within my frame. Look at that. That's like my very favorite. Some of these really my, my art journal pieces are my most favorite pieces. And even when I go on to do more off of that inspiration, sometimes I go back to the art journal, peace and love it the best. And sometimes I'm going to tear these pages out of here and maybe have a frame because like a boundary there, it's my favorite. But it's just a little bit lighter color than our bigger ones that we did. And I really love this one. I really loved this one and the acrylic ink that we added on top, I mean, these turned out really fantastic. So I hope you will give the experimenting a try. Work with some coffee or some walnut staying or just brown watercolor if you want to just simulate that, put a color on top of that, do some bold mark-making, maybe some acrylic inks, some of these infusions type pigment if you wanted to experiment with those. And just see what you can come up with. Kind of let yourself go free, don't get real rigid and your expectations. And then see what you've got and then come back tomorrow the next day and see if he didn't love it one day. Do you love it the next? Because I always come back the next day and really, really love things that I wasn't so sure of or I was questioning the day before. So hope you enjoy trying these out. Can't wait to see what you create. I want to see some of your bold kinda abstract pieces with the bold mark-making kinda running through it somehow I want you to pick some bold mark making something and make that be a dominant element. And I want to see what you create. So definitely come back and share those in the projects. I can't wait to see you and I'll see you next time.