7 Abstract Painting Experiments

1. Introduction to the course : Seven abstract experimental painting projects by Doris Chart. I used to be an art instructor and I've taught just about every level. I started with Three D Art turn to painting. In this course, we will learn about pouring paint and the different ways to pour paint to get different effects. We will learn about choosing the right color for your backgrounds. We will learn about painting emotions. The one on the right is anger, the one on the left is love. We'll learn about collage and textures, and we'll do more textures when we embed objects on our canvas. We're going to learn how to make thick paint just like the one on the left. And then work with very simple, easy compositions like the one on the right that I call lines. Sometimes I'm going to give you information about the artist that influenced me for these projects like Helen Frankenthaler and Karen Leg, also Anne Lise by with her fine drawing, we're going to talk about feelings like Edvard Monks, the Scream. We're going to talk about thick paint just like Van Go used to paint using very thick brush jokes. Except I have a new technique that I'm going to show you on how to make ordinary acrylic paint thicker. We're going to learn about the artists that love to embed objects. Her name was Louise Bourgeois. Join me for seven abstract experimental painting projects that will be just fun and that you can do very quickly your project for this course. Here's the challenge. Your goal for this course is to choose at least one of the paintings you create from this course and post it. We all learn from each other, and this is a great way to see how your painting choices are different from others. We can learn because sometimes I don't think of combining certain colors together and others do. And I'm going, oh, that's a great idea, pick the one you had the most fun doing and share. I always found that I learned as much from my fellow students as I did from the instructor post it. Let's see what you've done with this course. Abstracts are the paintings that come from inside you. Your best work always comes from the personal. See you in the course and let's have some fun together. 2. Try Poured Paint -Way #1: Our first project explores thin washes. We're going to try two different examples of this. One artist that does a lot or used to do a lot of very thin washes in her artwork is Helen Franken Toler. She was born in 1928 and died in 2011 and she was an abstract expressionist painter. Look her up, She does some beautiful work and she really experiments with the washes and the colors when washes overlap each other. It's very interesting for this experiment you're going to need acrylic paint brushes a canvas with a strong painting surface like a board. Well, paper can be used if it's watercolor paper, a water container, rags, and clean up material, This is messy. Make sure you're in a space where you can make a mess. Let's watch the video. Experimental abstracts pour paint example number one. What we're going to do today is just let the paint flow. I'm just putting on one touch and then I'm going to pour the rest and see what happens. This is a great way to start a painting. Sometimes it ends up being a painting in itself. Now it looks pretty good. Now what we have to do is think about what it's going to look like, dry. You can lift the paper or the board and let it pour some more here, I let it dry the way you saw it. And now I'm going to take off the masking tape. It's been a problem this masking tape for this round. You're going to hear me complaining about the masking tape a lot. Here's the masking tape all gone. And here's an example of the piece and the final product. I think it looks good by itself. What do you think? Do this now, and we'll see you in the next section. 3. Poured paint -Way #2: Pour paint number two. Now, this is going to be a square format and I'm going to just get it going first, I want to wet the surface a little bit with this yellow, and then I'm going to pour it on. I just wanted to flow and sometimes it helps if you tweak it a little bit like this. Remember, this is only pouring and we're going to do another color. I let it dry in the other one. I did everything in one shot. In this one, I'm going to let it dry between the layers here. It doesn't look that good, but we're going to pour some more paint and then let it dry again and see what happens. Remember, in between each of the poured paints, you let it dry. Here I'm taking the masking better job this time. The green masking tape seems to work better when you take it off. Just a little review. Make sure that you everything dry between the layers. That's very easy. You can use this painting as a beginning or just use it as an abstract all on its own. Let's see what this piece looks like. Not bad on its own. I don't mind it at all. I might just use it like this. In fact, I like it better. Which way do I like it better? I think I like it better this way. Do this now, and we'll see you in the next video. 4. Lines are your basic element of design: This project called Lines was influenced by an Liz, by I love her drawings and her drawings show fine lines and trees that wave in the wind, winter trees and grasses that are just very linear. She says, I had quickly understood that my goal would not be to capture action, but its background. That's exactly what we're going to do in this next painting. For this painting, you need acrylic paint brushes, cardboard or heavy paper. Paper. Water color works the best. A canvas or strong painting surface paper can be used. Water, container, rags, and clean up material. Now for your cardboard, you can use any heavy paper. That could be something like wrapping material, the cardboard that comes in. Packaging that works really well. Let's watch the video lines. We're going to work with easy, simple lines today. With this piece, we're going to work on lines. The idea is for you to create something where the lines are the main feature spray paint, it's a brown. Now I'm adding some lines, just little tiny wavy lines. It doesn't have to be complicated while the paint is still wet. That spray that I added, I just use water and I make lines. It spreads the paint like that. That's not very hard to do. You let it dry. It really helps. If you do, then you put some paint on a piece of card and you will be making those lines with it. This is a super simple piece, but it's really effective. You want to make lines and you want to create a pattern. You don't want every line to be the same. You want every line to be different. Just the fact you're dipping the paint in with the card. It will make everything look different. Every time. Every time you dip, it'll dip differently. It'll create a different pattern. I want to dancing fence or blades of grass effect. And that's what I'm trying to create. I'm adding lines as many or as few as you like. I think I'm done already. This is a very quick piece. Let's let it dry and see what happens here. It is dry. I think we're done. I have my dancing fence and grasses. Your turn now. Try it out. See what you can do. See you in the next video. 5. Mini lesson on adding text to an old painting: Adding text to an old painting. This painting was boring. What I'm going to do is add text. I'm using line, my head's in the way. I just using the word love. I'm creating love all the way through. This is a grease pencil. When it breaks or I need to sharpen it, I just unwind the paper like this, I have a whole new part. And I'm sorry about my hair. You can tell I have gray hair. Right. I decided over covid that it was time to just let things go. I stopped coloring my hair. I had gray hair really early anyways. You don't want to hear about my hair. You repeat, or what I'm doing here is repeating the same word over and over again. Sometimes I started at the L, sometimes I started at The, sometimes at the V. It's creating a pattern. What I'm doing is adding this text to create interest in my artwork. It's way more interesting adding this text right now than it was before I got going. You see this text, but it's more of a texture than it is a word. I can add different things. Now what I want to do is add a bit of a wash so that there's, on the edges, it's a little darker. I add, I've taken away the masking tape because I finished this painting a while ago, but I never really did like it and I kept adding to it and never finding a solution. But I think I found a solution. Now I want to create a very bright area of interest and then some darker areas and medium areas. That's what the watercolor is doing, is just changing the values that I have. A very interesting part like this and then I have subdued parts. Try this out, find an old painting, and we'll see you in the next video. 6. Collage made easy: In this project, we will explore collage, the person that influenced this project. Her name is Karen Leg. She does beautiful, large abstracts full of textures and very interesting shapes. She's still alive, She lives in Montreal. She says that her first approach involves the need to deconstruct in order to lay the foundations for an introspective reconstruction. I was influenced by her textures and her shapes. I created a lot of collage papers to create this project. For this project, you will need collage materials like sketchbook paper and paint. Acrylic, el, acrylic paint brushes a canvas or a strong painting surface like a board. Paper is not recommended. Warping is a problem if you work on paper, a water container, rags, and clean up material. This is not a messy project, but if you don't already have collage materials, it might take you an evening to make some collage materials. All you have to do to make the collage materials is paint a few papers in your sketchbook and then tear them up for the project. Let's watch the video collage. For this one, we're going to use pieces of paper that I've painted. You can do this just using sketchbook paper. I just painted a whole series and tore them up, and that's what I'm going to use. I like edges that aren't straight. That's what I'm going to do. Notice how when you tear up, you get a white line. When you tear down, you get no white line. This time I'm working on a canvas because I find when I collage onto paper, it warps. I'm going to aim for the circle motion gently, just place all the pieces in about the right spot that I want them. Then I'm going to just gel them down. I use acrylic gel and I gel them down. Now they're going to move once you actually glue them, but you want to get the general idea now. I just used ordinary paint to create these effects on the paper. I added water. If you want to know more about creating papers, just take my mixed media for beginners workshop. I cover it a lot there before I actually glue things down. I always make a pattern like this. I want to make sure it looks good before I actually glue everything down. I want to repeat colors. I'm repeating the pinks, I'm repeating the blues, I'm repeating the yellow, and I'm repeating the brown tip. Number one, use lots of gel. You put gel under the piece and over the piece. Then you add the second piece. Again, same problem. Under the piece and over the piece, use lots of gel. If you don't use a lot of gel, it tends to lift off the surface. You want to create something that is really permanent and not hard to work with. Because later on we're going to be adding marks on top of these collage papers. Make sure that you actually el everything down really well. When it is all gel down. You want to let it dry at least 24 hours. The way to tell if it's really dry, depending on where you live, it might take longer. If it's very humid where you live, then it might take longer. But the way if it's dry, you touch the canvas where the papers are. If it feels cool, it's not dry, room temperature, and you don't feel any difference, then it's dry and you can start adding more things to it again. This piece moved and doesn't look quite right. I'm just changing things up a little bit. You'll find you'll do that a lot. I want to create a circular motion, like a wreath. I like that shape. I'm going to just work with it. Now, some of the papers were too small. I want a big one right there. Make sure it's gel work. Work that gel. Make sure that everything is totally glued down. We'll keep adding pieces to make sure it looks good and you stop once you think you're done. I don't think I'm done yet. I'm right there now. It's all dry and I'm adding pieces known as the color change. The color changed a lot once it dried and it got covered with gel. I'm adding dots. I'm going to start adding different textures on these papers just to make them more interesting. I'm going to shade some of them. I'm going to add textures. I'm just going to add lines. And you'll notice that I do the same thing on each color, or most of the colors. I've speeded up the video, You're not so bored, you can watch it and then do your own. Afterwards, I'm adding stripes to the yellows, I'm adding lines around the blues. I'm adding polka dots to the pinks, but not all the pinks. Just some of them. You want to vary it up enough that it's interesting. You've got me working upside down here. I'm just going to add a few more pieces. I don't think it's quite right. That's the beauty of claws. Anytime you don't like something, you can just add more Now, I'm sorry about the moving and the shaking. My camera just moves. Whenever my table moves, it's a problem. Now, I'm just going to add black lines. Now, the marker doesn't work really well. I'm going to just use a different marker and that's way better. What I'm trying to do is outline some of the shapes. Now be very careful, make sure that you're piece is really dry When you do this, if you get any gel on your marker, it's going to just tail your marker. It won't work after the gel goes in there and dries and then you'll never get any more ink out of that marker. Make sure your piece is really dry. Now the outline like this, I outline some of the shapes, I also outline some of the textures you can choose. This is a part where you can choose, it's really easy, you just outline it as much or as little as you want it. Here we go. I'm just trying to make it more interesting. That's the main goal. You have collages, you have textures on the collage. Now you're going to separate the shapes. They look like they're overlapping and flowing together. That's the goal. Now I'm going to add a black line. I wanted to have something that is darker. I want the branch, I don't know if I like it. I'm going to water it down and see what happens. I add on the outside where you can't see it right now. I water the edges. There's a hard edge and a soft edge. What that does is it allows your eye to flow. Your eyes will follow hard edges. Then what will happen after is it will guide your eye around the piece. That's really what you want to do. I just keep adding and melting one side, melting the wrong word, but softening one side of the black line. Now I'm adding white. I want more poca dots on the pink. You always want to have light colors, dark colors, medium color, like medium values. You want something very dark, something very white, some medium values in between. That's what creates a great piece. I'm adding dots, I'm adding lines, I'm adding texture. Notice that I'm adding these textures not all in one spot, but in a variety of spots. I didn't really like that black line that much. I'm going to overshadow it and just use it as a medium value that will help our eye to guide all the way through the piece. The goal is that your eye goes in a circle around the piece. Your eye is guided and it wants to look at the whole piece and not go look at the neighbor's artwork. That's your goal here, is to make it interesting enough that what happens is the viewer becomes obsessed with your piece and loves it, and then takes it home with them. Now I'm adding the swirls a different texture again. You don't want to repeat the same texture over and over again. I'm going to repeat the swirl. You always want to repeat the textures that you create. That's one of your goals. Three times of repeating that texture is ideal because your eye will be guided around on the textures as well as the colors. I'm letting it dry and I'm going back with my marker. This time I'm using a thicker marker. I'm going to just outline some of the areas I think need a little strengthening. You want your eye to be guided. You want pieces to be interesting. You want a lot of variety. That's what I'm doing. Again, make sure your paint is dry Before you do this step. If you get any paint on your marker, it's a marker that won't ever work again. I want to isolate some of these pieces and just create like a path around the piece. That's my goal. I won't outline every single piece, but I will outline some of them. Here we go, I'll just keep doing that till I think it looks good. Now here's where your eye for composition comes in. You're the boss of this piece. You're the one that gets to decide when you're done and you still need to do more work. Sometimes it's a hard decision to make. It's a decision only the artist can make because it's just too hard to get somebody else to decide for you. Besides as the main artist, you're the boss of your piece. You're the one that should be deciding all these things here. I've done the circle, I've done the outlining, I've added textures. I have dark colors, medium colors, and light colors. I think I like it your turn. And we'll see you in the next video. 7. The emotion of love : For this project, we're going to explore feelings just like this painting of Edward Monk. It's called a scream. The colors were chosen to create the most dramatic effect. We're going to explore colors that create feelings. For this project, you will need acrylic paint brushes. A canvas or strong painting surface like a board, paper can be used. A water container, rags, and clean up material. There are two projects with this. One, make sure you have two surfaces. Let's watch the video. Painting emotions. This time it's love. We're going to create something that I feel represents love. I'm wetting my paper. I want the paint to be soft. I don't want hard edges like in anger. The other piece that you saw, I want very soft edges. I want, I love pink. Pink to me is love. Some of you might choose another color. You're welcome to choose any other color. To me, love is soft. I want that soft feeling. That's why I wet the paper first. Now I let it dry, now I'm going to spatter white on there. Little soft spattering from love. Your emotions when you're in love are soft and they spread all over. That's what I'm trying to create. Now I'm going to add more pinks to this white and pink piece. Again, the love is spreading all over from a central place. That's what I want to create. Your interpretation of love doesn't have to be like mine, it could be different. I'm going to create just a little bit more just I have that line of love and then it starts spreading out. That's what I want to create and I want one central spot, almost like a composition to me. This is love. You can choose to do your own interpretation. I think I like it this way. The light has changed on this one. It looks purple, but it should be pink. Anyway, it's your turn, create an emotion, and we'll see you in the next video. 8. The emotion of anger: Experimental abstract painting, emotion. This time we're going to do anger. Anger for me is red. I'm going to just make notice those marks look angry. You want to create something very brushy and I don't know what the word is, but quick, just like it feels like anger, I'm adding this, neutralize a little bit of the red. I want the red peeking through the gray. Now the next color is black, because red and black are the main colors for anger in my eyes. Anyways, you can choose your own colors. You don't have to use the colors that I use, but you want to create that emotion. You want to feel the anger. These pieces of black and gray radiating from the center with the red to me is anger. You can portray anger the way you want, but choose some colors that you think mean anger to me. It's the red and the black. That's what I'm using. These, I want to create this radiating, exploding moment like in anger. That's what I want to create for an emotion. This is my interpretation of anger. You can choose the emotion you want and create your own. As you look at this, does it feel like anger? It's up to you to decide. Create a piece that represents anger and we'll see you in the next video. 9. Make your own thick paint: For this project, we're going to use thick paint. I'm going to show you how to take ordinary acrylic paint and make it thicker. This was influenced by Van Go. Van Go used very heavy texture to create his paintings. You can see that in this portrait right now. Very heavy marks, very heavy texture. He's very interesting. He was a post impressionist. He became very famous just for his thick paint and his interesting use of color. For this project, you will need cornstarch, just the kind you have in your kitchen. Acrylic gel. I use soft gel, but you can use any kind. Acrylic paint brushes, a canvas or a strong painting surface like a board. Paper can be used. But the painting will be very fragile. Water containers, rags, clean up materials. Now, for the acrylic gel, I forgot to mention it in my video, but you use the acrylic gel to seal the paint. Once it's dry, it's very fragile. This paint, once it's dry, it flakes. But if you seal it with acrylic gel, no problem. Let's watch the video on how to make this paint. Thick paint. Making your own thick paint. Now, it's very expensive to buy full bodied paint. I discovered this new technique. You take paint, you just add a secret ingredient that you find in your kitchen and it's easy. You take out cornstarch. I didn't bring the whole bottle that I had at home or box, I just brought some in the jar you put your paint in and you mix in corn starch. You can add as much paint as you want, but don't add water. Just add the cornstarch to the paint. If you don't have enough paint, just add more paint. That's much better. It's going to simplify things. If you add the water, you get a whole different consistency. You don't get the thick paint that you would get when you just do this part. Now, I'm going to use three different colors. I'll pre mix the colors. I'm showing you how to do this one, I'll show you on the lid how the paint mixes. It gets very thick and you want to make sure there's no little white parts and look how texture that is. That's going to be fun to do really great project. We're going to come with three different colors and we're going to paint a landscape with it, an old landscape. I'm going to cover up an old landscape. Here's my old landscape and I'm painting the sky with the blues and just swishing it on. If I have blue in the sky, I want a little bit of blue in the bottom to the second color is orange. Make sure you have a different brush for your orange and a different brush for your white. Remember, you're only using three colors. This time, your painting will probably not look the same as mine. So keep that in back of your mind. That's okay, because your way of using the brush will be different from mine. I have orange in the cloud here and I'm adding white. Notice how the colors blend with each other. I'm adding a little path. I'm going to use a different brush to finish off the cloud. I have lots of dimension on that cloud. It looks really fluffy, and that's part of the goal of using dimensional paint. I'm spreading it around a little bit. You want little wispy clouds everywhere and some more in the bottom. I just tweak the landscape a bit. Here we go, maybe a little more. We'll just take a third brush of white and add some more. Be careful you have a limited amount of time for this. The paint dries really quickly with the cornstarch in it. It's important to work quickly. This is really 1 hour painting from the time you mix the paint to the time you finish work quickly. If I had any advice at all, it would be quickly here. There's wispy clouds in the top, then there's the big cloud that we look at, there's the landscape at the bottom. Look how I keep wiping my brush When the paint gets messy, then I just start again with some new paint. I'm just tweaking here. I'm probably over tweaking, but I just can't help myself. I have a fourth brush, a little tiny brush, and I'm adding small amounts of the white at the bottom to create a horizon line. I have the big brush at the top to make it look like it's a windy day. Now, I saved you the trouble watching me take off the tape. It was really awful. Your turn. Have fun. We'll see you in the next video. 10. Adding objects to your painting : For this painting, we're going to add found objects to our painting. This was influenced by Louise Bourgeois, a very famous sculptor. She added all kinds of objects to her work. This is one of her sculptures. She made many sculptures made out of found objects as well as handmade sculptural fragments. What we're going to do is we're going to just random objects and put them in our painting. For this, you will need found objects. What I used was old washers that I found when I was taking a walk. Some popsicle sticks and some beads. You can use anything you want. You will need modeling paste in order to glue it down. You can also use acrylic gel I modeling paste, but you can use any kind you have. You don't have to go out and buy modeling paste just for this acrylic paint, brushes a canvas or a strong painting surface like a board. Paper is not recommended with these objects, it's just too heavy. Use a board if you can. Water containers, rags, clean up materials, the usual. Let's watch the video on how to get this done. For this painting, we're going to add objects to our painting. This was influenced by Louise Bourgeois, a very famous sculptor. She added all kinds of objects to her work. This is one of her sculptures. She made many sculptures made out of found objects as well as handmade sculptural fragments. What we're going to do is we're going to take just random objects and put them in our painting. For this, you will need found objects. What I used was old washers that I found when I was taking a walk. Popsicle sticks and some beads. You can use anything you want. You will need modeling paste in order to glue it down. You can also use acrylic gel I modeling paste, but you can use any kind you have. You don't have to go out and buy modeling paste just for this acrylic paint brushes a canvas or a strong painting surface like a board. Paper is not recommended with these objects, it's just too heavy. Use a board if you can, Water containers, rags, clean up materials, the usual. Let's watch the video on how to get this done. Experimental abstracts, embedded objects. For this, I'm going to use modeling paste. You can use lots of different things. I often use gel. In fact, that's my preferred way of gluing down objects. But this time what I'm going to do is just try something different, see if it works as well. I picked up these washers and different things on one of my walks and I'm going to glue them down. Step one is find a very rigid surface. If you're going to glue down objects, you don't glue them onto paper, you glue them onto a very solid objects, a solid surface like a canvas, but preferably on a board of some kind. I've decided to use these objects and I'm going to glue them down. I'm going to keep adding objects. You want them to be glued down really well. I want to texture behind beside those objects. I'm adding that texture. You can do this with gel. You can do this with a lot of different mediums. Just experiment, see what you like. I just decided that this is what I'd like to try and I'm going to see if it makes a good texture. You'll find out with me in the end. I have to admit that I did do the video before all the way through, before I'm doing the voice over. It turned out to be a great surface, really texture. These objects because they're rusted and they're old. I want to create that antique look, make sure it's dry once you've added the texture, and then you can add some more things. I'm going to add paint, the objects are brown. I'm going to add some more browns. You don't want to paint absolutely everything. You want to leave some little bits of white, the sop up the surface. I noticed that I watered down my paint. I'm just adding it, covering the surface as much as possible but leaving little bits showing. Then I'm going to let it dry here. I glued down some more objects, just things that I found around the house. I want them darker. I'm adding really dark paint on top of these objects. I want them to just not stand out. I'm adding really dark brown on top of them. You'll see what I'll do. I want them to be very dark. But I'm not being precise about this because I'm going to do another technique that you've probably not done before that works really well when you want to soften the dark. When you've made these marks. I want the dark brown like this. I spread it around. I just keep going and cover the surface. I'm losing all my whites. I know I'm doing that, but it's just impossible to work around the whites. I'm just trying to cover all these objects with a dark brown. I have this technique I'm going to show you in a bit and you'll really like it. Just make sure it's covered. Cover everything as much as you like it. A surface that's not even in the same everywhere is what looks the best. If the paint is modeled in one area and not completely flat, that's perfect. You don't want it that way. You want it varied. Now, I'm adding some grays. I'm adding just little bits of grays. I'm letting the paint flow. I watered down this paint and I'm just adding it. I didn't like the dark brown everywhere. I'm just going to add some grays and water down grays and let it seep in and see what happens, leave some of the brown showing, cover some of the areas with the gray and see what happens. I want it varied. I don't want it the same everywhere. I want some lighter areas. I want some darker areas. I want watered down areas. I want really strong areas. You want to create everything differently. If you don't like it paper towels, your best friend, you can wipe some of it off. There we go. We keep adding and wiping when you're happy. Because the times when I'm happy, at times when you're happy might be different. When you think that's the way you like it, just stop, Let it dry. Now, there's some parts in this video where I wish I had stopped earlier. Don't be afraid to stop earlier and maybe do this part in phases. You might decide that, oh, I can't decide if I should put that color here or there. Just let it dry. I thought that gray was too much. I'm adding white now and I'm just spattering it all over the place. I let the gray dry. Keep that in mind. I did let the gray dry. What I'm going to do, here's my technique. I spray bottle those spots and I let them flow here, there, and everywhere. I just spray the spots as much as I want. I can spread some of the white. I want it different. I don't want it flat, white. I want dark areas, light areas. I want some of the brown to show through. I want some of the gray to show through. I want a lot of variety. Here's the variety. I think it works. This is a piece that is just fun to make and you can make it in just a few evenings. See you in the next video. 11. Choosing the right colour matters : Color matters in a background it and sets the whole mood. And choosing the right color to create the right effect is really important in this painting. What we're going to do is we're going to create two different backgrounds. We're going to add similar elements. Then you'll see how color influences the look of a painting. Now, I don't have an artist to show you this time. For these paintings, you're creating two different paintings. You will need acrylic paint, brushes, a canvas or a strong surface like a board. Paper can be used, but the painting will be very fragile. Again, a water container, rags and clean up material. And the paper doi of your choice, I just went to the dollar store and bought some cheap paper is cloth. Doilies don't work as well. The thin paper doilies are the best. Let's watch the video. Color matters. This is a discussion as well as a painting. It's just to show that you could do the same thing, then have a complete different look. Color matters. Choosing the right color for the project is very important. I'm just painting this line and then I'm spraying and letting the paint flow. What I want is darker areas and lighter areas. I'm going to let it dry. I'm going to do the same thing in a different color. I'm painting red. I'm just making those lines. Then I spray it, just like I did with the blue. You'll see it'll flow differently and that part will be different. But you'll see that when we add the other parts, it'll change it completely. Now I'm adding a stencil with the purple. This is just a Doi, the kind that you buy at the dollar store. I have the Doi. I paint the same, I use the same Doi. And repeat the pattern right here. I want to create a little bit of interest is are fantastic for that. I always do it three times. It doesn't have to be perfect. I'll do the same thing on the other one, or at least very close to it. Do something similar, let's put it that way. On the other one, you want to have a similar look so that you can decide which color you prefer. Now I have my little piece down here, and I let it dry, let both pieces dry. Now I'm spattering a darker color just a little bit, just like that same color on the other one. It looks bluer on this one, but it is the same purple. We let that dry. Now, I'm going to add some marks. One mark, I want to add some flowing marks from that straight line or straight line. I like that. I'm going to do the same thing on the other 11 straight line and some flowing ones. You'll never make everything the same but similar, That's your goal. I have similar. I take the masking tape for once. I'm not having any trouble with the masking tape. I like that look. I take off the masking tape. On this one you'll see that the feeling is different between the blue and the red. You have a very similar pattern and design, but the look and feel is totally different. Look at this one. Look at this one. The feeling is totally different here. It feels like a cool winter's day and the other one is warm color matters. Try this out and we'll see you in the next one. 12. Conclusion with a few tips : Conclusion. Experimenting is the fun part of painting. That's the part I love the best. Don't forget to experiment and invent your own experiments. Not every experiment works, but it does add experience to your painting practice. You learn something every time you do an experiment, try something new. Every few paintings enjoy the paint and what it can do. Because when you do these experiments, you learn something every time. It's either how to put paint on. What happens when you mix certain materials? There's never ending choices. Lots of fun, too really special looks. If you let it do what it does, best flow, create texture, or blend without effort. That's very true. You're going to have the best results when you don't work as hard. Thank you for taking my course. Happy experimenting. And watch out for my next course where you'll also be trying new techniques by. For now, see you in the next course.