Inking with a Color Twist

1. Intro : Hi, I'm Chris. And if you've joined me in my former classes, we've sketched, we've inked and we've painted in this class. We're gonna bring it all together with a focus on inking and painting. I'll show you my techniques, my tools, materials and my process to take a painting from sketch to ink to paint. We'll do. Complex subject matters with simple painting will do simple subject matters with more complex painting done in layers. We'll use simple items, and we'll paint complicated items. Either way, there's something from beginning to advance levels, so there's something for everyone. So grab your tools and join me in the next video to get started thinking with the color twist. See you there. 2. What to Use?: so I've kept my tools and materials Really simple. I started out with a paint set. A Cotman Windsor Newton. A watercolor 12 piece paint set. Ah, a Penta water brush. But you can use any paintbrush you have. This is a medium size, so I can use a fine point for small things in the bottom for whiter things by swishing it down. I've got two sizes of microns thick and thin. Ah, pencil and eraser and a recycled cup for water and paper towels for stopping up my messes. As for paper, I'm using a Kansan, uh, seven by 10 sketchbook. Cold press paper, £140 and you could see what a nice texture it has holds a lot of water. And then for the coral and the driftwood projects, I've used acrylic paper that's a little heavier. It's £136 bleed prove, and it's got this gorgeous, linea lined texture that I love. As for your work space, make sure your tools are easily accessible and you can see your subject matter well, and I will see you in the next video to get this party started. 3. Inspiration: I'm just gonna talk about how I get inspired and really a lot of it's just by accident along the way. Ah, this is my Pinterest where I just did a search on in paintings and you can see there's a myriad of examples here of things you can dio. You can also search watercolor in ink or October, which has been huge for me on instagram. Um, this is why October page where I shake shared my work. Um, there's lots of examples here. You could also go in the search bar and search other artists. Um, in fact, that's how I got inspired to do this class so you can find lots and lots of of cool work here that will give you lots of ideas for a project on your for your own. But, you know, real life is such a great example is well, I got inspired going to a festival. Ah, this Benjamin Moore paint add inspired me to do this sketch and accent it with color this night. Skies gorgeous. This coral image inspired me to do a project for this class as well as this interior design shot and this lighthouse. Ordinary items can be quite beautiful when they're portrayed in an art form. I got inspired to do this one from a fashion magazine. But, you know, your glasses could be really, really cool. Something you saw along the road. Ah, holiday theme of some kind florals The sky is the limit. I cannot wait to see what you select and I look for to see in the next video to get started . 4. Ordinary Items- Beginners to Advanced: in this exercise, I'm going to be for trade my micron pen and my water brush pen. And the reason I'm doing that is because for many, many years, I I didn't actively do artwork, but I couldn't quite help myself from creating, um, so wherever I was on my break it work or on a day off, somewhere unexpected, I would grab a ballpoint pen, sometimes even a napkin, But a lot of times laser paper from a printer. And I would just find myself sketching ordinary everyday things like a chair sitting next to me or a, um, a printer or, Ah, a laugh. Um, a little bird next to me. I mean, just anything and everything. And it was some of the most beautiful work I'd ever done because it was so spontaneous and riel. And, um, when I did that, I saw my ordinary everyday things as something ah, much more that they were important, you know, Um, so my micron pen in my water brush Ah, Penn is definitely something that's near and dear to me right now. Some tools that I used almost daily, and I wanted to show you how fun it would be too sketch ah Inc and then paint this thes ordinary things. They just take on a whole new dimension. Um, and you see, I just see them as much more. Ah, romanticized. And it's kind of cool. Ah, these companions, if you will. So I'm scared. I'm obviously inking in the detail on the micron pen just to kind of make it recognizable as a micron. And I'm going to take some of that little, very fine type and just create squiggles, Teoh, um, and lines to show that stuff because they're not easily readable. So a Linus just enough or a squiggle. And now the water pressure, then Very simple. Clean. Um, no fancy lines here. It's just really all basic stuff. Ah, but it's telling a story, and that's really I think, the part that is important here. This is the story of what I do. This is the story of what I use every day to tell me my stories with art. So it's a story within a story, and I'm ready to paint just a very light brown. I'm going Teoh payment micron, that beige micron color and a little bit exuberant there. So just stopped up a little bit of the pain and the same with the water brush just a very light blue. And I'm going to go right into the You can see a little dome shaped of blue right into the cap, there at the bottom, so I hope you'll try this project with something near and dear to you. 5. Fashion Shoe- Beginners to Advanced: in this case have already sketched out my subject matter, which is going to be this shoe on the left from a magazine, and I'm just going to dip my pen in the ink. There's going to be just literally a brush pan and ink. I'm just starting out with just glazing over my basic lines. I wanna make this a bit darker. It's going to be very simple, just glazing over these outlines that I have sketched out with a very thick stroke. So it's very bold and very clean looking is going around the buckle. And again, the sketching is so important because I'm just using that as my guide fabric and that is it . We're done with the inking already, so I'm just going to quickly erase all the pencil lines fresh off the excess eraser dust and then starting in with the yellow so the actual is much, much darker. It's a vintage jacquard fabric, and it's actually of a yellow and green B. But I'm just going to be making this very, very abstract. I don't want it to be to exact or two. It wants to be quick and rough, so I'm just literally um, making shapes not necessarily of anything in particular with this, with my paint in the yellow. And I'm going to make this much, much brighter than the actual photo. So I'm using a very bright yellow, and I'm gonna be going over with a very bright green. So it really pops hand just with a darker gold going over the buckle and the inside of the shoe to differentiate it from the rest of the painting. I want it to be much darker then the fabric part of this shoe. And I'm just going over the yellow with this green. Give it some dimension, uh, and, uh, keeping it bright. I'm not being very exact with this either. Just want it to be rough and very quick. And again, I've sped this up so that, uh, I don't torture you through this process because it's really much of the same. Just want to show you how I just quickly create this abstract textile with literally only two colors and a very rough version of the original. And I'm going to quickly go over the textile is if you will, with a very light light yellow. Just knock down that weight. Ah, a little bit more And make it more of a textile feel. And we are coming to the close of our project already. You can see how quickly you can create a beautiful effect with your ink drawing. Not much effort whatsoever. And I'll see you in the next video. 6. Lighthouse- Beginning to Advanced: So again, I'm going to start with a quick sketch. Just outline. I have sped this up as I have most videos just to kind of take you through the basics. It's just outlining mostly where everything's located on the page, Um, and and that's going to be for the sky. No kind of going over the details of the lighthouse, Um, so that I could just come back and quickly Inc over that now that I've got my basic, um, direction of everything. Um, trying to replicate the bricks in this that's good pregnant, Be a lot of work to ink, so I don't know if I'm gonna do all of it, but at least that's gives me an idea of what I can do with it and going back over the very intricate lighthouse buildings. I really liked this image because it has a lot of really interesting shape, form and in color, like the red buildings on the red striped lighthouse. It's pretty fun, and there's a lot of sky, um, to paint on this one, so I kind of think that would be really interesting as well. So this will have a lot of color. Those areas will be shaded. This is the time to get everything right. So if you need to erase and re do, this is the time to do it. I thought that door was really interesting. Almost like set into this stone building This brick detail on the outside, a wooden door. It's very retro. Oh, I think I like this brick detail lot better. So I'm not detailing all the brick, but I'm making little brick shapes here and there. So with a micron pan, I started thinking in the top of the lighthouse, which is gonna be the focal point of this painting for this thinking and just very quickly de telling the railing and a quick crisscross pattern across the talk to show the glass. Um, so these windows are gonna be very quick and easy, just really trying mostly the outside of them to show that there are windows set into the lighthouse and then starting in with e find buildings and going over that brick detail with the micron, and I really like how that's coming out. It's just enough detail should to show that it's a stone brick, but not so much that it's gonna work me to death and take away from the lighthouse detail. And I'm showing this kind of sand bar that it set. Oh, that is kind of built on two with some quick, bumpy hills. This building is almost curvy looking, So I really like the personality, um, in the shape of it. And then this brick building I'm sorry, this red Siris of buildings on the top there is a lot more straight and detailed I really want my micron. Teoh helped create the shadow and light on this one. I want it to be pretty extreme, So I'm gonna darken it with the micron, show that dark and light contrast and just go through. And I'm just going to erase my pencil marks, get rid of the dust, and it shows me I've missed a couple of lines that should have been there, but easily fixed. And now I can start the painting. So I'm just loading up my brush and I'm going to start with the gray. And I'm using that as a shadow on the, um, Stone. I just deluded some black water color paint, and I'm just kind of dropping it in where the shadow the darkest part of the buildings were going to be in there, there, there, curving. So there's a lot of of really fun shadow and light there, in contrast. And you can see a really good drop, too much paint in that building on the right. So I'm gonna literally pull paint out of the hat area and drop it in where I need it on the other. Other too curvy buildings there, and I've just stopped up. The rest of it is just a little too much for me to pull at that point. It's just still too dark. So it's always easy. Teoh. Fix those kinds of bloopers, and now you can see I'm just spreading out a lighter tone of grey throughout the rest of that building, and dimension starts to take shape there. Oh, I couldn't wait to start this red, so just creating the first top stripe in the lighthouse and you can see I dropped a little bit in that top part of the White House as well. And I'm very careful to go around these windows. Um, because that's all the detail they're gonna get is just that light accent into the red So be very careful just darkening that and going on into these other lighthouse buildings. And I'm going to paint with the red right over my shadow so it blends in with the color and the color blends in with the shadow. I can very careful to go around my windows. I want the light from the windows to kind of pop p total accent. Just getting a little more color and where I need it. I'm good. Race those cloud marks because when I start painting that sky, I don't want that pencil to show through the brown just at finding that sandbar and the wooden door creating some shadow with those hills and a little shadow on the doors. Well, and here comes this guy, So I'm just dropping blue paint. Uh, just wedding. You can see I'm waiting and just dropping paint into the sky. I'm gonna leave part of it white to show some cloud work. It's just really random and rough and quick. I don't want it to be super detailed. I just wanted to be very whimsical. I want this guy to contrast against the lighthouse, but leave just a little bit of white here and there to show some clouds. And then with a darker blue, I am going to go ahead and just create some rough back and forth lines for the ocean. And I'm gonna leave a white area in the center. Ah, very jagged E. Just to show some reflection on the water like it isn't in the photograph very quick and very loose, and this is sped up. But I really didn't spend a whole lot of time on the sky and the water. And that's it for this one. Look forward to see in the next video. 7. Driftwood- Intermediate to Advanced: this time I'm going to take you through my sketching process because I'm going to keep this one incredibly simple and queen. And the sketching not only will be our guide, but the inking will be an exact replica of our sketch. So the sketch is just gonna be really, really important to be accurate, and I'm going to be very detailed with it. So you can see I've sketched out the basic shape of this driftwood, which has some really interesting shadow and light going on. And, uh so I'm just going to you really get detailed with this pencil and, um, shade in my dark, Um, as well as keeping in my light. Didn't like how that was too heard there. Um, and again, this is the time to erase and to get your sketch just the way you want. Ah, so that the inking is just the way you want And just keeping my eye on the driftwood and just glazing back over the paper so that I am, you know, I'm making a pretty exact replica of it of the driftwood. I'm not. This is not really quick and loose. This is a lot more detailed um So I'm keeping my eye on the subject and going back over my paper a lot to make sure it's just the way I want it. And I'm ready with a musical micron, Penn and, uh, just starting in on the edge. And I can pretty much just make it detailed, Um, right off the bat, because my sketches so detailed and just the way I want it, um, so I can go in and start details right away, But just to give myself a reference, I am just gonna go all the way around the outside, creating some details. I go, I think some dark and light in there, and that does help me to get perspective on the sketch, and I can go back over it and really get detailed as they go getting this piece of sticking out the side and again, you could see I'm going around the edge. But I'm also created some detail as I go, and I can always come back and get even more detailed later on. So my sketches not exactly like the driftwood. I mean, it's art. So I'm I've gotten my version of it. If I really want to spend a lot more time, I could get more exact. But the point is to do a study on how would is is ah, created through a series of lines. And the line work is really the star of the show here. That's a game of patients and just really having a an appreciation for just these twisted, beautiful lines that make up the would shape and color. So there's really the colors been leached out of the wood by the sea, so it's got a very monochromatic look to it, which actually makes the job easier, because then he can really focus on the grain of the wood and the details and how it's been beat around and the dark and the light, just the personality of the shape and the form and the texture. Most of all, the texture. I've got this jagged line going off on the left, and you've got much smoother in the center. And this, not, um in the 1st 3rd of the piece of wood is just a lot going on within. It's just so much personality to capture. It's really quite relaxing just to kind of settle in and just enjoy this a piece of beauty that nature has created. And I'm just taking my time just going over and capturing more and more and more detail as I go over this subject matter. How much detail you want to put into this is totally up to you. I could have stopped a while back. Um, but I'm just about there, and, uh, I think I'm just gonna be very minimal, um, with adding color to this one, because it's just I think the detail is just so intricate and, um speaks for itself, so I don't want to do a lot of of coloring to it, all right? I'm really satisfied with that. And I'm just going, What I've done is I've mixed a brown and white kind of a milky looking color, and I've jumped the gun a little bit with the painting, but you can see I've just added this one coat of a light brown, and it's kind of soften the lines, which actually made it look more like a realistic piece of driftwood. So I'm really, really happy with this. Um can't wait to see how yours turns out. I'll see you guys in the next video 8. Interior Design- Intermediate to Advanced: So this time tackling an interior design, um, image and just decided the orientation of your paper is super important. I was considering just ah, the couch and creating a horizontal orientation. But I really like the height of this photograph. So I've decided to go back to its original landscape look and just quickly sketching the couch and decided that I wanted to be whiter on the page. So again, the sketching part is you know, it's just where you lay everything out for you get everything that we want it, um, so I'm just extending everything outward, and I'm liking that much, much better. I wanted to be a real focal point in the drawing. Just capturing these beautifully sculptured legs on the couch. Really? Something I really liked about the image and, um, just going on to finish the the cushions, the blanket hanging over the right hand arm, and these beautiful tufted buttons bring a lot of character to this piece. This really cool painting and it's gonna be kind of faded, so I want to just kind of outline what's going to be on the inside of it and then see how I'm gonna be able to portray that. It's gonna be a very unusual little piece up there and I'm ready for thinking. So I'm just gonna go ahead and Aziz before just ink over all my pencil lines and just very kind of patiently going over everything. The detail on all of these cushions is a really fun part of this illustration. Each one. I mean, they're all pretty much the same color scheme, but they all each have their own type of detail. So I really want to make a point. Teoh, make those extra special and just going over all the details, including the the folds in this, uh, in this blanket hanging over the arm of the couch kind of makes this whole piece looked cozy. You just want to settle into this couch. And of course, he's beautiful spired legs. Now, with this painting, I definitely want to outline it. But the inside is gonna be very faded, so I don't want it. I don't want to draw. I want in too much in there. I want it to be faded paint most of all. So I'm ready to erase and start painting, and I'm going to go right for the couch because that's our focal point. This lovely medium gray color is gonna be perfect. And it's gonna be interesting because I've got up that, you know, the wall is great as well. So I'm gonna have to figure out how to distinguish one from the other. It's gonna be very monochromatic. So the pop of these, uh, magenta pillows is going to be super important to really bring some some life to this piece . I mean, even the paintings gonna be faded, so it's gonna be very, very monochromatic. Except for these, um, he's pillows. So I can't wait to see how this develops. Just going over the entire couches evenly as I can for now and then once this first, um, this first coat, if you will. This first code of watercolor dries our first wash. I'm going to go through and create more shadow and depth home by darkening certain areas. I'm just wedding the background. And again, I've spent this this one up just so I don't You know, it took me quite a while to do this, so I'm just gonna show you the main portion of it. So, um, I don't bore you to death. So im already making the wall much darker, especially on the side where there's no light coming into the image, um, to differentiate the couch from the from the wall. So that will be a fun way of creating contrast with a monochromatic scheme. For now, I'm just going all the way around this painting because I don't I don't know how I'm going Approach it yet. I want to see how this wall comes out first and it can going much darker. I'm aside. I don't know how even I'm going. Teoh make the wall. I kind of like it. Sort of Samir e. Looking kind of like a European style wash on a wall. That's kind of fun. Do you need to even out that line above the couch so it doesn't look so distinct? Wanted to blend. And while that's drying, I know I'm gonna do a little more with that, but I want to get this magenta down on these cushions in the blanket and see how I'm gonna handle that. Each one has a distinctive pattern. So not sure how I'm going to be portraying that We'll see what what happens. I want to get this first coat down and then I'll be coming back over that with some detail , some kind. And to make this color, I have just mixed a, um, a violet paint with a dark red. It's come out quite nicely. It's a really great contrast with the gray. I'm liking it a lot, so just feeling to see if that's dry yet it's still a bit wet. So I'm gonna go ahead and do the floor now with the flooring. I mean, obviously, that could be a focal point as well, but I don't want it to be. I wanted. We want the eyes on the couch, so I'm going to do the lightest of Brown's. Just a hint that it's a wooden floor but with no riel detail. No riel grain in it, just a very light faded brown color. Just a hint at a wooden floor. And that's all I want to do there. All right, so our little painting, um, just tackling the frame of it first. And obviously it's gonna need way more contrast. Ah, and it's got thankfully, has this kind of rusty brown faded thing going on inside of it, so I'm going to really play on that and use of Brown to help create some color contrast between the wall and painting. And I'm just gonna let that dry before I tackle the ah, the very faded subject matter inside of it. So back to the couch and with some darker grey, I'm just creating some shadow and light with the button tough ting creating some dark. I'm really want to try to to start distinguishing it from the wall. So this top artifical make darker. And there was this very, um, noticeable shadow underneath the cushion of the couch. That is fun. And, of course, and I am starting to work on the shading on the arm of the couch on the right hand side and leave it for now and let that dry. Why keep this top of the couch, uh, layering the paint over that, just getting it a little darker yet, and then these shaded areas got a little bit too much. There some shaded areas, um, underneath and beside the, um, the cushions. So that's a nice shaded area there beside that cushion, a little bit more under the cushion of the couch, and then behind this cushion here is a little shaded area. Another one here that's gonna add some character and some depth as well. And I just added a little bit of blue to this great paint for these legs because they have a little great cast to their little blue cast to them. And that kind of mixed some kind of separates them from the rest of the painting as well gives them their their own personality. So with, um, now, these cushions air dry. I'm ready to start some detail on that, and I decided to take this first one and, um, course, get a much darker colored paint and just create striping. I don't know. I think the detail that's on in the image is a little bit too fussy for what I want to do here. So striping, I think, will be fun. This one has thes all these squiggles all over it. So I'm gonna go ahead and and do that. That's fun. That's easily doable. That's what I'm just gonna do it one dark tone and see about doing some of these gold dots later on after that drives. Was this darkening? This one's gonna stay pretty much the same color. That little realm one Just a little bit of detail with the color and same with the blanket . I'm gonna leave it the same light color, but I'm going to use the darker color to create some shading and back to the little painting on the couch back. Um, and this is a vase of flowers. So I'm basically gonna use the flowers, is the negative space and draw around to leave them white. Well, I'm using this reddish brown Teoh distinguished the rest of the painting, and I'm going to do my yellow dots on this cushion of it. It's tried little bit more magenta on this blanket, and there was a little bit too much yellow on this cushion, so I stopped it up. But what's happened is that it's left some really cool lightened yellow dots on it. I don't think I could have turned out much better. I'm really happy with that. It was a that was a very happy accident, and I'm loving that detail on that cushion. So again, just reinforcing that shadow under that cushion. Um, little bit of a shadow underneath little around cushion and beside the couch. I'm really going to go. There are much, much darker now in the, uh, shaded area beside that couch. A little more on this side, but not quite as much was blending it in with the rest of the wall. And now that the couch is dry, I'm really liking the contrast between the wall on the couch. So I'm just gonna finish that off with a little bit of micron And to accent Thea tough ting A little more shadow on this little round till though it doesn't have much going on. So I want to give it some shadow, and that concludes our interior design illustration. Hope you enjoyed it. 9. Coral- Intermediate to Advanced: So this one's going to be a much more slow and detailed process. We are. I'm going to sketch out my quarrel peace. It's gonna have a lot of Anqing detail in it, and I'm going to start by just centering it on the page top and bottom. And I'm not gonna do a whole lot of and King. I'm going to go ahead and starting with a micron. It's the thickest when I have, which is the number eight. And I'm just going to start in the bottom with the route and get a general ah, lay of the land by just sort of dropping some thinking shapes of these branches sort of going up out of this route. And, um, sort of mapping out some of these thicker branches on the bottom that we will actually be building out onto with thinner branches. So this is gonna be quite a process. Um, and it's a super relaxing process of you. Just relax and settle into it, turn on some soft music, Um, and just relax into it. It's really very therapeutic. Um, I'm gonna go ahead and ink in some of these thicker branches at the bottom, so I can use them as a base to work out from. So they're going to be going up and out like like a tree, much like a tree, but much more two dimensional and much, much more detailed. I'm going to be going to a thinner micron down the line when our project becomes much more detailed. But for now, I'm going to stick with this thick one as long as I'm doing this trunk like, um, area on the bottom and now moving into the root, I'm getting the detail in down there. Ah, and you'll notice with this project, I did very, very little sketching. It was basically a few lines to give me an idea of the boundaries of this coral. And then I dived right into the inking, and I want, um, the inking to be very organic. I don't want it to be too rehearsed, Um, and there's a lot of it. So it's it's going to be a super, super interesting play on Ah, capturing this, um, very intricate subject matter and you'll see I've started the very first filaments I'm calling them filaments thieve thinner branches the beginning thinner and thinner. So I can use the sticker micron to create start creating a varying degree of, um, sized branches before we go into this very thin micron pen that will help us create an even thinner effect. I'm really, randomly just creating branches off of branches, and that's what we're going to be continuing through this entire project. I'm just going to be creating branches off of branches, making sure that they're not too straight that they're not to exact their not too much like the last one I did. And now this trunk is really taking shape. Can really see it's starting to turn into something, and the further up I go, the thinner I'm going to go as well and also moved. I will be filling in the middle more and more and more until it's completely filled in. But that will take a while, will be going over it a few times, and you'll see that throughout the project. So I'm going to be showing you mostly what I'm doing on this left hand side of the project , and I'm going to be cutting most of the right side out just to speed it up for you a bit so Now I'm going up much, much higher and coming back and connecting those branches to other branches. Really just just a lot of lines connecting with lines criss crossing over and the criss crossing. And ah, the curvature of these is what it's going to make this project super interesting. And you'll notice I'm playing some music myself. So I could just relax right into this project. And I hope you do, too. Find your groove and, uh, your own rhythm warrior, creating this gorgeous line work you can see I've moved on to the thinner micron pen that's gonna really start helping to create this finite detail and make it so much more interesting. And I give us, um, perspective and dimension while we create tiny branches upon branches and I'm just going to go back through the middle and start with the thinner micron pan. Just start illustrating these thinner filaments that are making that this is what's gonna make this project look so detailed is thes little thin lines in between the thicker ones that sort of connect all of this and make it look like almost like a lace. And, of course, the film it's on the ends, kind of just leaving their way outward. Just everywhere you can see, it's getting dark. So I've gotten a little more light and just keeping his little filaments going until I have the entire project filled in with, um, - one of the things that's really going to prop polish this project off is thes groups of filaments that kind of separate from one another all around the edge of this quarrel. Um, that's really going to give it that finished, polished look, So I'm really enjoying that process right now. - What a journey that waas I am complete with my inking, and now I'm ready for just a hint of watercolor accent going to be using a water down brown . Um, and I'm going to start with the route because I'm going to be working my way up just like I did with the inking. And the route is the darkest part of this, its earthy and rich. And I want it to, um, stand out as such. And, uh so there's just give me a hint of brown here, hint of brown there, um, those filaments at the end, um, are going to pick up some of that rich brown, but also here and there in the center. And I'm just going to very quickly, um, drop that brown here and there. So it's not super prominent. I want the inking to be the focal point on this one. Um, so it's going to be ever so slight, and I'm going to drop a little more Ah, darker brown into the root where I want to create some shadow and some contrast and just lightning this brown. I'm just going Teoh spread. Oops. Got a little too much paint there. This can always dab it up. And if you're paint doesn't lift enough, you can always add a little water to it to dilute it and then tried dabbing again. Generally works quite well, so you can see I'm just evenly dropping paint throughout this project, so it hasn't kind of a nice, smooth, even look throughout, but it's not completely painted. Just has a hint of brown just to give it a little bit of, ah, a tent, if you will. Thank you so much for joining me on this one. I have to say, this is one of my favorites. Um, I look forward to seeing in the next video 10. Thank You!: Thank you so much for joining me in this class. I hope you've got inspired, grabbed your tools and started sketching, inking and painting something beautiful you can use thes for your business to hang on your wall, give us gifts or just to enjoy. Either way, I hope that you share your projects in the project gallery. I learned so much from the work of other artists. If you have any questions at all, you can find me in the community section and you can check with other students as well. And I would so appreciate your review as it helps me improve for future classes. Most of all, I hope you had fun. Thank you again for joining me in thinking with the color twist. Bye for now. 11. Bonus Video :