Transcripts
1. Preview Sea Side Cottage : Well, thanks for joining me here in the preview. That's one step closer to actually joining. Watching the lesson. Thank you for that. I've kind of structure this whole sore lesson around Ghazi painting complete painting from start to finish. And it starts with simple stuff like the drawing. I don't go into great detail with that, but nonetheless it still covers the essentials. They look the basic color mixing for the painting Onda. We also cover our skies character great clouds of and have to draw NYSE our viewers I into the international painting. We also then move on to actually painting with greens. A lot of people struggle with greens in there painting, but I actually show how to use a very, very palette of color on how to sort of make the greens really interesting. I'm not monotonous because you need to bury color throughout the painting. We also they cover how to paint building in detail everything shown in detail on how to them paint the shadow. So you get a very realistic building. We're finished with the darks on its the darks that make the lights on make the painting really interesting. So thank you for watching the preview, and I really hope you driving lesson. So I hope to catch you there soon, so that's always to say bye for now.
2. Lesson 1 Drawing Out The Scene: okay, We're going straight into the drawing by marking out with Marois, and it's about quarter of the way down the page. So not been too accurate about that, just just just a small little line to indicate it. Now I'm using that as my reference point for the rest of the drawing at this stage. Now, during the sidewall about the house, the distant wall and all of the a little cottage there on, I'm kind of sort of saying how high above the horizon, it travels on the market in accordingly. Again, I'm looking for the approximate angle we've got there without drawing lots of perspective lines, which I don't really want. Do it all over my paper, so I'm just kind of roughly gauging the slope in relation to the horizon, which is quite straightforward, really takes a little bit of practice, but once you got there, you'll be fine. Now we're just putting in the top of the porch, the little roof and again that's quite have measured in the same way I'm looking at the distance between the top of the porch, um, the gutter on the cottage, and that gives me some indication of how big the roof should bay now in In most circumstances, if you're kind of 85% accurate, you're fine. You don't have to worry if you're slightly outs at the end of day. Were artists we're not trying toe get slavishly copied the photograph. We're trying to make it a nice loose drawing, so it's pleasing to look at for the viewer. If we're gonna get the ruler out every time I need to measure something that it's going to turn out a little bit tedious on, Not much fun. So now we're just strengthening the lines, making them a little bit darker. So when I get pains, I actually know wrong going. Now we're putting in the bottom of the porch here. I'm running the line to the bottom right hand corner of the page on just double checking those angles. But again, if they're kind of like 85 to 90% akra, he's not gonna be far wrong on they're going to look for him, so don't kind of like stress yourself out about it. If if drawing you're not the most natural drawing world, it doesn't matter as long as you get consistency in your drawing on a reason lack Chrissy. The most important thing you need to be out do is get your values right in the painting, but we'll talk about that later. So we just marketing the windows now on again. We're just looking at the height above the porch. How far they dropped down market in accordingly on again, this window that I'm drawing now the closest one to us on. Just making sure that it's, um, no mark to the right depth in relation to this. The windows in the distance so just skipped shows in, and now it's the bottom window. We just get that one in again. We're looking for that angle again, Onda, uh, who just draw the for the size and just checking the angles on the on the photograph and then transferring it to the The drawing was 100% sure about the angle, so I just confirmed it by laying a pencil over the photograph on, then transferring it to the drawing just to check it, and I altered it slightly as she saw so you could do the same thing. It's a great technique on. It really does help, but again I know my angles are 100% right there. Probably around 80 85%. But if you're consistent with that 18 85% um, you're drawing is ultimately gonna be fine. Andi, it would be absolutely great for laying your watercolor on top. So don't be. Don't be too stressing about it, because all you will do if you stress about it too much or you'll end up with his dirty rub out a razor marks well over your nice, crippled, whitewater colored paper. And that's the last thing he wants. The most important thing is to get the drawing down and then launch into your painting. So we just marking the windowpanes in making sure they're all, uh, approximately right. There are lots of good videos on perspective. If you really want to study that side type of thing on YouTube, you can find lots of things that will help you. But unless you're doing really complicated scenes, I don't think sort of vamp banishing points and converging lines are necessary because it starts taking the fun out of drawing. Drawing needs to be free hand onder Uh, like I said earlier, because we're artists, we don't have to actually switch struggle over getting it 100% right? So there's all our windows in, Um, just with straightening up the lines there, that's probably the toughest part of drawing done. And it is pretty straightforward as long as you learn to relax with it. Remember when you're holding your pencil, don't sort of grip. Your parents were so hard that you you know, you you fearing for your life. Just hold the pencil loosely on. Duh. You know, keep your wrist loose and the rest will follow. So now we move to the left hand side of the page. We're gonna draw in the the trees and the distant, distant shrubs and stuff. So the pencil now is just skipping over the page. It's not trying to draw every leaf, every branch. It's just doing a very, very rough outline. Um, off the trees. You don't have to be sort of, you know, trying to capture every leaf on every branch. So just get a noise. Rough outline, and you will go far wrong there. I'm taking away down to the middle ground, which is the weather slum shall A come hut is in the distance. So that's kind of the middle ground. We gots the distance middle and foreground, which we could which we, ah, you know, have to bear in mind. I'm just marking the area now, but I'm not trying to paint it are sweet. I'm not gonna draw any detail in at this stage. I'm just trying to sketch it nice and loosely. I'm looking at the oval shapes and the angles. You know how the wall's running down there with the plants on top, on trying to get those approximately rights on. Then it's, ah, pretty much plain sailing after I got those angles, right? Oh, 85 to 90% right, Pretty much plain sailing after that. And now we're just gonna take that line a way down the page, right the way to the bottom, and then your road appears and it starts to make sense of the drawing a little bit more when you got the road in that kind of that lead to Roy right down through the painting, and it's a great it makes it a good composition is very strong composition already. First a paint later. So we're just looking at the plants now we've got the closest shrub to us, which is kind of lit up against the much darker background, the cooler, darker greens in the background to want to kind of draw these as best as possible. That leaves on this one. But not trying to capture us. Where I said I said earlier, not gonna capture every leaf or you're trying to do is get the outline shapes, um, that the approximate shape And once you've got that approximate shape, you're gonna be fine. So you just let me a pencil a game, skip over the page, You're holding it nice and loosely. You make sure you start off with a really nice fine point on your penance. So you don't be starting off with a pencil. That's all Blunt's and you're gonna get to thicker line. And it would just look awful. So a nice sharp pencil to start with. And I always recommend I use ah craft knife to sharpen mind. But obviously, for young Children, you have to make sure they're supervised or getting out out to do it. Because craft nights nights could be very dangerous. Or, if you don't like user craft knife, a good quality pencil sharpener will give you a good point when your pencil. So we just put in the foreground detail. And now that the little shrubs that coming down towards the road, that's gonna be our darkest area of the painting when we come to draw out so we come to paint. Now this is just where the loof loose leaf letters on the ground on. We'll be painting that in later, so we're just slowly building up shapes without worrying about too much detail. It's just all we're concentrating on his shapes. I don't look at them as walls, houses, doors, windows, looking them a shapes. By keeping that in your mind and simplifying things, it will really make it help easy. So if you 2222 draw, you won't be stressing about it and you know worrying too much, it's the plants. We've got the nice flowers on the wall there. I'm just saying we're having a few more leaves in just to sort the highlighted ones that are gonna be sort of brightest in the painting later. But really, we're nearly there with that part. We're just balancing out the pitch again, you know, it's all dumped, measuring from the horizon on gun, making sure that everything fits in pretty much as it does on the photograph. Now we've got the little distance shally in the field, right down the bottom. We're just putting in the roof on. We're not worrying again too much. We're just get in the oval shape in. So it could be seen as you can in the picture that we slightly obscured later by some of the leaves on the trees. Eso it will be sitting back even further, but that's just gives. Gives me an indication where it goes Now we're just painting in the last tree. I keep saying, painting that life, drawing in the last tree that sits behind the wall and again, it's just a rough outline. Okay, it's nothing. That's Ah, detailed on. I'm just jotting in a few of the sky holes, and it's just shape, really. So now you've essentially got a picture, as we would have in a coloring book to color, and that's all you're doing with watercolor? Nothing mystical. Um, you know, for a beginner total beginner at this stage, as long as you get your drawing pretty accurate or 85 to 90% Naqura. Then you're gonna be in a great strong position to get your drawing down. Get your painting down. The distant cottages are just being indicated just by the porches on a couple of little lines. Don't try and draw everything you see in the distance. Just get the rough shapes. You see, I've drawn it very crudely on that will be resolved later when we do the painting stage. Now I'm just putting the shadow that's cast by the gutter. That's helpful to me. Later, when I come around to painting just to know where the shadows go, I have what I have stopped making decisions about that when I'm in sort bid flow on again with the shadows on the road. This just kind of indicates where the shadows go on the road, so we know for later Now there's actually no shadow in the foreground of this painting, but I like to put one in because I really think it aids the the composition and it's good for the view. And now if you don't want to do that, you don't have to blow like to put one in there in the foreground. I know it's not there, but this is the beauty of art. Again, we can actually do what we like because we're artists, Onda. We don't have to slavishly follow the photograph, because if we did, it would be pretty boring. Onda, um you know, we we actually want more from it. Now, this, um my recordings days done over the videos don't post video because the audio never came out when I was actually preparing a drawing for the painting. Ah, but the rest of the the the videos comes with life audio. So you'll be able to follow along what I'm actually talking as I paint, which will be a bit easier, but have a good go the drawing. Relax with it. Don't stress over it. Practice on some spare paper prior to actually committing to wards color paper, those shapes that you're really not sure about Have a little practice on this on a scrap piece of paper. Just you can get them into your head. Um, and you won't be sort of threatening too much before you commit to watercolor paper. But have a go. I could say Don't stress about it. Try and relax Onda. I'm looking for two in next age for the painting, which is, in my eyes, a lot more fun on the drawing stage. The drawing stage can be complicated. People can't find it very hard if you learn to relax with it and just do the best you can on, don't be over critical what you do. Get a ground for painting and you'll be ready to have some fun. So see you in parts, too. Good luck with your drawing.
3. Lesson 2 The First Wash Of Colour: So I'm gonna start off painting this scene here in that Korbel in the altar. Sicilian. Korbel, we're gonna start with the brightest, cleanest parts of the painting first. So the first thing on the launch into painting is the actual flowers itself on. That's the the flowers that run down on the wall so I can keep those colors really nice and clean Onda and get them in first. Not for that. All of using is permanent. Rose. Yeah, on I've got a little bit cadmium yellow out of mixing cabin yellow just on the edge of the permanent rose. So I've got a nice orange color I could use for the orange flowers that are there on the wall. And of course, we're going to actually take the opportunity to make mawr of the flowers make them slightly stronger in color than they're showing in the photo because they faded. I felt that that was when your film cameras were about when we didn't use the digital and they didn't really get the colors as well in those days were not level camera I had anyway . So we'll just start by putting these flowers in. Just sketch those just off a minute. Put the pink ones in first just referring to the photograph. We'll do this slowly. We're not gonna rush this painting. It is quite complicated. Little scene, so no, I put that up. So what I'm gonna do is just saw for the edge. And by doing that, what I've done me to assume in I'm just got some fresh water on my brush and I'm just softening the edge of the flowers. Just so we got some different shades of pink. There's no one color. We got some variation, some lights and darks. I'm just softening the edges carrying freight. Now we can always come back to that later on. That's amore. But this staged That's enough when it takes of the orange Just about here, we can have some of the orange on that, a little bit of pink to that as well, just to make it just to make it more interesting, there's no All ones were color mixed colors. I'm just gonna then saw for the edge just to get a buried shades of color. Okay, It's our first bit easy. The next bit is gonna be the sky. The sky was going to use sincerity Blue because the sky in the city Els was, uh, zoom back out again. We'll use some cerulean blue. Make sure you mix enough wash up, Teoh, Get you through what you need to do mix more than you need every time there's nothing worse than not having enough enough color. So this kind of pop sky and, well, maybe a little cloud or two in the sky So I'm just used to the edge of the brush to break up the top line of the cloud Put that in right But again I got clean brush with some water on it. I'm just soft at the edges of those clouds to make them interesting little bit Pick up some of this color and I'm just gonna mix it. So I got very pale wash of liken orangy pink color. I'm just gonna paint that into the clouds a little bit because summer clouds and ice a warm That's what I feel. I'm trying to get to the painting so we'll just soften that a little bit of the blue to it now just to make it big, graying places softening the skyline around the trees where the trees come in. I like that line there That a little bit more blue down towards see you could just see the sea peeking through the background We're just gonna go down over the sea All the way to the little a little hot cool shallows that day Go over the roof of the heart Us okay? And we're just gonna leave that for the time Big There's our sky But we will come back and do a bit more work to that But we don't want a best with it Now we'll let those cutters dry and then come back to in a little world when they're dry and do a bit more So now, Anyway, we're gonna There's a little tree here alongside the house. We're just gonna put that in now for that, I'm just going to add a little bit of capping yellow with a little bit off cobalt blue. So I got a green Does not to be anything complicated. And I just got take a little bit of Eliza in crimson over that side just like that. That in if I want to know the not so bright, but we'll see on what we do. The tree. We have to remember the sky holds in the tree because it's not that dentists a tree. It's good quality of sky holds. So this is the first wash on a tree. So we just let the brush skip over the page, looking at our picture to see whether tree goes, they're just paints an end. Don't sort of beat yourself up about being totally accurate to where it goes, you know, just get it in roughly, unless you want to be 100 something. Would you like to be completely accurate to what they're doing? And that's absolutely fine. But for May, I don't Well, it's not. My nature balls the point where nature's bit more haphazard. So I'm just having a little bit more blue too dark, and it's slightly on Justin that I'm sounding a little bit dark, but we'll come back to the tree when it dries. Do a little bit more careful to cover in the houses to got treated first stage of the tree . Now we want to move to this side of picture. Now what do you look at the picture? You can see this area here is really, really quite lighters and quite warm colors. And there's some yellows and browns. If you really use your imagination, you could make because as artists we want to make, the painting is interesting as possible That way. So we want to pick out on dislike your situation, the colors we see there to make it really, you know, interesting for the viewer. So I think we're gonna block in some of that area next. So for that, I'm just going to use some Captain yellow I'll put in with the pink. I can pull a bit of that pink in there as well. I'm just literally I'm gonna use a bigger brush. That's what I use because we'll be all day telling little brush like that. A little bit more pain, people water. Andi, I'm just gonna paint in like this because it has a base color. It's is perfect here that I'm not a little bit of pink to it to make endless gold. You know, gold in the orange color as I go up and switch back to the yellow. Take it right up there, so grow with the plants. Have it growing out of, say, where's the plants are growing. Take away round, half flowers, my love What I'm gonna do then full of switchbacks wore green A little bit of yellow to the green All of this gonna put a knife fresh green in around this side Welcome back to the picture Take a little bit of cerulean blue but a bliss cerulean blue in there Just to keep the the viewers I interested So it's not all one color And then using the tip of the brush exam coming to the edge where all the flowers are also well, the trees up, I want to break up the edge of it. And I'm just using the tip of the brush to think that it's a branch comes out here and later we'll be coming back to this will be put in bit dark crop in this corner. So I'm going with a much cooler color, which I don't mind it running into that yellow. That's fine. Does posting that in? We've got a nice, very wash, their off different sorts of greens. We got yellows, greens, north sorts of things, hair, and they're one of Toby's dog hairs. Toby's dog hairs everywhere. So I'm using quite big brushes you can see on the brush. Points up really well. She was Let me get that washing quite nicely all over. And we just come around this corner here, bit more yellow into that cerulean blue. There's a little bit cooler down here, but remember, this is only the base color. This is will be putting a lot more darker color on top of their little bit of pink in there . Yes, well, we can see. See, we could have done this without complicated. Don't complicate things too much now, but we could have done all this in one wash. But I thought I break it down into stages for you because it's if I do it all in one go. One big stain of different colors like this is going to get complicated. You have a job to full of it. So I thought, you know, probably doing it in one. Then I'm just gonna put a little bit of this brownie color, which is again. It's just the cabin yellow of the permanent rose with a little bit of blue in there to knock it back. We'll get so much bright colors. I'm just going to soften the edges of that because we will have a nice, big, luscious, luscious shadow through there later, you go up the wall of it. That's fine. We can, let's find. And eventually, all this area here is gonna be deep in shadow on. It's gonna cast a shadow across doubt dropped down across the path. So it's gonna be quite interesting painting while we're still there. We could just put the Greely down here just using the tip of the brush. Nice big brush against were not fiddling because you know what? I looked down that I can see detail, but I'm having to restrain myself from trying to paint it. You have to save yourself. It won't work if you put all your pains, will it? You know I said won't work. Some people might like it, but for me and my paintings, I don't like it. So soften that homage. Okay, so we're at that stage now. We'll just let that dry. I might make myself a cup of coffee. Then we'll be back for next bit. Okay, then. Now we'll get onto just put the sea in the background, has a little bit more So they say, I'm just gonna put a little bit of green in their 11 yellow. It's too much just to make the sea slightly different color in the sky. So it's a bluey green color. Just how is in the studios the oldest city just gonna put C and come inside the tree that take around the roof of the house of the know how sorry of the cottage, Some water there It was a lot. I just see the sea through those trees that there because I'm just going to soften slightly the horizon line just by putting a thirsty brush on it just to soften it slightly in one place. And that's the seed of
4. Lesson 3 First Wash On The Cottage: now we'll move on to the actual house itself on for that. This is probably the most trickiest part of the painting order for eso for the house we're just going to use on the use of burnt sienna, which is a nice sort of warm to me to pick up that permanent rose with it. So what? Some of that? I've got a little bit of permanent rose there, and I want some cobalt blue. There are three colors only used to paint the bald off the house. Okay, Pop, a little bit of in that Brooke blew on his partner tip to tip of my brush of cadmium red. Just a gray out slightly Put a bit more blue in there to gray. Just a great out to make sure I got enough washes. Well, now to take me through the whole building. Go right. So I'm just gonna paint the walls in this warm color so it starts off with the burnt sienna . It's going around the window up over the gutter line. The village is going all out a little bit of permanent rose to the mix. Justo the area Goethe more there. Okay, so we're getting a nice warm effect on this war. That's the idea. Get a nice and go across the roof. Doesn't matter. We go over the roof of it with some pink that they will just add. It's that pinky color was going a little bit of blue. But that just sort of picks ups and graze in the stonework as it comes closer to the edge of the paper. You can kind of like just increase the color slightly if he wants around the window. So basic is of irrigated wash with those three colors in it. Don't be too timid with the brush strokes. He wants a Keep your brush strokes. I didn't mean to put that big splotch of cobalt blue in there. Just lifted the out. That's okay, people burnt Sienna just to finish off. Just put that in. But not that we carry this in the wall of the house there because that's all gonna bay. It's nice to start to get rid of this white paper that this path this road could be basically very much similar color, So this could be a war big gray of plants, not quite wars that for more this is we go to who now just use a bit of cobalt blue on a little bit of permanent rose. Just feeling that. Just gonna get a little bit of burn sunder just to before for the brush, just to put in places. Just a little bit of interest to the color. That's all that's doing there that then this implants growing up in front of that window in front of this window here, just that line. So what we want to do is just stop tinting that with a little bit agree mail Just so it bleeds in. Don't make it too much. Not too much water on your brush. You don't spreading too far. But just along this line, just where the weeds are a little bit of green no work nice. Maybe a little bit more polluted There. Look, that stroke helps to leave their I into the picture, so we'll let that bit dry it on the mess without that's all. Now, while it's drawing, then comes, the next stage will be onto the We're kind of a blitz rated white paper. Now, apart from the cabin, we just gotta build on what we have done already on this framework. So we're kind of moving on to the second stage now. Okay, That's what Joy. No. So I'm just mixing a little bit burnt Sienna. Okay on. Just gonna put a little bit of cobalt blue in there. Just a great out, slightly. Just a touch. Not too much. And it's just for this little cabin at the back down bottom here. Just gonna paint. That's him. Very simply Just to give a little bit of interest. I'm just gonna put a little bit of cobalt blue in it. Just, uh, various slightly. Do not forget to do the other side. Pop it in there like that. Suffered this edge to go really hard line. They cut. I was going to go back to these flowers now and put bit more detail in those. So I'm getting a little bit more permanent. Breaux's oh, Moya public to this Mixing some together, I'm just going to start adding a little bit of interest. Just a little bit different us shapes Total variation to the actual bunch of what? Come on. What? We call these flowers a little daisies just to make it a bit of texture into them really? Because debilitation. So just being a so a massive blob of I think they've got a little bit of Fox. Um, definition if you like having a little bit of yellow to it now just to make an orange, I was just gonna pop the board just cause a few orange was poking up in between the pink. This will get softened nater as we put the shadows on the things that no And again, if you got really hard edges, we think needs softly. We could just go back in afterwards when softened the hard edges. Just the things that look too spikey. Here we go. Quite simple. Now we've got the little cottages that's are further down, the down the leg. We're just gonna be able to make too much of those playing with too much detail because they're supposed be sitting back. So just get a little bit burnt Sienna on popping on the side of the wall. Another cottage there, something like that. That's too little porches that stick on the side. Another older. So basically, we're not really doing much of those. They're just they're on their just lightly indicated, not painted in any detail at all, but we'll come back to that again later. What we could do now it's just going slightly bigger. Brush pickups, um, surrounding blow because kind of on a good color to use this in the sky today. So on in this window, we can just put some blue because that's reflecting the lovely color from the sky again. You know, we don't have to Trump painted with Again Justin An indication there. What's going on again? I'm choosing to do Blue. It's slightly different picture, but I think blue will work better. Okay, well done. Now we could move on to do in this porch roof for that is going to use a little bit of ultra Marine on a little bit of like red. Too much like red because cadmium red Sorry, Bit more Blue has wanted, like a slate e color on a little bit of yellow Oka. Just a great out slightly. So it's a nice or bluey slate color. There's lots of ways you could mix that you don't have to follow my, um, method. We just put the just all to the color. Been that big? A bit warmer as we come down the Boston. - I forgot to leave the the seal in that the month. That's what around. Look, there's a slow shadow inside their soul. Pop that down. You know, we could do this window at the same time. Just put the shadow in there. The window. I was gonna put another wash. It just makes a bit of raw sienna with a little bit. That burnt Sienna is left over a little bit. Of course. Okay, lets start. I apologize because you have missed me doing this little piece here putting his other wash on top of the the porch here because my camera, the memory card, was full. Andi Ah, shut off. But it missed that part of the camera shot off, but it missed that part of the process. So all that was was a little bit of burnt sienna with cobalt blue just mixed in there. Andi laid on top. So it was starting off with stronger, stronger role sent at the top, running down, adding a notably cobalt blue and a bit of a problem rose just to give it a varied look to it. So it's not just a one wash of burnt Sienna off. Sorry of raw Sienna. Okay, then. Just a somewhat what we've actually done. We've got the first wash down, which is kind of like, you know, got the got rid of the white paper. Essentially. But what you have to really bear in mind is when you're painting from a photograph, don't follow the photographs. Navy Schley. Because the major factories, obviously the photographs a lot smaller than what we're actually painting here. Now, if it's photograph was blown up, the same size is the actual painting, Andi. It was of a high enough quality, which is an awful lot more detailed down there. Um, as it is, we can't see that detail. So what we have to do is you have to be a little bit creative on because we're painted bigger, make things up on. I usually do that by adding lights and darks. I don't fiddle with detail. I just add lights and darks. Now you can see like I've made their that this part of the porch a lot darker. That is on the actual painting. No, I have a feeling when I put the darks in here that a little balance up and worked really well. We've got all the shadows to put under the gutters around the windows, nice shadows to put across the pathway here. So we've added all those things that won't look as dark as it does along with the sea. The sea will sit back and things like that. So don't slavishly kind of follow your photograph. You know, if you think you need to change things around, that's fine. Because, you know, if you guys gonna make it the same as the votes golf, you might as well keep the photograph. Might forget about the painting. But Michael say, you know, you could look at the difference that that the difference in value between this in this we're going to be getting almost as dark as this eventually on this side of the painting. So this is just literally what I call the almost your first ghost wash is justice stating the paper ready for the sort of the drama, the interesting bits to go on top later. Okay?
5. Lesson 4 Signal Row: Now we've got that first ghost wash down as we ghost wash can't stay. That's can't say that Ghost wash. What's better? We've got that down anyway. Now we're looking to start getting some darks in. Making the painting looked like something cause at the moment it's pretty boring. Just a flat wash, really varied wash all over the paper, picking out the Green War with stone, blue of the sky, the bluey yellow of the path and was picked up a bit of pink for the flowers. When I look at my painting is a couple of things I'm not happy with. But I'm hoping that at the moment it's very obvious because we're there. Isn't much going on. Swore the mistakes kind of jump out at you. What we're looking at doing now is when we start getting the darks in, it'll detract from anonymous, hopefully detract from any of the stakes, but you're going to make mistakes. I'm gonna make mistakes. It happens all the time on as you won't work for the painting, your kind of thinking of ways to, um, it's with a cover up those those errors on my air so far as I'm not enjoying these flowers very much. They didn't turn out the pinks and the oranges I used. I've just turned out a little bit too dull for my liking. But I'm figuring when we get the darks in that she'll start coming to life. So where we're going to start first, start this side of the painting because I'm right handed. Move over that way and we'll start building up some of the darks in the green. Now for that, I'm gonna mix. Let me get so cadmium yellow into their and I know there's a There's already colors there, but it will be fine for the color that we want for this. So I want a slightly darker color there. But I also want to pick out some of the pinks and everything like that that really actual, um, foreground tree. There's so much yellowy pinky colors. If you really study it, you have to What we do actually accept accentuating those those colors were trying to pull him out were no actually going exactly with the photo. We're trying to get a little bit more exciting in the photo, so I just want to pull a few in So I mix Cappie and yellow with a little bit of the permanent rose. I guess you could use a lizard, crimson or other sort of pinky colors you've got. You don't have to have the same as myself. Just use what you've got in your palate on. I'm just going to start building building to cut up a bit. I'm not gonna be too along the dude I think about how the trees growing. No, I don't kind of like just dabbling my brush around the page, referring back to the picture just to get that down. I'm not trying to be painted really for anything like that. I'm just getting in the rough areas now on changing toe a brighter green. I do my best to explain this cause Explaining a technique is not easy The best of times. Eso I guess some of you got a struggle ago struggle to get what I'm saying on how I'm demonstrating But I can't do it for you. At the end of the day, you know, you've got to take the jump and just practice on. That's ultimately what it takes practice so yourself tonight. So I got some stronger greens going in there. They're still bright. Um, you know what the four grounds have? Nice blue color. I'm just sort of looking at the trees on the photo on a lot slavishly following it. I'm just getting in the approximate areas, putting a little bit more the permanent rose. It's that copy in yellow on and just making some shapes. Really, As I say, Look at the photograph, make some shapes, writing the quietly work with this snow because I could talk and it will be pretty boring. But he told, I talk too much. It's all the learning curve, really. It's a big learning curve. Trying to teach people to paint online have taught in residential classes quite a lot, and that's a totally different ball game because you got people in front of you and you can go around and you can almost hold their hand as they as they play. But online, you're kind of limited, really. It's a great way to learn. Uh, but, uh, you know, you have to take the plunge. I really just go from practice, right? So I got a little bit more pink now to strengthen that foot around here because this is this area here is gonna get quite dark. But I want a few literally leaves to shout out as we, uh, as we put the dark soon on become really ready. Colorful. So there we go. I was gonna carry that around. That because we're gonna have behind here behind this area here is going to come a lot darker down here a lot darker, then becoming lighter as we move up up the tree. We'll just leave that bit for a minute. We might do, actually, he's just take some of these warmer colors. I'm just taking a bit of the pink moving into some raw sienna just to make a pinky color. You know, that's all. Like how I could describe it racist or like a warm yellowy pink Ah, in there. And I'm just gonna pop some on the wall on here. Start building up some of textures in the war on so we don't keep keep that boring yellow going away Throw. Just gonna take some cool color now and put some cool color in there so we end up with a kind of gray color. Okay? It's all about keeping it varied. And that's where I think people find it hard to understand because I'm constantly changing color as I paint on. Then it becomes quite difficult to follow, and I would accept that. But if I don't do that, I'm not showing the way I pain and you're not going to get the very colors in your paintings. Ultimately, that I want you to get. So it's all about change it back to the blue blue color with a little bit of pink in. When I say pink, I mean the permanent rose, I got a little bit apparent Permanent Rose. Now, I'm just gonna run into those flowers a little bit. Just we get soft edge. I don't get this area is gonna be all in shadow eventually, but there will be little bit. So the warmer colors showing through that's why we're putting it in. You might say, Why put it in if you're gonna cover up. But it's those layers that shine through. Make that bring the depth to your painting, right? We have a little look at this tree now, and that's amore color to that. So we're gonna get a little bit of blue. We're just gonna on the brushes like a gray blue color there. Put me more blue in it. I'm just gonna mix a little bit into that nice green we had for this area here for the foreground area. Just we got a nice dark green. I'm just gonna start popping that in and just look at the darks on the picture and try and block in some of the dark's. So it's nice Bluey Green going on, But that will obliterate. Or don't end up with a pom pom type. Look to it. I still want the sky holes, but we just building the layers up. People blow in there, remember not to go over the edge of the house over the wall. Work carefully around up area, but the yellow warming up a little bit. I was like, Come out to the edge warmer. When I say warmer, I'm adding more yellow to it. On taking the blue out, I'm adding more yellow to it, so it's warming the color up slightly. It's like come to the edge, and that's why I want to describe a few of the little broke the leaves that sticking out just to give it we might just leave. That's it like that for the time being. Coming back to it later on, adding a couple more darks to it just to finish it off. No, we're gonna go back down to this area here, the sea ongoing that some cerulean blue to this mix here on a little bit off lemon yellow. So call it really blow. And I'm just going to go over the sea in places just so it's not flat color. I'm just adding a little bit more Greenlee blow to see just to give interest just to give interest. And that little bit of interest will take your eye into the painting. Okay, so I just added a little bit of what? Let me just try and zoom in on that for you. I hope you can see that it goes a little bit dark was zoom in, but some You could see I just after a wash of color, they're over the sea Now we're gonna paint. There's a little island. You might not see it on your photograph, but you'll see it on this woman I painted in Depends if you've enlarged or photographed but right in the distance. There's a little island. We're just going to suggest that with a little bit cobalt blue, a little bit permanent rose just to make her like a movie color. I'm just going to suggest the island in the dudes, out in the detail in the distance. Okay, we got again. It's just one of those things that helps take the view. Is I into the picture now? That same color, I'm just gonna run over the roof of the house of the little bark. No, Barnes was shall A because it's a little bit bright so that bluey grey color works quite well there. Then I get a bit of burnt sienna. I know we're chopping and changing a lot here, but you know, there's a lot of decisions decisions that need to be made when made when you're painting a water color. So there was lots of changing colors and you know, things going on. So you gotta be prepared for that. I'm taking the burnt Sienna there. Let me just sort of pull back up again. Does make sure we're focused. So I've got burnt Sienna here on a little bit blue of pulling that into the burnt sienna. So I get a bluey bluey brown color. And there's just some windows in this I'm just gonna put I know they're there. I can't see on the picture, but I do know there, there, and I'm just adding those in. So I've got a little bit black with mine Too much, too much blue said, Could you try and keep it more on the brown side shadow running down there? Maybe we're just gonna leave that we don't mess about that too much because it's getting too fiddly on because it's in the distance. We're just suggesting it. Okay. And we're gonna obscure little bit of that later with some of the hedges and the dark from the edges here, so it will be obscured slightly. Now, we're just gonna go onto this area here, okay? The reason dance song are moving around the page painting. It's because if I do this bit and while that's drawing, I could be concentrated on that's area. Andi, I've done the tree And what the trees drying. I could be painting this bit. So it's all about a juggling act. Really. Just work your way without us, right? With its about working your way around the painting so you can get the whole thing. So you know him? Weeks painted it. You know, you can kind of get it completed in a session. Him. Okay, so I'm just adding some burnt sienna. So I raw sienna on a little bit of ah, cadmium yellow and that greeny color. So we got the in this one we got can't be 11 yellow and cobalt blue. And I've just added that to the, um, raw sienna to get like a greeley. Yellow color is quite There's no very lush down here. The greens and I'm just gradually suggest just gently suggesting that detail in the distance. Now, this area here, this area here has to be quite dark. So we're gonna put cooler color next week to see it's in shadow. So we have some taken some cad yellow just putting in that core blow. So we're keeping this palette of colors quite simple. We're not using many colors. We're keeping the colors as simple as possible. Excuse me, Andi. We're just gonna put that color in the That's the first wash. Second wash on top of there isn't and I want to keep some bright colors there, so don't. But it's quite a straight line there, so we'll get there we go. So we we've suggested a little bit of detail in the but all we've done is done blocks of color. We've not painted it thinking it is objects. We've just looked at the color in the picture and we've actually just blocked in by that way, doing it that way. You actually retain the freshness. You don't start looking as if you've been trying to sort of paint every little bit of detail in the distance. You want to forget that idea? You know, if that's the story you don't want to adopt, you need to get that idea. I don't know. Some people do it very well. So I'm taking a little bit of the burnt Sienna and putting it in the cobalt blue print rose mix. So I got war. Me? Ah, warm brownie, pinky color on. I'm just gonna indicate the porches in the distance. I'm just gonna block it in with color like that for both those porches and again. All these things are starting to help take your Roy into the picture. There's a roof down here is well, which I'm just gonna slightly indicate shadow with another roof down here. But again, I'm not paid to get, you know, really sort of detail. I keep saying that tonight I'm just looking at the the colors. And that's what on painting, there's a porch there in the background. So we might just pick out a couple of windows later down there. Not again. It won't be. We're painting a window is such we're just painting the shadow. We see the lights and the darks. Okay, so we'll leave that for the time being. The meat is Uman again on that area, so hopefully it might make sense to you. Okay. Okay. So we just painted the porches. Um, what we might do just quickly. It's put a little bit of color, like a gray gray color slated color just on the roof of the porch as well. Just to take that white paper away. I don't wanna mess too much with that because I could feel myself getting fiddly already on . I don't want to be fiddling too much at this stage of the painting. Zoo. Back outs focus. Right. So I'm just gonna let that dry for a minute and want to come back and do the next stage in a few minutes.
6. Lesson 5 Signal Row: Okay, then that's all. Uh, not enjoy. We're gonna move on to start Put some darks it now around the back of this tree So this tree's gonna look like it's well lit up, um, by the light. So we're gonna start put again some nice core greens background here to create a bit of shape in the era of the painting. So I make some ultra marine blue there, but small tree and blue in the palate. Unwto that initially I'm gonna lads cadmium yellow I want to go too dark too soon, Uh, to that mix just like that? Sure. OK, so as I use my brush on to use it in this direction so I can paint around the around that the leaves I want to preserve some of those nice colors that we put in. I don't want to pay. Let me go. So if you my my my hands obscuring it slightly, I try to do it like that for you. So I'm using a nice point to brush at this stage, just dropping in color about a little bit more blue to the next there because we want this green to be Ah, very color. We don't want to be a wall once the same green throughout. So we're gonna keep chopping and changing the color as we go around making sure we leave. Some of the cutters are beneath this to shut to shine through. So you see that I'm leaving that little color there. What looks like a diamond shape that's going to show through and it's gonna be one of the top leaves again. I'm not slavishly following the photograph of allowing boy my drawing to dictate how I go now. Not so much on I'm going for the feel of the photograph, but I'm not dictated to what the shadows are in the photograph for the way the light falling. Necessarily now I'm using my my own painting to go. It may no photograph have that makes sense, leaving lots of the highlights of the colors Belief just to look as if it's the light playing on the leaves. Okay, very this a little bit of yellow to it now, just as we coming towards the edge on a lot more of the bride to yellow with lemon yellow in it, just as we come towards the the edge. So it's keeping those greens nice. Have varied painting around these shapes. So we've got the colors underneath, showing through to describe the leaves. Well, that makes sense. Get we could still go back in there again on add More darks we don't have to get It is dark cause you want to go. At this point, we could come back and create war. Descriptive brushwork Just by darling. It's slightly over the loiter colors. Sometimes I let's go really close to the blue side with the green. I don't always want to tell the green This is very blue now what I'm painting. It's quite dark, but it's blue just breaking as Azzam painting to be sort of zoom in a bit if I can't focus on it as I'm painting the edge, I have broken the brushwork up so I can see the sky through it. You see just tea to indicate a few leaves without trying to paint everyone I'm trying to go to detailed. I'm just trying to get the overall feel of it. You can just keep on going. This is a nice part of painting. To do is quite relaxed, you know it's not stressful Just make sure you're You're focused on leaving the lighter colors underneath on a carry on. Working all this time, stop talking for a minute and then you watch if you want to skip all you can, but I've falsely got to do it. I want you to see what I'm doing, so we'll keep working away. - Hopefully , you can see what's happening up. Now we're putting in the dark's will start making what I would say that well, I didn't make this garden Quote this, but other people have on my picks up from them that the darks make the lights without the dogs. You're not going to get the lights of your painting, so it's pretty essential to concentrate on that When when I say dark so I don't make go black or anything like that, let me just paint colorful darks. Cut this in a bit. Here we come back a bit well away down here with the darks. Now this is probably the dark as part of the painting, we're coming to you now, but we will be going over again once it's Troy, with some other color but a couple of ill things going on here. So we'll leave that pickups a lighter color Now, just as we come to the edge on putting some a lighter washer, cadmium, yellow sari, lemon, yellow, Andi, ultra marine blue Just Teoh break up the edge of it where I think it needs to be darker. If it's not dark on the photo, we're gonna put it anywhere Where I said we're going to obscure the edge off the little cabin. We're just starting to do that now as we come down to the road area. But you see how important those washes were under it? Washes were underneath because there are there, walk the washer's underneath our what is showing through now on and giving all the the texture we got from lovely shadows to go any later. And they will really make the pain thing come to life. Hoop. Okay, so that was quite a big passage, but we painted it quite quickly or two that take not knowing minutes. We've got a lot more work to do here yet could let that Troy and come back to it. I'm gonna put a few more darks in my tree here, so of using the same mix here. I want to keep it quite unified just to sort of give it a bit more. I'm just using the tip of the brush now because this is probably the final darks going into this tree. Just, uh, now if you can hear the washing machine in the background, I do apologize, but I can't stop. What I'm doing now is going into the spin cycle because my studio is linked to the kitchen , which used to be my old carriage, which is now. We blocked out the doors. We drove the car in. I put a double plays window in there. I never put it in the build it it on, blocks up, insulated it on. I've turned the space into the studio, so it's next. The kitchen on the your washing machine starts sometimes drives me crazy. Anyway, there we go. So I'll let that dry for a minute. I'll finish here. What you from machine to stop this spin cycle and I'll, I'll come back again on done. Come back again. We'll get over the rest of it.
7. Lesson 6 Signal Row: Okay, then I think the machine stops it spin cycle. So we can now little work on this front piece here gets of darks in their now that their slightly warmer of the greens that we put in the back. So I've mixed up some cabin yellow a little bit product rose in there because I keep it simple, and I've dropped a little bit greed in there as well. So we got a war greeny color. But instead of just mixing it all together and using, you know, a complete combined mix which is gonna depart, brush in and out so we can actually get in with very mixed going on. And I'm using a slightly bigger brush it on, though, because if no, I'll be here Aled Day. And if I'm also using a small brush, I'll start being very tempted to fiddle, and we don't want to be fiddling. Okay, so it's a warm color. Now live it, Teoh, Break up a bit. I'm looking at the picture and I'm gonna go for something that's a bit too dark. It's a green color caspit book rail and again, Like I said earlier, this is gonna be There's gonna be mawr More darks going on top of this later. So I got some or a bit a bit of a dark color again. We got some nice light leaves there Will try to keep those there and just keep building your painting up. I'm just using the tip of the brush. Kind of just enjoy what doing I suppose And most important thing is, is to keep varying those colors because if you end up with a lot of ST s, I see some lovely paintings by people, some lovely drawings, and then they painted on what they've gotten done is just used ALS the same colors, the same greens, and it looks monotonous anyway while moving up. Now it's the top here. Storms kind of drawing the brush out to describe the leaf shapes as ongoing just using the tip of the brush. When I say drawing it, I'm just pulling the brush up. So basically I'm painting in the way that the trees are growing, the bushes air growing if they're growing outwards while they're growing upwards, I try and sort of mimic that in my brush strokes Teoh to give it to give it more realism, I suppose. Keep working with the brushwork and I keep moving up Onda across the page. Try not to let one area sort of dry too much before. Sounds like somebody's just arrived home thundered around like an elephant. So just ignore the background noises. I can't stop this points. I would. Okay, so I'm just gonna keep on move in my way around, come all the way down here his plants. And, like I said, we're going to go on top so I'll repeat myself. Sorry for people self custom, but we are gonna go a lot darker again. NATO is no question repeating. It's just reinforcing what I'm doing, the process I'm thinking about. And when you start painting, it's the same sort process that you should be thinking about because people who say that painting is it's relaxing. Ultimately, the 10 fibs it is relaxing to a certain degree, but when your paintings, when he can't you're really giving it your all, you're really focused on what you're doing. Then it's kind of quite hard work. I know that my best paintings have always been done when I give it full concentration when I'm kind of not really in the mood and really a bit sort of casual about it. The paintings to tend to look white casual. So we needed to this stage now where we can have a little break, just fill in this last little bit, blocking the color. Just seeing where it's going down is coming down here. So just painting over the wall now. Really? No, really about it from painting of the war. So you've understood that part? Any questions? Just feel free to ask. And I'll do my best to answer. Just leave a question underneath. This is right. Okay, We'll leave that for a minute. Let that dry, and they were gonna come back and put some final darks in that area on up here. Then we're gonna move across to this side and put the shadows in the cottage, which really helps to bring the painting alive, even war, and then finally will end up putting the shirt shadows across the road here. That's when it really does come to life. I never think starts shouting out and singing out. Um hopefully successful. Okay. Now, at the stage. Now we're going to start out in the final darks along the wall here, reporting about two more layers of darks. But we can straighten in with the burnt sienna Andi, a little bit of permanent rose just for a nice, warm brown color. But as we as the same as when he painted the leads. Excuse me when we painted leads. We don't want to keep this color the same. You want to keep it varied all the way through as we move along, want it warmer with flowers and what you can have a little bit of green in there as well. Wolf. So I got a nice warm green, but just keep keep it varied. Is this part of the painting is quite crucial because it leads the viewers Ali into the picture of dragging over slightly on the road. Now, because there's lots of dead leaf litter on the side road, you can see that in the picture. I'm just getting that in, I said on. It's just the same old, really working your way along very in the washes. As you go, we cut. So that's the first wash on that wall. We will be going back to it to put another one in but it's Thea. It's the first colorful wash underneath. Now we're gonna move away around this air again and keep keep moving away around and again . I'm just going in with a nice dark greens. Here. We were quite quickly. I'm almost using some leak cobalt blows. No, it's gotta livability yellow on it, but, uh, I don't wanna go black, you know, we don't want to be going, Um, too dark. You know, when I say does, we don't want to make our our darks black looking. We want to keep color in the docks. That is crucial. It looks like it just got big black holes in your painting. We don't want that. So it's all about the impatient and work in methodically. Keep moving away around. We got some. He delivered. The dustbin man is coming now. Well, that's keep working. I can't shut the camera off. Let's put up the noise so you can see all the very greens we got going on here. So money off of pulling a little bit of blue in availability yellow and just very in that mix, I'm not keeping the next the same and now will be working up the page a bit or get into the war area, the warmer area. And as I approached that, I'm just warming up the green a bit because that's where the light is Just to put that in and I'm just letting the brush. So let's skip over the page. That's all it's doing. We're not slave Wisley. Follow in the photograph. Now I've got to go with my drawers now by trying to bend my will to the bend away on painting now to the photograph. It's gonna kind of look wrong, so we're just using that as a very rough guide for lights of value. We will be coming back to this area, revisiting it when it's dry, just to put a few more darks in around here. No, but that will be the final one. This is quite a time consuming painting, but there's a lot of skills that could be learned here. Lots of different things you can learn, and so it's a good painting for learning. Lots of the you know, the techniques to grow to grow. Two paints, leaves, paint, greens cause greens could be very tricky in paintings. We don't want greens that to a too bright and in your face. It's getting that balance, which is the tricky thing. I'm gonna go right up to the edge of the flowers now because it's this dark, this dark green, a lot of blue in this green that's going to make these flowers show out a bit more, make little come to life. So actually going over the edge of them to create quite heartbroken edge for the flowers. But we will be putting some shadow over them in a bit just to make him sit down a little bit and notes and not be too bright. Just we're still going well, being careful. Don't put my hand in the painting This love It's wet now Just release the final darks up here, these on again. This is the cobalt blue in the cadmium with a touch Just a touch off problem Rose, right. We let that dry for a minute. We just take those flowers down a little bit there. But Hoyt, there we get. Just let that draw him and it will come back to it.
8. Lesson 7 Signal Row: Okay, then. Now we're going out the shadows. This kind of getting almost to the end. Excuse May sort cough. Have a cough. Okay, So I'm just gonna put in the shadow here for that. I'm just using again that state mixture that I was using the shadows on the building. I'm not a little bit more blue shadows down here further away, uh, butts up before you do yours, get yours on the troll bit of paper and get used to mixing on the page if you like. So we're just gonna put that's a bit too purple, e We're just gonna draw across the always make my shadows. Probably a bit bigger that they actually look in the on the painting. I'm just gonna run a bit of the shadow color over the green as well. Just so it kind of links it all in. We'll leave that now. The shadows is starting to warm up a bit as we come down here, so make sure I've got too much paint on my brush. That's, um, shadows in here. No. Cross on again. Like everything else. Very the color in your shadow. Don't. So try not to paint it'll the same. Keep the color varied. Using the tip of your brushes, you get to the end of the shadow. Just say you are again. I'm running the color upside the wall as well. Just so its highs all in together. You can see there's like some holes where the sun is coming through in the shadows. So I'm just trying to include some of those without being too. I've been too picky. It's about the level of that shadow there. No, there isn't a shadow here, but I'm gonna put one in because I think it always benefits from in the foreground. So it is good practice. Just want to take the shadow color up the wall down over my the fluttering places again It's just a cobalt blue burnt sienna with a touch of the permit Rose, take a nice shadow. How here again leaves him little holes where the lights coming through on hitting the road . But but I just think that finishes the painting off there. We want to come back along here because the shadow all along here Andi puts, um, Maurin bit more cobalt blow because we've gotten told the purple side and you don't shadows to purposely looking. They want to be more sort of bluey, I think, and sort of the local color, the color. It's in the shadows. We just sort of by doing this. We're getting a nice Venus sunlight on those warmer colors that we put underneath there, just where the sun's hitting them. It's showing the quite nice you know, I don't get you could play with this. Once you've got your tongue without over fiddling it, you don't fiddle too much, but once you do this, say wash like this is dry. You can always go back and just punch a couple little darks in here and there if you think it's gonna benefit from it. But don't get too fiddly because you'll end up wishing you haven't so. I just want to make a couple of greens on here, too. Kate. It's plants, literally. I'm just stabbing in color and again, it's just a cult cooler color of what's there already put my finger on the painting. Earlier on, I put explosion cobalt blue paint there, which is going to leave. I don't think it really matters, doesn't distract from the painting, not try and scrape it off, not worth it. Uh, just could put that ball washed down there cause brush marks, just nobody. Just think they look nice. No real reason. Okay, so that's about it. Really? I think you put do the same here, put a little cut on that. We could go back in here, and that's amore darks. But I think if I do that, I just feeling it's gonna complicate things for you. Um, you're going too long, but I hope you've enjoyed this Lexus That was quite quite long exercise, really. Just go indicate the gutter with the clips off. Not put my things all over the painting, which I am moved. Got on line. You know, voice said, kind of tried to remember. Your painting is a mixture of hard and soft edges. Is not all hard edges. It's not all soft edges. Finding that balance is really good. Um, but yeah, So there we go. Really, there's painting. Tell what we'll do. We'll just dry it and then we'll pull the tape off and have a look. One. It looks like with tape off around the edge
9. Lesson 9 Final Thoughts: So there we go. There's the finish painting. Like I said, you can always add symbol darks. And if you really wanted to, I'm gonna leave it as it is now. The painting was painted on stretched. The paper wasn't stretch First. It was just take down with sort of like masking tape. But everything sat back quite nicely. The sea was painted just to the right depth of blue for May. It sits back there quite nice, because the sky is just a small part of the painting you didn't want make it too strong. Coming forward too much. Yeah, the painter. Overworked. Okay, it's got nice perspective and all that sort of stuff. And once it's in a frame with some glass and amount on it, it will look nicer. Think so? I enjoyed the tutorial. Don't forget Teoh. Make sure I see it. Paintings place. If you do some love to see what you come up with on, if there's any questions at all the things you don't understand, don't sit there and dwell on it and, you know, understanding it. Please feel free to contact. May on. I'll do my best to answer it for you Okay, so thanks very much. On duh or speak to a Wolverine shortly. I'm away next week of a camper Van Gogh dance, the new forest for painting holiday and just for general holder as well. So I will be making video on uploading it while I'm away because I've just got some mobile Internet as well, so I won't be offline for a week. I will actually be out to put small videos online on you can see some playing they're playing. They're painting and things like that. So I'm looking forward to that. I just hope the weather plays ball Onda. Uh, we're gonna get some sunshine way of not sunshine. We just get some Troy whether would be nice. And it's not too cold, So I'll leave you that on Duh spectral again Soon. Bye. For now.
Patrick Ley-greaves
