Alcohol Ink Winter Night Sky on Canvas with Snow PLUS a Northern Lights Surprise!

1. Introduction: WInter Northern Skies at Night with Alcohol Inks: I've come across some really interesting new paper that I wanna share with you today. It's super shiny, gorgeous for creating a lovely northern lights look using alcohol inks. Hi everyone. I'm Kelly from killing chassis fine R.com. I am a main artist. I live here at the lake and I had been featuring my arts at the international jet port in Maine since 2014 and my work goes all over the world from there. So I would love to show you this new film and we'll also talk about canvas in this course. I'm super excited to share what I found with you. So we're going to cover how to use it with alcohol, fixatives and how to blend them to create elec, really lovely, snow-covered for us, the colors shift and dance and it's really fun to watch. So we're going to play with us. We're gonna be working on two projects for this course. The second project or a second substrate will be using is alcohol and gone canvas. And we'll talk about how to use canvas without gall ink, how they can be prepared, along with the differences that we use with other smoother substrates. So if you're ready to try something really cool, it gives that beautiful look of the northern lights with a lot of Iz. Let's take a look at this together. They're both for beginners. We'll be using a monochromatic color scheme perfect for that winter relook. We'll talk about how to use Canvas for the alcohol, aims to join us for some fun if you're ready to explore alcohol, inks and then wintry away. This is a really fun project. Let's jump in. 2. Practicing Trees: So hello everyone and welcome to the course. So we're going to start this class out by looking at some trees. Now for the projects we're going to be creating for this class, we're going to be doing more of a silhouette. So I'm gonna do this just with a black marker for practice, you can grab a sheet of paper. And we're going to start off by just creating two little lines. And down at the bottom, I'm going to make some routes now. And if you look at those two lines are almost perfectly straight. So I'm going to give that tree a little bit more texture and then I'm going to fill that in all way down to the bottom. So this tree is going to be sitting on a hill. This is a snow-covered hill. So the snow is going to cover a lot of the bottom area of that tree or the root system. So you're only going to see little bits of it peeking out here and there. And then we're just gonna go straight all the way up to the top of our painting. When we do this, let's try a second one. So the second one where I make a little bit smaller and again I have a little bit of crookedness to this treaties trees not have to be perfectly straight up and down. So it looks like it's on a little bit of a hill here. It looks somewhat like a birch tree. Maybe the other one could be a maple tree. And then we have a really big one on a real good size hill. And again, I'm going a little bit smaller as that tree goes up. So the base of that tree is going to be a little bit wider. A lot of mistakes that students make their first starting as they'll make the tree trunk on the top, either larger than the top or the bottom of the tree or they'll make it the same size, which it can be the same size of your cutting off that image. So this again, is on a hill and this is going to be just the illusion of our snow bank in here. So again, wider at the bottom, a little bit more narrow at the top. Now we're going to try another type of tree and we're using this one a lot in our second project. Again, will be creating that silhouette look. And this is going to be more of a, like a pine tree. Now if you remember when you were first taught how to draw a tree, a tree was very triangular, Right? Perfect, the perfect little tree. And this is what I'll see a lot of my students do. Now. There's nothing wrong with this tree is, is a beautiful little tree. But if you want to give it a little bit more realistic look, you need to be messier. That's the best way I could describe it. Again, the trees and I'll have to be straight up and down. So I'm gonna start with just a little tapping motion to the left and to the right. And again, I have a little bit more narrow pine needles up at the top. And I'm getting a little bit thicker, a little bit heavier as they come down and they're going further out. Now again, this is more of a perfect tree, even though it's a messier. And the branches as they grow will be wider, fuller at the bottom. But you know, in Maine, a lot of time and a lot of places too, you don't have those perfect little trees. No tree is a like if you look outside your window and you're going to have branches that are broken off. You're going to have branches that may have grown funny, couldn't get to the light. So there's bending around other trees. So trees are not perfect. And that's what I really want to. Get that perfect tree shape out of your head. And again, if you're doing digital images and things like that, or you want a different look. There's absolutely nothing wrong with those type of trees. Again, if you want that more realistic silhouette look, you gotta get messy. So you can see I'm just bouncing back and forth. And I'm just filling in some little shapes. They're not really pine needles per se. I'm just doing this little dotting motion and I'll slow this down for you a little bit so you can see, again, got that root system or the base of that tree a little bit thicker. And again, it's going to be on a little bit of a hill. And we're gonna be creating some rocks for our second project. So you can see those branches at the top are more leaning towards the upper area and the ones that become down towards the bottom and they're slanting more down. And we're going to have snow on some of these two. So here's another one. Again, not a perfect tree. This one's got a nice little curve to it. Maybe it's on a rocky coast, on the hill, on a cliff. And again, it can be very sparse. It doesn't necessarily have to be a very full tree. So this one I'm using even less than that dotting motion. And let's put it on a nice little hill here, maybe a few rocks. Again, just an illusion of some rocks in here by just filling in some of that whitespace. And let's go ahead and put a second one beside it. So I'm going to be doing a lot of this again, it doesn't have to be perfect. We got this one cricket, this one's maybe going up, more straight up and down. That's the third tree here, is off to the side a little bit more and you don't know where one begins and the other end. And if you look at trees from afar, you're not really sure which is which. So we're just filling some of that in. Got that nice little curve to it. So let's try some rocks next. Now, this is going to be fine and I don't want you to stress about the rocks, okay. Iraq, this little rock shape, right? Maybe a second one here. Now let's do this little square shaper, odd shape. So we don't want all the same again. So now I'm just kinda making little lines, little squares, all different shapes. I'm not even really thinking about this, I'm just playing. And that's the best way to when you're starting making these rocks. You're just making some lines. You're just going for it. There is no right or wrong making all kinds of little funny shapes, triangular shape, square shapes, round shapes. And you're just going to slowly build this now when you first do it, it's gonna look a little funny. Let's make this one a big long. May 1 be rectangular in me, we have a lot of very sharp, jagged rocks. So that's what I see a lot here. And again, some places have very round rock, so depending on where you're at and even in our state, some places have very jagged rocks, some have very smooth rocks. So we have a little bit of both comparing comparing the coast to the inland areas and even our lake here that I'm out, we have a lot of a lot of sleep and a lot of really jagged rocks in our late can music glaciers came down through and just cut through it. So really interesting. So again, no rock is the same. Just filling in some of these little areas with a little bit more of the black thickening Some of those lines. And slowly this is looking a little bit more like a rock shape. And I'm going to continue to work on this. And not really thinking about everything. I'm just making some lines in here, some round one, sum square ones, and just filling in that shape. So I think I'm gonna extend this over here a little bit more because I don't really have much of a cliff there. So we'll make this more mounded. And we'll fill this in again really quick. And this is really therapeutic. You are one of those Type a personalities where everything has to be perfect. This is good to let yourself go and you're not creating something that looks like something else. There's just about your line work. And let's go ahead and put a tree in here just so you can see what I'm talking about. When we go to do our second project today, we're gonna be doing one on a hill or on a cliff. And again, it's just kinda hanging over the edge there. And those roots were really grab into those rocks. So they are really funny little positions a lot of time. So now I'm going in and adding a little bit more shadows that there's crevices where the light doesn't get to and it looks getting a little bit more realistic. Still. Again, it's very loose and just a really fun way to create some rocks. So when we go to do our projects, I'm going to do the first rock project. We're going to be very messy. And on the second rock project will be a little bit more precise and you'll be able to see the difference. So this one is pretty messy, kind of an in between. And again, just filling in some of these areas with a little bit more of the black. And you also get a very thin line brush if you wanted to or, you know, make it smaller. So you've got another adapts in there, some skinnier ones. I'm using the tip of my my marker here, making the tops of these, they're still fairly thick but you'll be using a brush. So unless you have a really find skinny little brush, sometimes it's really hard to get those bro fine lines. So if you bear in mind, you can always use the Sharpie marker for this as well if you want some really fine details in there. So again, we've got the second tree. It's not perfect, it's winding up around, it's leaning on that edge. Maybe we have another one here. And again they start to blend in and you don't know where one begins and the other one ends. And then we'll fill in another one, maybe a tall one right here. Really important to get all of those different height of your tree is because if you, again, if you look out there not all the same height, you can always continue on to make more trees on the left here. And some skinny ones, some Paul wins and short ones and white ones. Maybe another one down here on this rock. Bend out. So trees are super fine. And just like with rocks in nature, it's not perfect. So that's what I want you to be as not perfect. Just have fun with it, give it a practice, and test it out and see what you think before we do our painting. So I thought I would add one more option for you. I don't actually use these in the projects, but you are welcome to add these type of trees in your projects as well. So this is a silhouetted tree. Again, silhouetted, Is that a word, a silhouette of a tree? And I would say this more like a maple, maybe an o, something like that. And I just want to share with you how to create some of those branches. Now we've done the wider at the bottom, we've done the roots before. But I want to show you here these trees that have a lot of these branches. Usually they'll come out and separate into an ortho why type shape. And again, every tree is completely different so that it's really no wrong way to do this. You'll be given a couple of little wider type branches. And then from those branches, that's what I'm going to get more narrow with some really fine little lines whose view look at the trees. Here. Branches are going to be thicker as a come in closer to the trunk of the tree and as they branch out, they haven't been growing as long, so they're much more spindly out here. And you usually have some mean branches that come in like this is a size of trunk with that two big main branches that make that V-shape and then they'll stem off from that wider, the closer it is to those main branches. And again, to thin them out as they come out. So I'm gonna switch to just a really fine tip marker here for this one. And we'll fill in some of those really small branches out on the ends. These are not straight. You can see where I've got little benzene, little crooks and things like that in here because those branches do not grow straight. You can see I have a little fork at the ends of those here and there. Maybe some are larger, some are smaller. Sum, continue out in very random and sporadic. You don't want them to all be the same length, all the same size. So just have fun with it. I'm not gonna do the whole thing, but I just wanted to give you an idea of what you can do. So you basically do this on all of your branches for that tree and really spread it out. And you can see actually, look at this in the background here. I've got a reflection of a tree and you can see all of those branches and how they are thicker at the bottom there and how they spread out and it really thin. 3. Cardinal Practice : So we'll be creating a cardinal in the first project on the L films. So let me just show you how or how easy it is to make one of these. So I'm making a little circle, making a second circle underneath angle snowman, little bit bigger. And then I'm going to give it a little tough for the head and a little line down sideways for the tail. And there's your cardinal. How easy is that? You make it taller? And remember when you're creating yours, you can always make them bigger, which can make them smaller. So start small and they will grow on you, I promise. So he's pretty tiny. Let's go ahead and look a bit bigger so you can see it up close. And two circles. It looks like a little snowman starting here. I'm going to attach those with the tail. And then I'm going to shape that little belly in area there and give them a little bit of a tuft on the head. And just shape that out. And we have once again a little cardinal. Now you could also take a black man to do this with the marker. When we do the painting will be doing this with the alcohol inks. You want to fill this in here just on the top of the head a little bit and across the chest just a little bit, and then we can give them a little beak. Now is a little different using the markers and it will be using alcohol ink. So practice on some paper before you put it onto your painting because as alcohol inks, as you know, alcoholics will spread a little bit. So it's really about the jar I time you want to make sure your brush and your alcohol ink is almost dry when you do this so that it doesn't really bloom on you. So let's do another one. And so we've got three different sizes here. And it's very important when you go to put these little birds onto your painting. So we'll do a fourth one after this, because I want you to see the proportions. So for example, if you have a fence and it is, let's say up four-foot fence and it's off in the distance. You can't have that really large birds sitting on the fence. Because if the proportions were correct, that would be the size of a giant dog sitting on top of your fence. So you need to keep that in mind when your painting, you want to make sure that everything is in proportion with one another. So when you do your painting, i'm gonna give you an example here. Let's draw in our little fence. So we'll say these fees, fence posts are roughly four feet apart. This may be a 44 feet long and I'm just staggering it here, so it's not a perfectly straight fence. So if you have, this is your fence and you've got your trees and behind, you can see that that bird is huge, that would be gigantic birds sitting on the fence. So your bird size is going to be really small and it's going to be in proportion to that four-foot section on your fence. So this is about the size that you'll be making Unless you are painting is a really large and I'm gonna be using like 11 by 14 size or nine by 12 for our painting. So you can see how tiny it is. So you don't need a whole lot of detail, just a little bit of black in there for the chest. And you have a bird, and you can also give it a beak. Again, very small. So when we do this, live and the class again practice a couple of times to make sure that you've got your alcohol inks, that the right consistency that they've dried out and you're left with mostly the die and not a lot of alcohol. So again, really easy to do a bird. So feel free to practice this a few times. 4. Alcohol Ink Winter Scene with Snow : I thought this time we try something a little different. This is if you haven't seen it already, elf film, is that not beautiful? And this is made by Herbie and I ordered some comparisons. And Australia took a little bit to get here, but there's lots. I don't know how many sheets are inherent. Actually didn't count them, but it's a very thin type of paper. So it's a little bit of a challenge to work with it. It's a little bit different than using UBO paper and Nora paper, graphics paper. All those different papers are, are a little bit thicker. So this is very lightweight. And I found actually works really well by just using it as regular paper and matting and framing it. So I'm going to show you how to create a beautiful little winter scene on here using some snow cap. You can also use the blank up, you have that. And now I'm thinking here when I first started again, this is the first time I'm trying this paper. I put the snow cap down, make sure you shake that really well. And you've probably heard that before. They have that little metal ball in the middle of them. So you wanna make sure that that's mixed up really well because it isn't fixative. And if you've worked with mixed tips before, you know that they can get a little goofy and the bottom if they're not shaken really well. The other thing that happens a lot of times, especially for new people, is they may not know that there's little Bollinger And you have to shake it and the first time they use it, they'll squirted out. And what happens if they squirt out all that, that mix that is used to store everything up. So all you're left with is that pigment in the bottom and it becomes more like a sediment and then there's no cap doesn't work anymore. So really important to shake those up really well. So I went ahead and put that down here and I'm probably should have put down either the alcohol or the blending solution first, cuz you'll see here as I go through this, it almost started to dry already. So I'm not getting a whole lot of movement here. Say this is a little bit more down to bottom because I put that in last, but I kept working at it. The alcohol sat on there a little bit and it started to move it a little bit more. Now I'm using, in my hand here a little tool that's used for actually cleaning your lens on your camera. Now, Ranger has a new one. And it's got really good reviews as blows a little bit more air. This one is a really soft blow. But you know, even with my airbrushed and things that I use, I like to have that just a little bit of a soft pressure. I don't like a lot of pressure because I end up just spraying things everywhere. So for me this is this works well. I'm just taking my finger, just gonna blend it a little bit because I could not get that really to move. So what I'm creating here on the bottom is just a little bit of snow, so it's more of a natural kind of a wavy snow bank. And I'm for me, I don't know where you're from, but boy, we had a lot of snow initially and I'm inland now so we get even more. So this was actually based on an image that I had done, probably back in 2007. And I do have a watercolor course on the same image. But the original was actually sold to Nancy Giovanni, which is really cool. And that's if you don't know who she is because I didn't I had to look it up. But it was through fell our flower Studios, which is owned by her and Drew Barrymore. And when I looked up Nancy Giovanni, I found out that she was actually Jimmy Fallon swipe to I was really excited. So she bought the original painting that I had done. So this was all inspired from Matt and just a little background on it was really fun and really exciting time when when she bought that checks about two different paintings for me. I get I keep looking actually, and Jimmy Fallon tells he's doing his lives from there as she's got they've got tons of art in their house. And I'm always looking to see if I can see something hanging on the wall, but actually shipped it to studio in New York so much or where it went. But anyway, really cause I share it with you. So I'm just blowing back to the painting, Bowen blowing this everywhere on here, leaving some space, as you can see, some of that beautiful shine coming through. And this is like the most amazing paper. It's just so pretty. The fields. It's almost like a cellophane where something a little bit thicker, it does tear very easy or to be careful with that. So I just went ahead and put that, you know, just a little bit here and there on the bottom just to give an illusion of some snow banks in there. And then let that dry. Isn't that beautiful? You can see all of those colors. It's like a rainbow. And I decided to do this painting it instead in the evening. So I have a little bit of a glare from the lighting up above so you can really see the colors. And I have a little bit alcohol at the top here that doesn't blend in, so I'm just taking my finger and wiping that off a little bit. So we'll put the societal let this dry. And for the next step we're going to be using some pitch black to create our trees. 5. Alcohol Ink Winter Scene Trees: And I think I'm gonna grab my little Ranger palette to squirt the pitch black into. And I'm gonna grab us Q-Tip to use to create the branches are the base of the trees or and put those in there with that rather than a brush tips were really good and it's really easy. And I like the ones that have the pointed and they're made for eyes. So wanna squirt that into the little black container here. Now, this does tend to dry a little quick, so you may have to continue to add a little bit of that black into your tray. And some of this is going to be really sucked up fast with that cotton on the end of the queue chip. Now I'd like to start at the back and I like to start with a little bit thinner trees because they can always grow and always start small because they can always get better, but it can't get smaller. And then I'm going to start at the very top of that snow banks. So these, these are thinner, they are further away from you. And then I find as I start to build my trees more forward, some of those trees that have made the background, I'll actually bring forward and bring him down a little bit lower. So think of the bottom of the tree is usually a bit thicker and as it goes up, it might get a little bit thinner. And you can see I just hit a spot there that I have alcohol on that women not dry. To guess what this is going to become, it's going to become a bigger tree. So i'm gonna bring that one forward a little bit. So that happens to you. Don't worry about it. So I'm just taking my finger and wiping off, I see a couple more spots there were the alcohol still, so I'm gonna go over here. Let's bring one down closer to us. See when you bring that tree down further, it looks like it's right there by. You can even do some right from the bottom of the page if you want. So it looks like it's around your face. It's a rate here. So I can see I have a little bit alcohol on this one. Again, we'll just let that grow and make it a little bit bigger. And these are not perfectly straight trees in the forest. If you look at them, they're wobbly, they're not perfectly street trees. And down here at the bottom, I like to give that a little bit of an edge. So it looks like the snow is up and around the base of the tree. And as I'm more Venus, sometimes you might pick up a little bit of that white if it's not completely dry in there, don't worry about that gives it a little bit of texture in there. And if I push really hard, I can actually get to see a little bit of the paper is showing through underneath, which is really pretty good. Also scratch that out if you wanted to have a little bit of that paper coming through. And it's going to be really careful because you don't want to tear the paper. So we're gonna make that bigger, bringing it down a little bit further. And the trees will be placed. Animals have a little mind of their own and different shapes of their own. It's kind of like a little bit of a spooky for. That's why I add some red cardinals at the end and some snow. It just softens everything up. This would make for a great Halloween image as well. Will black cat in there something? Since we're onto a holiday, this would have been a great one for earlier. So this tram bring right down on the front here and it's going to be wider. So that's going to be array interface really, really close. Just deciding no star wants them, trying to make a nice balance and stick one here. Again, starting out when I put them in there, just really skinny. And then I'll make them a little bit wider depending on if I want to bring it down lower and this one, let's bring that one down here, cuz you can always change it up a little bit. Remember, usually they're going to be a little bit bigger if they're closer to you. You know, every now it down a little bit, a little maggots floating out there, down onto the snow bank. So I have some different size ones. I've got some really thin trees, I've got some wider trees, medium. So a couple more back in here. Anyway, have all different levels in here. Sir. Not all straight across the whole backside and we're all straight across the front there, just staggered. And I want to give it a little bit of a trunk here. So it looks like it's in the snow. Maybe turn your kid up sideways as I have two different widths on this really turned sideways, I can get a little bit more narrow and feel free to use a brush if it's a little bit more comfortable for you to use a brush, you can get a really, really define line, usually with a brush. Or you can use the pointy side of the Q-tip tail. And if you wanted to throw some branches in there, you can do some little skinny branches. There's lots of different things that you can do. You can see it. Look at that color, isn't that pretty one to hold it up and move it for you so you can see all those different shades in there. It's just got every color you can think of a really pretty paper. And the paper, you know, it reminds me of almost like wrapping paper that you can get that looks like a foil type, but it's very thin and tears really easy. But usually it will have some type of pattern on it. I don't think I've seen it with just plain before. But that's almost a reminds me evidence. I don't have any of that paper right now, but I would be interested to see what that would do. I don't think I've seen anybody actually paint on that before. So have any of that paper, give it a try and let me know. That works where you are not. It would be interesting to find out. Alright. So I am gonna go in now with my brush and I have a very fine tip on this one. I'm just going to touch up the edges of these. And I like to create a little bit more texture on the edges here. We'll just straighten them out a little bit. Again, you don't have to be perfect. These are gonna be covered with snow. And if you really like a lot of snow, you can cover up a lot of your faults. That's my favorite thing about snow. You'll see I do a little out of winter paintings. That's my little secret. If you have little things that you don't like about a painting covered with snow or, and all of a sudden it's just beautiful. Well does tweak a little bit more on the bottom and pay somebody to other trees, make involvement bigger. You can work along time on trees. It's amazing these little straight lines. How much work and effort can go into them trying to, it made them look more realistic, but not to add a shape. Let's throw another one in here. So for my winter forests tend to like a lot of, a lot of trees. So I keep adding them here and there. And you can have some kind of Chris crossover so they are falling down. I mean, you know, these are all of these are pretty straight. So you think, and it cuts enough trees and want to make sure we have enough of that paper shining through us. We don't want to cover up too much of it. So for the next step, I'm going to put a fence in here. 6. Fence Alcohol Ink Winter Scene : Now I was thinking later I did this, I decided I wanted to later on I put in some shadows from the trees. So if you like the shadows and you find it a little easier, it would be actually easier to put them in now. So keep that in mind when you go to do yours, but I like to do them sometimes afterward only because I tend to put less of the shadow in if that makes sense, because once the fences in here, I don't want to cover up all offense, so I have it's a little bit more sporadic when I'm bringing in my shadows. So whatever is easier for you. And I'm gonna mix just a nice little shade for our fence. And I have a little bit of green and a little bit of black. You can you add a little touch of blue? I just want a nice dark color. And I'm using my little extra palette here on the side to mix up some of that. So it's really just any dark color you could use, just Brown. I just didn't happen to have any Brown And my kit. I do have some arranger and there's like there's a teak wood, which would be really good for this as well. So I'm going to start with my fence lines. Again. The closer they are to, the bigger they're going to be. And I'm just going to go ahead and pop them in here like little sticks are little tiny trees. And I have those staggered again, that's just not a complete straight line and want a little curve to it and start it over here. And then kinda up, go up on the ends. So in mean in the forest, they used to do dividers with rock walls and old fences. So think of this fence is, is like really old fence that would've started to warp a little bit. It's not perfectly straight. So great things appear, appear. Rush doesn't want to go and nice straight lines for you if you're a little shaky, works really well. So some of these old fences have just two, Some of them have three of those bars that go across. Some are further apart. So if you don't want quite so many of these lines and here you can separate them so they're further apart, sometimes offenses or every four feet, sometimes six, sometimes eight. So whatever your preference is. But again, you can see it whatever line I'm doing, I'm doing the same underneath. I'm changing up the direction just a little bit, so it's not just perfectly straight all the way across. This looks like it's more wrapped around that forest. It call it the fenced in forest initially. And then I added the Cardinals and I call it just us too. So really simple, right? It's a couple of them stick some lines and you have a fence go around there. 7. Cardinals Alcohol Ink Winter Scene: So now let's court in some of that snow cap or Blanco. Now if you don't have either one of those and you want to use like white ink or acrylic paint that will work on this as well. And I have an old toothbrush. This is not a toothbrush I actually ever use. Someone asked me that in one of my other classes. I actually by my toothbrushes strictly for either alcohol, ink, masking fluid, or water colors. So I have actually three different toothbrushes. And then you're just going to hold your toothbrush and we're just going to spritz all over here some of that white snow cap. We're going to create some beautiful snow. And pretty, so again, as much as you want or as little as you want. And you can always test this out to you beforehand so you don't get any big drops on there. Another little piece of paper on the side. And then you can also use your brush. If you don't have a tooth brush, you can use a brush and just sprinkle a or splattered, uh, that spotter technique of fan brush works really well for that. If you find that you're having a hard time, just squirt some of that white snow cap or right on your brush area. So it's a little bit heavier now. And I'm going over all of this area, even over the background pieces, all of that will kinda pick up through, come right through there, shine right through there. Once you're finished. One little big drop there. No worries. You can put the let that dry and the black can go right over that. So often I will do the snow at the end as well. I don't know what I was thinking this night. I was just in a moment as creating, wasn't really sure I was going with it initially. So then I decided I wanted to put some shadows and some birds in here. So normally I again, I would always have that, the snow at the very end. So you can see I'm kinda pausing here and thinking, what else does this need? This is really cute, meaning it needs something else. Now if you are not a fan of Cardinals, red cardinals, you could put some blue jays in here or some charities or some crows or whatever your favorite bird is. I'm going to show you really quick how easy it is to make a cardinal. Touch up some of these. First, this is when you sit there and look at things and go, I think this needs to be thicker on the bottom. I want to show like the roots coming up here in the snow. They can fix you can fix these trees at anytime. If you get too much snow on there, you can always go over it, cover things up. And then we want to see how it looks like it's on a hill when you bring that one side down just a little bit further. It looks like those trees are all kind of leaning a little bit. And I said I'd like that look moping, looking like they're leaning up the hill. So now I'm going back through on him and doing just a little bit more. The bottom are the roots. And by bringing those roots down, it just looks like it's got a little bit of snow. It's leaning up around the trees at once like our fresh snowfall. No guy, and I think I'm done. So now I'm going to show you really quickly how you can make a really easy little cardinal. So now I'm going to grab some red and put that into my palette. And I'm going to grab a really small, fine detailed brush. As tiny as you can get. Because when you're trying to paint really tiny birds, especially for this size and this is like a little will be framed until 11 by 14 Matt. So I'm going to let that dry just a little bit on my brush again, that's not holding a lot of liquid air. And this is going to be more of an illusion of a bird or not cash really paint a bird because they're so small. Think about visiting on a fence from a distance. That fence is not really close to us, it's a little bit further away. We're going to start off with just a small circle. And the circle, depending on how big it becomes, would become neither the body or the head. So I started off with that one circle and it was a little bit larger. So we're turning that into the body. And I'm just gonna do a very tiny circle on the top which is head and give him a little bit of a tuft on his head. And you have a little cardinal, just as easy as that. So you can also add, if you wanted to just add a little touch of orange for the beak, maybe a little bit of black around their virulent that Dr. First, let's do a second one. And I'm trying to say how close I want him to the other one. I think we'll have him down here, so it'll be a little bit shorter. Again, start off with just a really tiny circle for the head, a little bit larger circle for that body. And then extend the tail. Again, a little tuft on top of the head. And we have our second Little Bird. And remember, they can always get bigger, right? So start small and you can extend them out. So if you want to make the body a little bit bigger, if the shape is not quite right, you have to extend it to it makes it a little bit larger, bringing the tail down. That's how they grow on you. So start small. So I'm going to add a little bit of the orange here. Whereas if I can get a little, just a touch of the beak in here. And again, you want that ink to be quite dry because you don't want that to bloom. You are painting over the white, which helps contain things a little bit because it's a little bit thicker than if it were another color underneath there. So using a fan, the brush is waiting a few seconds. And then you can always test it. Again. Just a little tiny beak, right? Because he grew a little bit and wiping up a little bit excess. Then if I have to make the body a little bit larger, I can do that or make the head a little bit bigger if you find it's just too much for it, but finding that fits in there, now we'll add a little bit of black and using that same black that was in the tray. So it's pretty derived for the most part, so it's just a little touch of it on here. And then the Cardinals, we'll have a little bit of black on the top of their head and just a little bit on the chest, so it's around that beak area. So if you make your big two big, really easy to fill that in with the black and cover it up. Again, not a lot of details is just letting the I fill in everything in because these are very, very small. And then we have to birds. 8. Shadows Alcohol Ink Winter Scene: So this is where you can play with it. You can add a little bit more snow if you want. And I've decided I'm going to add a little bit of the shadows from the trees in there and you don't have to have them. So let's go ahead and spritz the birds will covered them with a little bit of snow, Not a lot. You don't want any big white dots over their heads. So just a nice light spirits go back over any little areas that you might have touched up, which is what I did in the trees and decide I'd like them on a hill, on an angle. So I'm going to cover those up a little bit more. And then I decided I wanted to add, like I said, the list a little bit of a shadow in here, doesn't need it, but you can see the difference that will create an API wanted to moon, you always do a big circle and here for our moon, which would be really cool, or some really large drops of snowflakes coming down. So she, for me, if you're in Maine, sometimes we get some really heavy snowfalls. Plus I'm a really big fan of snow, so let's, I'm going to have a little bit more to it and go a little heavier. See those big, nice big drops in there. It's snowing now people look at that. I'm not ready for yet. I'm still I'm still missing summer. Awful. We had since we moved to the lake. I don't like winter is much now. But then once I get into it, I decided, you know what winters all about hibernation and just relaxing. Having your fire, your coffee or hot cocoa, going outside, a little snow shoeing m. And this is like my perfect little spot in the woods here that I could snowshoe. Alright, so OK, we can stop here, but I don't know, and I'm talking about these shadows a couple of time. Let's go ahead and put some shadows. And here now, the fence post can have a shadow, right? If you've got a full moon out there or the sun is shining and it's really snowing. You still can get a nice shadow effect. Oh, I'm thinking this is an evening, evening full moon type thing, so I'm going to pretend the moon's out there. You've got were the rural borealis is going on in the background with those beautiful colors in there. So let's create a little texture in here with the trees as well. Mixing a little bit of the black with the white works well, if they found the Black was just too dark. And the shadows are going to be quite that dark on the snow. So mixing a little snow cap and with it, it's going to work a little bit better. So we get a nice little light gray going. Yeah, like that butter. So C I'm just skipping through the fence post and not covering everything. I mean, those big heavy lines in there. Again, if you do this beforehand, you're more likely to create more shadow. Then if you do it after the fact. But it can be a little bit more tricky to get it in through the fence lines. Remember, you want to extend it all the way down through because it was going to create a cast a shadow is gonna cast a shadow a whole way. There'll be a little thinner as it gets closer to you, sicker by the tree base and just dragging it through. If you happen to cover up your area, you can always go back and with a little bit darker shade with a fence and put it back in there. Boy, you can cover it with some snow again. Will sprinting of snow does wonders. Again, I'm trying to match the underneath of the tree and the creating that shadow and are all going the same direction. So it's casting a shadow down the hill. So that shadow is all at an angle, all going the same way. I'm back with a little bit more snow and that will soften everything a little bit more. There we go. I think we have it. Let's go ahead and put a matter around it and see what we think. No, I popped my math around it. Isn't that pretty I'm actually going to frame this one up and hang it in my bathroom with because the light hits it and it actually really gorgeous. If you have some light on it because it really captures that background and it just reminds me of the northern lights. So I am now, now I'm looking forward to winter after all of this. 9. Practice Test on Canvas: Let's try alcohol ink on canvas next. Before we do that, let's prep this canvas in a couple of different ways, just so you can test it out yourself, see what the differences are going to be. And I advise you if you have different products and what I'm using, go ahead and test those two because you just never know what the results are going to be. I am always testing. It's a really important part of being an artist really. So this first one, we're just going to leave this as is, this is just the pre, pre primed canvas that have already purchased. So that means that they've already painted the canvas with some type of white paint and it's ready to go. So I'm dropping in the T-Rex alcohol inks in black this time because I want to see what the difference is going to be. Vs. the pitch black, which is, I love using pitch black because it has so many colors in it. So I actually am using a brightness, spread this out a little bit, and I realized afterwards that I actually have pitch black on my brush. So this first one is not quite true to color because some of those colours pickup and the undertones. So when I add just the alcohol to this 191% isopropyl alcohol. And you can see how it's starting to blend. It really soaked in the alcohol ain't right away that poorest canvas to just drive it right up. But you can see as I add the alcohol to it, it reactivate. It's an it's moving slightly and I do have a little bit of a really pretty color going on here as it lightens. And I found out this is actually because I'm using the pitch black. So those are those beautiful undertones of pings and greens that you'll get with the pitch black. And I find as I go along in this project, my T-Rex does not do quite the same thing, but it's still give you an idea of what the canvas is going to do for you. So again, pre primed canvas, it moves. You do have to use a little bit more alcohol with this to get it to run. It slow going. But it works now as soon as I dropped the alcohol ink on that paper just sucks it right up. So you definitely need to have some type of alcohol or blending solution. So for the next section here, let's go ahead and prime this with some Liquitex varnish, and this is a gloss varnish. I'm going to put that on this bottom corner and let this dry. And then we'll come back and test that same T-Rex black alcohol Inc. I think it's called space black on this one. So we're back. This is all dry now. And it does have a little bit of a sheen to it, much more than just the regular prime Canvas has. So we're going to place a drop on here and let's see what the difference is. So as I drop this on there, it does not want to soak it right up. And you can see how this really moving a lot easier than that first one. So then varnish is going to seal that porous newness of the canvas and it's going to move a little bit better on here. Yeah, you can see as I'm painting it just as a very smooth, very flowy type painting versus that first warm where it just had a really hard time getting those inks to move. So if we add some alcohol to this, let's see what this is going to do. As I tip and move this around, it just picks it right up and just flows beautifully on here. That's not that straight drip, it just has that really soft movement. So you can see that the T-rex does not offer you all of those beautiful undertones like it did on the top one with our pitch black. So I'm seeing a little bit light grey, maybe a little tin, tin to green. But you're not getting those beautiful pinks and blues and all of the other shades in there. So another thing to do is test your alcohol inks, year brands, and your colors because they're all made differently. They all use different types of pigments. Over dies, I should say not pigments was, pigments are not what they are dies. So using different types of dies to get those colors. So they're all different. But you can see it by add more alcohol. Does it just nice flows all over the place? Really pretty. So this is all dry because you have a nice strong, dark shade of black. And this one. For this next section, let's use a spray varnish is, happens to be Winsor Newton varnish. So it's a spray can versus our paint on our brush on that we'd use with liquid hex. Let me go to just a nice little light coat. Make sure that you have your windows open or you do this outside. Now it's all dry. I'm coming back and putting a drop of that space black by T-Rex on here. Again, it moves beautifully, very similar to what the Liquitex unvarnished did. Adding some alcohol. And again, it just rolled all over the place on here moves very nicely. Now remember, depending on what you're doing in your paintings, all of these, these ways of doing this can be helpful or can hinder you. So it's all about what you're trying to accomplish on your canvas if you have those beautiful movement and swirls. And this might be perfect thing for you, right? And then the last box, we're going to just try some blending solution. A blending solution does have some type of resin in it. So I want to see if this is going to help us get this to move without having to add any varnish below. So we're gonna start off with the blending solution. We're going to add the alcohol ink on top of it. So it's not going to get absorbed into that canvas real quick. And you see I just float to rate on top on the blending solution. And it is moves like creating very similar again to using them with the varnish. But now as the bleeding solution moves out and the Canvas is dry, it's not moving quite as well. So if I take my finger, just spread that around, you can see it lightened it. And the blending solution is really mixed in now with that ink. So here they all are or dry and you can see there's really not too much of a difference between all of our dishes and the blending solution. Probably the biggest difference is just using the alcohol with the inks by themselves without any type of smoothness to it. And which is similar again to if you were to use Hugo paper or Nora paper, you get that smoothness. So it's just a different type of texture on canvas. And you can try it either way. 10. Painting with silver: Alright, so we've explored the elf film and let's try something that's a little bit more available to everyone. And this is actually on a canvas or using alcohol ain't on Canvas for this one. And this canvas is why it's primed. And you can get these pretty much everywhere. This one, it happens to be from Amazon and the size is an eight by ten. Now, Alcohol inks will work very different on canvas than some of the other substrates that we've been using in some of the other classes. And if you haven't checked those out, you may want to take a look at those. They are done mostly on UBO paper, on tiles, on graphics paper. So anything with a smooth surface, you can even use them on Glass. So Canvas a little bit different in that respect to that. It's more textured and it wants to absorb some of that alcohol more so than the regular substrates, the glossy substrates that we've been using in the past. So there are a few options that you can do to make your canvas and less porous. So you can obviously by the pre primed canvas, which is what I'm using here. I've had a number of artists that have used quilts and they've done a couple of coats of that on the canvas. But what I'm gonna show you today on the second project, not this first one, but I'm gonna show you here I use liquid tags and varnish on my canvas and it really gives it a nice smooth finish. Again, you can do it without which on the first project here we're actually going to see how it works without using any varnish on top. And we will be using a lot of alcohol for this in order to get those inks to move. Again, because that Canvas is so porous, you really need to have some type of medium or substrate to be able to make that ink move on your canvas because of the texture. So I'm going to start out with just some 91% alcohol and I'm using pitch black bear range or just putting a couple of drops. You can use other blacks, but I do find that the Ranger inks have some really pretty undertones as you work with them with the alcohol. So you'll get a little bit of blue hues and green hues in here as well as you move this around to remove those inks and the alcohol. I'm just using a little blower Now this is a really simple little tool. If you have a camera, this actually planed your camera lenses just blows air on your lens. So it's really all you need. If you have an airbrushed or something like that candy, or you can use those as well, but this one doesn't have quite as much. So when you're blowing that ink around, just as a very, very light mist of air. Some of those other things that you'll use, really bloody era, quite a bit stronger. So I love this little tool and I use it a lot in creating this wispy type look. I'm just going around the edges here and spreading that ink out. Now I did have another student that really had a hard time making their inks move and they weren't using any type of blending solution or alcohol on their Canvas. Glue is drying in place, so a drip a little bit and then as soon as the alcohol absorbed, you're left with the dye. So you really need to have that blending solution or alcohol to get those inks to move. And you can see all of the beautiful colors that are coming out with some paint, some grays and blues. Just really pretty with the pitch black. I'm just softening around those edges and I'm going to leave the top of the canvas just white. And we're going to be placing some trees on both sides and some little rocks in here. Every time you do this is going to be completely different. As I'm working with this. I've decided I'm going to add a little bit of silver to this black. So I'm going to have it like a holiday ish type painting, very similar to the first one that we did. And then we're in to that more monochromatic look. But even though you have a little bit of those really pretty undertones in here, it's really, really pretty. So shaking up that silver if you are new to fixatives, just remember that mixed hips are a little bit different than alcohol aims. You have a little ball on the inside and you want to shake that really well to get that mix a tip to mix with the solution that's inside there. Similar to if you've used snow cap. Because what can happen is you can actually score to the fixative right out at the very beginning if you haven't shaken that ball. So all you're left is with that sediment and it can harden inside of your bottle. So make sure that you mix those really well. So the silver is really pretty clear with a black. And again, you can still maneuver those colors and blend them. Once the mixer tips dry, they tend to sit a little bit more on your canvas. So I work with this very quickly because I don't want that silver to start to dry, so my alcohol is still quite wet. As you can see, I'm still moving even the black undertones underneath. So it almost as like this foggy, misty, wintery look here and we're just letting that drip down on to the bottom. To no color on the top. Just nice white. A very winter day or a white out. I'm going to let this go ahead and dry and then we're moving on to the next step. 11. Adding a rocky cliff: I'm using my arranger palette and I'm gonna score it in a little bit of that pitch black into one of the little containers. And they want this to be fairly wet ink at this point. Because at campus again, absorbs thing so much. You can see how much lighter that black is now on here, I've got a lot of different colors popping up as this starts to dry, which gives it that wonderful Misty illusion which I love. So this is your background. Will go ahead and just hit that with a little bit of a heat gun just to make sure everything is nice and dry hips, I did use a awful lot of alcohol for those that wanted that to move. And you'll notice too, as I drive, this gets a little lighter and you can see a little bit more of that silver popping up. And it settles in some of those areas of the, or the texture of the canvas now so you can see how much pink that's coming out now as this dries and the blues and the greys. Just gorgeous. If you're fairly new to crafting or painting, you may not know what he'd done. Is this just basically like a high powered heat per blow drying? You can also use just a regular blow dryer, but he again is, doesn't have quite as much power as when a blow dryer has. So it's not going to blow things all over the place. It's just a very light intense heat. You do want to make sure that you hold it Fernel, you're improving your canvas. You don't want them to get too hot. So about six inches up above. And you can derive things really quickly with us. In that little short period of time as I was drawing that little puddle of alcohol, ain't the Black has been sitting in there, so it's thickened up a little bit, which makes it really easy to use as regular painting. So I've grabbed my small brush and I'm just going to create some little trees in here now these are different than the other tree that we had done. These are hanging out on a cliff and that's what I see out of this whole thing. Now, depending on how your background looks, you may want your clips in a different area. So just follow it. You have going on in your painting and see like different areas where you might be able to start your trees and start that the cliff area. I love the way the center of this turned out. It's somewhat like the sun is shining right on that really light area. And that was a happy little accident. So work with some of your favorite areas. If you don't want to cover up a certain spot, leave that blank and don't put your tray there. And we do have some areas that you're not as happy with. That's why I always you cover up the areas that I'm I don't like or something else. So you can make a little bit bigger tree, a little bit wider, more trees. But I do want to have almost that canyon looks to it, so I'm coming up higher on both sides. And then bringing that rock area down. And you can see you and are making these rocks and just putting some lines in here, a little scribbling. It's not very defined. This is more an illusion of rock, so just a few lines in here and it will give you the illusion of a cliff. So we're gonna go pop another tree in here. Now, if you are not familiar with making trees, a lot of folks have a hard time with trees and that's because we think of a tree as being this perfect, almost like triangle we are taught as children do make our trees very perfect. And we all like to simplify things as humans. So stick figure was people. A tree is more of a triangle. But if you look out in nature, and I say this a lot in my classes, just spend some time out there and look at your trees. You will not find too that are the same. They are never perfect. You know, think about how long you have to go to a tree farm to get your perfect little tree. I have spent, you know, they they spent hours on that, flipping up and cutting them in shaping them and they're still not perfect. So trees are not perfect. So you can't go wrong when you make a trade. You only we'd go wrong. I always say is if it's too perfect, so get messy, mess it up a little bit. I'm going to throw in this and more rocks again, going down and going at an angle. So I can get the main area here leaning towards this downslope. And then I'll just kinda fill in here in there. Creating some darker areas or the rock is thicker, some lighter areas. Again, rocks are another one of those things. You just cannot go wrong. There. Every rock is different. So there you have it. One side is almost done. One tree looks a little bit too wide from one side. So when I'm at work without a little bit more, let's go onto the other side here. Again, I want to have a little bit of height than these trees. So they look like they're closer to us and that puts that background further away from us. So it looks like a mountain back there. So we'll go up into the sky a little bit and make this really tall. And you can see as I'm making these trees, I'm just using this dotting motion or dabbing motion to the left and to the right. And we'll put another little one down here. And sometimes when you have those couple of trees altogether, you don't even see where one ends and one begins. So I'm going to take this little white area here and this is where I'm gonna put most of that rocky cliff shape. Again, it just scribbling using my brush and I'm not thinking about this as I'm doing. I'm just, you know, throw my brush down there and adding in some color. We'll put another tree on the side. And remember your trees are always a little bit smaller at the top. And sometimes you can get little 2G up there. And as they come down, often they'll get fuller. But we're on a cliff and if you've ever noticed on cliffs, you got lots of strong winds. You get more extreme weather on some of those trees. So some of them have lost branches. You see a lot as twigs and sticks sticking out. Sometimes they are really bending and warping around from the wind. So they don't, again, they don't have to be perfect. Extend that up just a little bit more. Just to balance it. Again, just adding some small fine lines in here using the top of my brush. So if you hold your brush, it's almost straight up and down. You can get some more fine lines. The more pressure and sideways you hold your brush, you'll get more of those wider strokes because you're using the belly of the brush more and pushing down on it. So again, it's putting you in a couple little small ones in here. Will stragglers hanging off. And some of these branches could be going up. So I'm coming going down. And then you want to stop and pause and just decide, you know, am I okay with us too? I want more. I'm going to extend this across here again, adding just a few touches here and there. And then once you're happy with it, you can go ahead and add some silver on top. 12. Painting trees with black : And I add the silver into my trade is like I did with my black eye, even bothered to wipe off some of the black I just use what's on there is going to blend a little bit. It's just going to give it a little bit of a highlight. And it's gonna give us some shine. So when you turn this sideways, you'll really see their real pretty glowing, glittery look that the silver gives you. Now the great thing about the syllabary as it covers up some of those areas. Like if you have a really funny branching and not really happy with, you can add the silver on top of that. And it gives the illusion almost like there's snow on there. And instead of using regular white, the silver disc gives it that more festive look. Who doesn't like a little bit of shimmer? Alright, let's wait for the holidays. So I'm gonna go ahead and just go over each one of these trees by adding a little bit here and there. I'm not covering it everywhere. And again, I'm not using really a circle motion are dotting motion. I'm just using a tapping motion and I'm skipping some of those branches is it comes down to I don't want to cover the entire area. I want to have some of that black showing through and just tapping it here and there. Now, I'm thinking, I haven't decided if I was going to add some more trees across that back section, which I may or may not do. But let me pick this up and show you here how pretty this is. You can see they're really pretty shimmer and in a lie it's even better. This is I have a, I don't have a real sunny day now. This son kind with a hunter, but it's just a really pretty easy way to make a painting. You can see all those beautiful texture in here. And that's because we're using it on canvas rather than that really smooth surface that we have been using and using in my other classes. So I really hope you enjoy it. This is the finished piece I decode bag aside. I wanted to add some snow like we did for the other class. And I did pop in a couple more trees in there with a little bit of a reflection. So it looks like there's some water back there. So for the snow, instead of using snow-capped this time, because I'm using so much black and I want to make sure it's going to pop out. I actually used some of my Liquitex, Inc., which are really showed up really well. So I'm doing the same way with little toothbrush and just splitting it on. So it looks like there was a little fresh snowfall on here. If you have white acrylic paint, things like that, feel free to give that a trial or grade on the canvas as well. So the great thing about Canvas is you could stick it in a frame and you're ready to go on like, you know, using narrow paper or, or graphics paper, you bow paper. This is pretty much ready to go and I will give this as a spray of K-Mart varnish and some UV protection does not going behind UV glass. 13. Varnish Canvas : Earlier in the course, we showed how you could actually put a varnish down. So I did the liquid tax and I figured I would show you the little bit of difference that can make by really making it more smooth and shiny of a surface for your alcohol inks and put just one coat down of the liquid tags. I made sure that it was on there very Eva and whiny little indentations or strips from my paintbrush. So I smooth those over and I also did the edges. And then I want to have inlet to this lately dry. And it really only took about a half an hour for that to dry really well. Of course, it depends on your area. My house is pretty warm. So you can see this beautiful sheen that now that the, the Canvas has on it. So we're gonna do this again. We're gonna go through those same steps. I want you to see the difference. So I started again with the alcohol. I put a few drops of the pitch black and everything was going pretty much the same. It was, you know, blending and moving. But I really couldn't tell too much of a difference between not having that varnish and with the varnish, it mood and maybe a little bit more I saw so a little bit more color. And then I decided I was going to try a little bit of the blending solution in here as well just to see if there was much of a difference for the blending solution. So I'm still working with the alcohol and just moving it around. It gives it a beautiful smokey look. And actually in the alcohol Zen doodle cores, we did something very similar to this. So you can do this on canvas as well. So I'm spreading it out again. And this is when I added a little bit of silver in here and I didn't notice a little bit difference with the silver. It tended to move a little bit better. It didn't stay in place quite as much as it did before, and especially with the blending solution. And when I added the blending solution, it really moved in, the colors changed even more. You can see a little bit more pink came out a little bit more with the blue hues. And this was before it actually started to dry. So it did blend a little bit better using this versus using without the varnish. But the biggest difference I found was the xin. It gave a really pretty Xin to the canvas. And even on top it's gotta machine on the top so you can see the gorgeous colors and much more green, more pain. It definitely has a different color. I started off just following almost like a little doodle, followed some of those little shapes. And I thought this would make absolutely beautiful abstract just as is or maybe even add a touch, a golden there. But it was really pretty so you could leave this as is. Now, went ahead and did some fine lines and some deeper lines. Two, looks like a little crevice. And then I figured, well, since we're doing this glass, I might as well go ahead and Phillies in wherever. Ok, so I decided to be a little bit more slower and more methodical with some of my rock shapes, a little bit less messy. And again, I started in with some wider lines and some thinner lines and created some beautiful little rock shapes down in here. And you can also tell the line work seems to be a little easier on top of this glossy background rather than Canvas because again, it's not absorbing it so the lines don't tend to move out or expand in some of those empty spaces quite as much. So you can get a much more defined rock line. And you'll see I didn't do any dragging of my brush on this one. Just using the tip of that basically and then filling in some of those wider areas. So I'm gonna go ahead and do the same thing on this side. Jan, just creating some very dramatic lines. This is very much a rocky coast here. And then we will add if just a few trees on the top right-hand corner. So you can see again how easy it is to create a tree. Now this one, again, it's smoother finish because of that varnish. It's down there, so it goes on a little smoother. Then without and just having a canvas. So it's all preference base. So I just wanted to share this with you so you could try it yourself, see if you like one versus the other. It's always about play and everybody always has a different way of doing things. And I encourage you to be very free and explore and see what works best for you and your style. So we are going to put some snow on this one again, but I thought this time I would use one of my fan brushes so you could see how easy it is to make some spotters whether you're a fan brush. Now I did not wait quite a long enough for this black to dry when I went ahead and added the ink on top. So like any other mixture like using gel pens or if you're using snow-capped. If that ink underneath as well, it's going to drop some of that color. So the white actually turned a little pink, but still very, very pretty. So I would probably drive this completely and then add that on top. White acrylic paint might work just as well for you, but you can see how a grade this fan brush works. Forgiving those nice little drip. Again, just a fun way to play and explore. 14. Outro a: So thanks so much for joining me today. Is now your time for porridge jags. So a grab all your supplies that we've covered in this course. And let's get ready to have some fun. If you like this course, I have a bunch others. Lots of alcohol ink ones or watercolor and even that some resin classes. So make sure you check those out. So don't forget to post your projects. You can tag me on Instagram, you can tag me on Facebook. Don't forget to join our special exclusive Facebook group that I have. And if you have other questions and things like that as a great place to post it. There's a lot of folks on there now and we love to share and share ideas and their super-helpful. So head over there, check that out. I'll give you the link for that as well. Don't forget to check out my YouTube channel where I do new videos every single Tuesday at nine AM Eastern Standard Time. So make sure you click that subscribe button. Make sure you click that bell and that will give you the notifications. Every time I and you could heal, you will see it. And if you have the chance, please don't forget to leave a review that let others know that this might be a course that they would be interested in as well. And finally, if you have some ideas for classes that you would like to see it, let me know. Thanks so much for joining me again today and hopefully we'll see you again real soon.