Exploring Acrylic Texture Effects

1. Acrylic Texture Effects Introduction: Hello and welcome to this new class on creating some different effects with your acrylic abstract paintings. We've already covered in other classes using different kinds of textures. But this method that I'm going to show you today in this class is going to also expand your possibilities of creating some really lovely, powerful abstract paintings. And I've been using this method for quite a while. And in fact, I was asked to do a commission using this method because it's so fascinating and different. And when you look at it, you just don't know how you've managed to get that effect. So I'm really excited to share with you this new class and explore some wonderful things that you can do using this method. So without further ado, I'm going to show you the things that we're going to need. Let's get started. 2. Acrylic Effects Materials: I'm just going to show you some of the things that we're going to be using for this class. We don't need a lot of things. Just go through with you. What I'm going to use to start with, basically are going to do some things on a drawing block. This is nice cartridge, heavy paper, A3 size, which is, I don't know it in inches, but it's 42 by 29 centimeters, but it's a three. Then I'm going to use black and white paint to start with. Now you can either use black acrylic paint. This one I've got here, the Valais whoa, One or any other Make, or you can use a black gesso. I've started using this and I love it because it goes a long way. And it's a nice, a nice surface, a nice background foundation. And then the same with white. You can either use white gesso. I've got some here, all white acrylic paint. Then a limited palette. You can choose your colors I'm using here. Obviously got the black. I've got the raw sienna here. I've got a orange on oxide. These role in Valais, whoa, make. I've got phthalo blue. Those are the colors that I'm going to use just as a limited palette for the third painting. We're going to do. One of the most important things that you need for this is some civilian wrap, which I have here. You can use stuff that has been wrapped around a parcel or anything, but you need this really unwrapped. That's the whole point. I've got an array of different brushes, different sizes. You can see here. My little Gesso brushes, which I love that cheat and cheering, great. And I've just got a hand, some of my other brushes, but you will obviously have your brushes. And I've just got some masking tape. I've got a palette. I'm just using some plates here, but you can use a palette. I just wanted to keep everything kind of quite small here to keep it compact so I'm able to show you what we're doing. So black and white, acrylic or gesso, your limited palette color that you want. You're drawing paper, maybe some canvas. But that's where the acrylic, you can basically paint on anything. So you could use watercolor paper, any kind cartridge paper or canvas that goes through what we're going to need. I've obviously got some kitchen roll. Definitely your trillion rap. Let's get started and see the first little thing which I'm sure you're going to be excited about an interested in. Let's get prepared and we'll give it a go. 3. Black and White Effects: Okay, so the first thing that I've done is I've divided my paper into with the masking tape. I've put out some black paint and some white paint. We're going to pay one black on white. That's the beginning. And I bought two different brushes so I don't mix the color up. I'm going to start with a black card is black on this side. And I'm just literally going to cover the whole thing. Black. Now, I'm doing this experiment in black and white. You could actually do it in any color you like. For the exercise. I'm just I'm just going to do it in the black and white for you because it's easier for you to see. Just gonna see this nice covering. Let it dry. Good. Somebody said Jews with the masking tape. That's the black corn. Let's do the white one. Same thing. Just cover this in white. I'm using the gesso for both of these and I was going it before. You could use you could use acrylic paint. Whatever you like. I guess it's a good covering. Foundation. See, we've got a bit of gray now if it isn't stopped, very, very, very, very simple. I'm going to let that dry. Maybe just put a hairdryer over it and then we'll come back for the next stage. Whilst this is drying, what you need to do is to prepare and cut your your rap. I've got a couple of pieces of these ready to go. This is dry now, so I've been doing this while it's drying and have your paint ready. So what we're going to do now is I'm going to do whitewash over the black, and I'm going to do a black quash over the white. Then we're going to see the differences of how it's going to come out. I've got my brush here ready. Don't want it too heavy. And it depends because you can do it in any which way you like. I I kind of wanted a little bit more watery. It will depend on the for you when you're experimenting, do a few different ones and see how it goes. I'm just doing a wash over that. You could do all different things at this stage if you want, you could get some kitchen roll and dab into it if you wanted to. Just do a little bit. If you want. What I'm going to do now is get the rap. I'm just going to place that over. Just gently, push it down, and then I can manipulate it into all kinds of beautiful shapes. Now one of the ones that I did, which I can show you now, is one I did have trees. And you can actually make some patterns. The rat, as you go, if you want to, you really free to do it. However you want. I can use my nails, make some nice indentations. However you feel. And just through experimenting, you can discover for yourself what will happen. I'm just kind of pushing the wrapped together in different ways. Then drawing into you could write on it, scribble on it. Whatever, whatever you feel would be interesting for you. Let me just show you this is going to show you though Y2 over the black, which was one that I did earlier as an experiment. And you can see this here. Really interesting. Maybe I'll turn it around that way too. You can see it both ways. What a fantastic effects it has. We then do the black over that one. And this was me doing why Tova? Sorry, the whitest of the black and the black over the white. And some beautiful, beautiful patterns that it can create. The one of the tough I've shown you that I did with the trees. Now what we need to do now is to let that dry. And then we'll peel it off. Once it's dry, just making sure we've got enough going on here. Underneath. Then you can play around with it yourself. See what's going to happen. Then to let that one dry. Now I'm going to do the black over the white. So again, same thing. I've got some paint mixed here with more water in it may be this going to paint over this one width. Such a straightforward thing, but incredibly effective, which I'm sure you'll save yourself. Then develop possibilities with it. That's the same. What you can do with it, you know, within a painting. Just to bringing in extra interest. So the black over the white. Ready? You can keep using this. I'm going to put this on top. Then. See how it's going to happen with this one. You might even use the end of a brush. If you wanted to, to scratchings and nice marks, manipulate it around. Then this is on paper and obviously it's going to be slightly different when you do it on me. If you do it on Canvas, nails, kinds of patterns with it. I'm going to let those dry. And then once they're dry, we'll peel them off and see what the results are. Quite exciting to see that little bit more on that idea. So interesting to see how it comes out. Kind of like bronchus will see. Uv could do you many different kinds of really nice it'll designs. You could do it on some paper that you can use the collage. All kinds of things. Have some fun with it. I'm not going to mess with it anymore. Let it dry and come back to it and then see the result. 4. The Reveal: We've got the moment of truth coming up. I had actually left this to dry for actually overnight. Wanted it to any drawing at the moment is very down pair, so it takes much longer for the bank sits dry. If you're in a war situation, you can probably leave it for two or three hours, but I decided at any rate overnight. So let's have a look. Here we go. I'm going to peel, feel this wonderful things happening. Let's peel this one off. Again. Stop to that. Great. Now then I'm going to take the tape off so you'll be able to see it better. I'll be able to hold it out. Just peel itself this one to this one. Because you just never know what's going to happen. This one. This dragging it down slowly, not to tear the paper. Sometimes that does happen, but like this. Let's do this one. Let's do this one. See if you can have a look. Lovely. You can see all the different patterns and really beautiful. Now I'm just going to show you a couple of the pictures that I've done using this method and then how I enhance it. And then I'm going to show you on here how you can enhance this and do some things with it. But as it is, it's really lovely. You can see that well enough. But we can do a lot more to it if we want to. So I'm going to switch to my microphone and I'm going to show you the different effects you can get with this as a background. And then I'll show you how we can do it. Okay. Here's the one that I showed you before. And you can see that I've added to it, I've actually put some molding paste on it in different ways. Here it is. There are actually two different ones that I did it as set. And here is a close-up. And you can see the wonderful effects that it has. And I obviously enhanced it, but the effect is fantastic. This is the big one I did for the Commission. And you can see again, I've added some molding paste and a few very neutral colors in it. And it look marvelous here it is actually in Situ and the client's house, you wanted it above her bed, so it turned out really well. So there's a lot of things that you can do with this. 5. Enhancing the Paintings: I'm going to just show you some things you can do once you've got your you've got the picture in front of you. I'm going to actually work on this one here because it's got natural things with the trees, which is really nice. I'm going to work on that 1 first, but I'm just going to show you something before I start that. What I did with this one, let me just get the one I left. This thing gets really, really nice. And I've just sort of feel as if it was sort of Dancing with the Stars. And I wanted to just kind of have a play around with it before I started on doing anything, made a photocopy. You can see here, I've started using some of my pens, black and white pens to enhance the shape. I will just kind of wanted to play around with it first before I actually do it on the original. But actually I really liked the hat. I can see and use it. But to me it looks like dancing and the stars, I love it. So if you want to play around before you actually do something on the actual picture, photocopying, it is always kind of quite an interesting idea. That just gives you something to think about. But I'm going to work on this 1 first. And I showed you before what I was dealing with some molding paste. I think I can do that on here. I'm going to show you how that will work. I'm just going to take the edges down so it doesn't move my gloves, so I'm fine for my brand. Is put this down flat. Thought here is just some actual stencil molding posts, but you can use any kind of molding paste in some filler or anything that you like. You don't want it too thick but you can use anything this is mine that I'm using now. I've just got a little plastic knife. I'm only going to do little. I'm not going to do very much. Plus the fact that it's on paper. I'm just going to add a little going to actually get a little One second. I'm just going to take a little bit off. It just kind of adds to texture. As you, if you're going to paint it in. I'm going to go up this part that shows where there's kind of like a tree. I rather liked doing this stuff. It kind of gives you some extra kind of interest. Then obviously you're going to paint over it and I'm going to make it very textured with the brush. And then kind of stands out. I love to go to wobbly trunk. Obviously we'll paint a team once it's dried. That's kind of like to start with. And then I'm going to do another one here. I might do the texture different on this one. Just so it makes it a little bit more interesting. So I'm using a different kind of stroke on this. This one's kind of coming at an angle down. Lovely to do for little paintings or as I said before, little cards. Just really very unique and different and interesting. This is just really to show you what you can do. And I might just do one or two branches coming out. Texture. Just to add some extra interest. You can play around with this as much as you like. I mean, I could spend hours. It's kind of a bit boring to just really want to give you an idea so you can experiment yourself. Let's do one coming up here. Maybe one here. You see what I'm doing? I'm actually adding the other stuff is in the background, so it's really interesting. I'm going to let that dry. Then. I'm going to see with paint to enhance more of it. But just before I do that for a second, I could in fact, whilst I'm about it, I've got a white, really nice what marker pen. I could come down here with this just to see where I'm going. I can paint it in if I want to. Kind of fascinating how this works. There's another one behind here. This is a bit thicker. And you can get some just an idea, lovely for abstract landscape type things. Then I've got another one here where I haven't, where the line isn't going. I can always make it up. I don't have to stick to the lines are actually on the paper because all this stuff is kind of fall into the background. Then we can enhance and branches on here. If we want to. Like a thick forest. Just to make it really interesting. Another one here happening. You can develop it. You'll just discover for yourself. Just so interesting because of all the stuff that you've got going on with the print behind it are interesting shapes. I've got a black acrylic marker here, so I can also do something with that. I might just paint over this is just to kind of give you an idea. The different effects that you can get. I will paint into this. You can get some of the shapes that you've got going on. Once the paste is dried, we can really kind of attack it in a different way. You can do it in crayon, you can do it in pastel. Anything that you like. Suddenly really starts coming to life. You've got a really fascinating, interesting painting. Should show you. Turn that around so you can see it, but that's just kind of playing for a minute. I'll come back to obviously Wendy. The pasta's dry. You know, you could add some color if you wanted to. So let me just show you that now. That's kind of like the beginning of a really interesting, nice little forest, abstract forest picture. I hope that gives you some idea. Then basically I've done the same with this one. Well, without the paste, I've just enhance the lines and let it start to express itself. Obviously, you can do similar thing to the patterns that you get. I was talking about collage. This is on printer paper. If I wanted to, I can do lots of different ones like this and cut them out. And use of us. Collaged pieces. Very, very unique, totally unique to you because you'll never be able to do the same on to ice it. And then you can build up a set. I mean, I'm thinking with this one. I can put others with it. This is another of the other one that I had done. When you think about putting them together on a wall. They look lovely as a nice set. Now this one, this one is interesting. I'm going to just pull this one. I think, you know, it's, it's interesting to enhance the white. They're all the same at the moment. So again, if you want to have a trial run with it, photocopy it, photocopied on here. I've started just to outline with white. Some of the areas. You can see. Alsos of wonderful contrast. I can develop this if I wanted to extend the lines, make the lines a bit thicker. I've got some variant of lines and they're not all same. But you've already got the contrast of the black. So it's really, it's really lovely with the why behind and I can change pens, That's a thin one. Let's just see what this one is, that one working? This is a thicker one. So I can sorry, the dogs barking WhatsApp. Okay. So I've just swapped into my microphone because the dog is making so much noise. I'm sorry. You can see I'm using the different pens. And basically you can really experiment for yourself and see and enhance some of the shapes, add some of the shapes. This one's the thicker pen. And you can do some dots and circles and all kinds of things. I love that piece in the middle with the looks like a leaf shaped to me. So I can enhance that. Basically, you, with your own design, you'll get your own feeling of how this is actually coming together and really enjoy it. And experiment. I mean, the possibilities are endless with this kind of thing. To develop really unique individual. A little paintings, which you can then, as I said before, you can cut out and use them as cards or use them as collage, have them as a painting as that of their own. I hope that gives you some idea of what we can do with some of these things. I'm going to come back and paint some of the trees in when they've dried. And again, you can experiment for yourself as to how you'd like yours to be. 6. Finishing the Paintings: Now we come to finishing this painting that has ten, it runs. He can see the plaster is dry, the stencil paste. I've got a few. I've got my black and white on my palette. I also found a bit of silver. If you've got some silver grade, it doesn't matter, but I just came across it in the bottom of my paints. I thought that that might be interesting and I've got a bit of buff white. I'm just going to do a little bit to it so you can get the feeling of how you can do your own with your own design. I'm just going to use a thin metal brush. Just makes a little paint with it so we can see what might happen. I'm going to just do some light gray, would maybe get a similar obviously won't can go over it as many times as you like. But just to get the feel, I don't want it all blocked. I just want to get a feel. You can see already how that's working. Maybe in when you're doing the forest. Basically, if you wanted some perspective, foreground trees are always going to be darker than your background trees obviously because you don't see them as much. I'm just thinking here now, we'll make this a little bit darker. Just now I've got the first layer on. I might just kind of have a feel of light. I'm going to just put one side of it a little bit darker. And you can see here, work it backwards here. So you got a better idea of how it's working. You can see how interesting it starts to become. Keeping in line with the color. But defining it becomes really interesting. Now I'm going to do something similar. Maybe make that one even a little bit darker. This mixing it with some of the silver coming down here. Because of the texture of the pace, It's really kind of interesting how that's working. I didn't tape it down because I wanted to keep turning it round to show you can see here. Then I can go even a little bit more darker. Edge. Kind of subtle, kind of makes the painting mysterious. I love that feeling of what's interesting, what's going on. Kind of feeling. If you'd see subtle feeling. And then I'm gonna come up here. I just wanted to kind of make it really fascinating. Makes somebody really look. How did they do that? Little, did they know we've been using kitchen to do? A little bit darker. When you go for C, you can play around with it. Explore. Then I'm going to do the tree bit darker as well. I've actually got a rigger brush here. I'm going to have a play with that. Just liked to play around with it and see. This is the whole wonderful thing about abstract landscapes is that you can do so many unusual things. Makes it fascinating. Nothing quite like it. Can be changing it and messing around, picking up some textures. Let's do this one here. Black, you can put some of those nobly bits in the trunk. Going a bit dark without go back over that. Very free and loose. So far. You can with yourself, with your own painting. Let's go get silvery on this one. Really experiment and see what looks good on your picture. Looks good online, might not necessarily look good on your, so they're all going to be so incredibly different. Unless you try, you won't know. So it's worth having a little go with it. And seeing what you come up with. Each one's going to be different. It will present you with a different possibility that you can explore with branches going on. There we go. I think it's an interesting, fascinating little picture. I'm happy with that and I know my play around with it a bit later once all that's dried. But I just wanted to give you the gist and you've got this lovely texture of the pace of the molding paste. When you look at it, you can. It's interesting, it's kind of a bit 3D in a way. I hope you've enjoyed that. I did a little bit more. Let me just get it here. I did a little bit more blue to the the other drawings that we did. Drawing on top. I think this came out really well. If you wanted to have a look at that, I kind of found a figure in here. Then I've outlined some of the other things, but it's extraordinary how that has worked. Really fascinating little picture. And then the other one, of course, was that one. I've outlined it a little bit more. Got these figures going on. You can really play abstract typically with finding shapes and you know, my love of shapes. Or doing something a little bit more structured with doing something like the trees. We've got very interesting possibilities there. With that way of doing it. I'm now going to show you another way. You can use a trillion wrapped to get some more effects. 7. Different Effects: Okay, so for this, this section, for this section, I'm going to be actually using some watercolor paper. Again, it's on a block. It says 300 grams. What I've done here is I've taped some down just on the board so I can easily show it to you. I've put my colors out. I've got my colors from before, which was the black and the white and silver a bit above. And then the limited palette, which I told you about before. But I've actually added some teal. I have got here. Just check this as raw sienna. This is the oxide orange, phthalo blue, and the teal, and obviously black and white. We're going to have an interesting time with this. And the possibilities are just endless. We can do any kind of number of things. But this time we're going to actually use the cling film, the sodium rock, to create some effects. Actually, whilst the paint is wet. I've got a couple of big brushes here. I wanted to keep it nice and loose. Analyte. It's an experiment and I think that's what you've really got to think about. Let's just see what the processes see what happens and from what happens, then we can then go to doing a painting if it works and we're happy with it. Great. But that's not the intention. The intention is to experiment play. See what happens. What are my hour? I've also got my spray bottle here. What I'm going to do is spray on here. What I'd like to use, I'm going to use this big brush and I'm just going to dump it off a bit. To start with. I'm going to use a little bit of phthalo blue and some white. And I want it really quite watery. Don't want it to fit because we want the water, we want the paint to stay wet for as long as possible. I'm making this really quite watery. I'm just going to splash this on. Then we might add a little color to it, a little bit of this CNF. We want to just keep it really watery. Now, I'm thinking sort of landscape. I'm going to put some of that feeling in it. Again, it's really, really wet. Let's go a little bit there. The orange oxide, very wet water on here. Just kind of fiddle with it. Going to change. I just wanted to give you a feel. I'm going to mix some of the teal with that because it's such a lovely color. Then I'm going to go into the dark blue. Down at the bottom, the teal and again, which is a darker blue. It's really nice and wet. Now what I'd like to do at the top here, I've got my kitchen roll. I'm going to dab some of this out already. Before I start. I'm also going to dab in, in here a little too. Again, we're just playing with just making experimenting. Let's see what happens. Like a little bit. Now, then let's get her up. I've got some from the foal and do it in pieces. Put the reason I'm doing it in pieces so I can drag it and natural. And that means that I'm not dragging everything just a bit to tie. Kind of want, make it as promptly as possible. Another piece in here, come across here, drag it up a bit. What I might do with the top book with a clean brush to wet that down. Pitches of blue on it, a little bit of the white. Make it really wet. I'm just going to paint on it here. Nice and wet. I'm going to go across it this way. I can drag it a bit. We're going to leave that let it dry. Whilst we're letting that dry, we are going to do another experiment. You can play around with it. See using your nails again, like we did before, but varying mind that all this paint on the here. What it's going to be very interesting to see what comes out from that. So we'll put that to one side and then we'll stop the other one. 8. Exploring texture: So what I've done now I've done another piece of watercolor paper. And I've mixed the colors into these little parts, old yoga pots with a lot of water. We're going to see what happens if we use something like that. And I've gotten the relative brushes. Again, big brushes and a couple of my flat brushes, these ones. But again, this is an experiment. And I'm going to be tipping this to see what happens or not as the case might be. So it's going to be very, I think, very abstract it. Again. Let's see what happens with this one. I'm gonna start with sienna. Just kinda want it really watery. Seeing what direction it might go in. That's happening. We might add oxide already to keep it very organic. To add a little bit of. This is slightly thicker. I think it's going to quite nicely because it's going to run into the other colors. Give us some interesting effects. I'm going to put some of the blue and see what happens with that. Convinces tissues and the spray bottle with it. Let that run around in the middle. So we can just let that run. Just kind of intuition. This is an experiment on paper. Obviously on Canvas. It's going to be quite a lot different. Nice bringing about here so you can see it. Now. I've got a little bit as a blue black. I'm going to put this down a little bit at the bottom. To take a bit off here, let's get another kitchen music experiment. You just never know. What might happen? It's kind of exciting. Blob in the middle. Do want to use some of the teal. I'm just going to see what will happen if we put a little bit of this down that spread around a little some of that off more dark in that corner. I don't know if any of you who've done the acrylic pouring. We might do some of that and disseminate videos on it. It's really relatively straightforward. Now I'm going to do the graph again. Whilst it's still water. Pressing down. With doing it this way, it's really watery. So what I'm going to hopefully have some really nice effects. We won't it? Just a little bit more. I'm going to cut a little bit. Just initial here. That's nearly dried, but that doesn't matter. I'm not worried about that. This bottom bit at the title was really wanting to drag this one a little down, a little bit here. Fascinating little experiment. So we're going to let that one dry. I'm going to leave it quite awhile. So it's really dry. And then we'll come back and see the two different ones. See what's happened. Now on this experiment, let's do something completely different. Let's see some free drawing. Then put some color on and then see what we might do with it. I've got a China marker and an acrylic pen here. I don't know how to I'm just going to I don't want it too complicated. I just want to see something going on. That's kind of really rather nice. I quite like it that way. If you can see it that way. Maybe I just leave it like that. I'm not going to use the other marker. Then applying some of the paint. Again, my big brushes. Let's just see what might happen. Let me just spray this with some nice and what steps really trying different things. Which is really the thing that I want you to get into is trying things. Just for trying them. Developing some new ideas. I'm not sure I like that. Stopping this. Bring that around. Let's go a little bit darker now. Let's mix a little bit of just some of the Sienna blue, sienna, raw sienna and some failure blue is going to be a little bit darker. Then put, let's put some water with that. It around here. Then let's go darker with the orange. Put some orange dot here. Kind of very loose and interesting. My dark, dark color. Be bold. Thing is that once we've done this, we can then kind of like the drips and let's create some more. Let's go very light. Let's get some white. Not white. Something, perhaps do something here in this corner. Then we're going to put the right on this. Very, very interesting how this might turn out. I've got no idea. So let's have a look. Might work, might not, but it doesn't matter what, you know what I might do just before. I like to get some sprint and push my scissors, right to get some Spring Creek banks on it. I'll spray a bit more water. Then. Let's see. Because it is so water, it's all going to move around with my fingernails. You never know, arrived at something very special. Let's see. Let's put one over here. Strike this little crumple it up. I mean, it's so worth experimenting. Seeing. What am I putting a little bit more water and this fit coefficient here. Who says this rules. Everything is open to possibility. Desk gives us so many wonderful options to create. Magnificent paintings and wonderful creations. Much of it up at the top there. Put some paint on it. Pretty much. Just have to go with the flow. Who knows? Who knows we want to create magnificent Picasso painting. Your own individual. Let's do that. Motor. Drag it out a bit. Let's see what's going to happen when we take that off someone. And to really leave this to dry. Really well. We'll see what happens when we get off. 9. Drawing and texture: Now on this experiment, let's do something completely different. Let's see some free drawing. Then put some color on and then see what we might do with it. I've got a China marker and an acrylic pen on here. I don't know. I'm just going to I don't want it too complicated. I just want to see something going on. That's really rather nice. I quite like it that way. If you can see it that way. Maybe I just leave it like that. I'm not going to use the other marker. Then applying some of the paint. Again like big brushes. And let's just see what might happen. Let me just spray this with some motor. Nice and what steps really trying different things. Which is really the thing that I want you to get into is trying things. Just for trying them. Developing some new ideas like that, stopping this. Bring that around. Let's go a little bit darker now. Let's mix a little bit of the just some of the Sienna blue, sienna, raw sienna, some phthalo blue is going to be a bit darker. Then put, let's put some water with that around here. Then let's go darker with the orange. Put some more orange down here. Kind of very loose and interesting. Let's go. My dog, dot color. Be bold. The thing is that once we've done this, we can then I kind of like the drips and let's create some more. Let's go very light. Let's get some white light. Something that's do something here in this corner. Then we're going to put the right on this. Very interesting how this might turn out. I've got no idea. So let's have a look. Might not it doesn't matter. You know what I might do just like to get some sprinkles. Like to get some nice Spring Creek banks on it. Spray. Then let's see. Because it is so water, it's all going to move around. My fingernails, you never know, arrived at something very special or not. Let's see. Let's put one over here. Strike this. Crumple it up. I mean, it's so worth experimenting. Seeing what I might put a little bit more water on. This bit. Here. Who says this rules? Everything is open to possibility. Desk gives us so many wonderful options to create. Magnificent paintings and wonderful creations. It a bit up at the top. And to put some paint on it. Very much. Just have to go with the flow. Who knows? Who knows we want to create a magnificent Picasso painting or your own individual. Do that. Drag it out. We are. So let's see what's going to happen when we take that off sighing. And to really leave this to dry, really wealth. We'll see what happens when we take it off. Okay? This first one is dry. I'm going to see what happens when we take all this off. Got lift off. I'm not going to be interesting to see how that's work. That's lovely. Let me turn it around so you can see. Now it gives us something to actually work on or work with. I can change it around and do things with it. But it's kind of a lovely in all different ways. You could have it this way. That way. Even that way is interesting. Could be sort of like an ocean. He kind of feel I could just make it completely abstract this way. It's kind of quite organic with things growing. I can add to that. So you can see the fantastic possibilities of doing something with it. What you can achieve with just a simple method of doing this, this way of getting some nice textures can be developed in so many different ways. But I really quite like that how that's how that's come out. And I'm going to look at the other ones and then maybe we'll work on one or maybe I'll leave that for now. Just so it gives you possibilities of doing things. And then I just want to finish with another idea of what we can do with this kind of texture. Here's the second one I'm going to take off. Were interesting to see if this works or not. Well, not fat. Not as enthralled with that one. The other, but I feel it's got potential background to something else. Again, you can nice way of starting a painting and then going from there. So interesting. He suggests, as I said, experiments, it gives us a starting point to do something else. So now let's have a look at this very flowy one. Kind of more optimistic about this one than the other. I think that's a nice start. It's a nice start to something, whichever which way round. You can see that it could go. Interesting, nice, interesting textures. Something one can use as a ground to start something else. And I actually, I rather like that. I think it would be interesting now to get some tone value in it, gets some contrasts. See where that might go. Let's take the tape off this one and see how it looks with the border. Which is a little bit of a clearer idea of how it might look. You know, if we need to just try and see, see what happens with all of these things like this. I think I'm doing some work on this one. Get this Sofia. Yeah, I think that's the beginning of something really interesting. Out of the experiment, I'd feel that one's work the best for me. The other one. I've actually discovered that the coat of blase, I'll show you. I'm going to work on that. You need to process them. This one is an interesting background for something to build on and it's great just to keep playing and experimenting to see what might happen with, with these, with this kind of different texture. And that's the other way round of doing it well whilst the painters worked. And the other one was doing letting the ground dry and then doing something on top. We've got some interesting options. And we can do a bit of both. Have some of it dry if we were going over, it's a very interesting way to go over an old painting. I think. I'm going to show you an experiment that I'm going to do with a painting that I'm not happy with. And seeing what might happen. Using this as the next stage, you know, great one on building up layers and seeing what happens. So this is kind of like an interesting firstly, to develop on. You could do something but to a very soft kind of landscape sort of thing on, on Canvas. In fact, this is one. The TI was experimenting with similar colors as a, as a landscapes, nice textures in that you can do it really abstract, like this one. Or you can go to an abstract landscape and develop something like that. So some interesting options. So let us see what's going to happen in the next video. And we'll take it another step forward. 10. Experiment Process: I hope you've enjoyed doing this experiment with this cling film and certainly in rap. I think it's so interesting where it can take you. I did my three, then I've been playing around and just kinda looking, what else am I do on the landscape you want? I've gone into it quite a lot more. I'm really happy with the textures. Safe. I can show you a close-up of that. Yeah, it's kind of a very lovely kind of loose landscape and there's lots of textures in it. I used the lines of where the cutting film had made those patterns. And I've gone into some of them with some marker pens. I've gone in with some white with blue, a little bit of the CRA, orangey color. Just finished it often some other bits and pieces with the width depends with the marker pens. But the result now I've still got a lot of the textures from the, from the wrap. And it's fascinating because it sort of feels like it's layered. I'm really pleased with how that's worked out. But that's kind of very safe. Which is great. No problem with that. But I wanted to do something a little bit more exciting. When I woke up this morning, I had this idea. Wouldn't it be interesting to see if I could do some kind of collage on the top of the ones that have done. But I didn't want it heavier. I wanted it very soft. So what could I do to make it soft? Well then, if you remember in the last course we did some things with some collage tissue paper. I thought. I've done some colors on the tissue paper of the colors that I've used, which I saw limited palette. And I got some really nice effects. I'm going to show you what I've done. I haven't put the collage together yet because I'm going to show you how I've done it. But what I'm, what I'm excited to share with you really is to allow possibilities and options. Don't just think within the box, think outside the box. Now I've done this, I'm getting other ideas of other things and other things in other, other things. It's kind of like a crescendo of inspiration and ideas. So that's really what I want to share with you. The idea that you can actually go in lots of wonderful directions with a very interesting different kind of background and foundation to your painting. I mean, it might not look at anything like what it started with. But you've started with that lovely kind of feel and softness. And it might grow to be something really strong and bold and thicken and wonderful. Keep the options open and see where it leads you. This is where it led me and I'll share that with you. And then you might get some ideas from this and go to something completely different, which is the whole point of the exercise. Let me show you and then we'll have a little play around with that before we get onto another technique which is very interesting. Here are some of the ones that I've done on tissue paper. With the cling film on the top. I've done the blue one. I did, one with the buff paint. To whiteboard. Can use these to lots of different settings. They've got some nice textures going on. As I'm doing this, I'm kind of getting other inspiration. I then did some ones which are cut up to have a play with, with the new ones. Which a hair. Black corn with a bit of white. These are some different oxide orange, a nice pale blue one that I did and I've, I've cut those out from. I'm going to show you what I might do with that. Those are the effects. I'm just going to put those over here. This is what I actually did. I've actually got some parchment paper because this tissue paper will get really wet. And you want to go to peel it off so you can peel it off the parchment paper or you could do it on plastic. Either. I just didn't have plastic at hand when I got inspired. Got the tissue paper, It's very, very fine. Now what you can do for extra effect, you can leave it like this. You could scrunch it up a bit. So you get some existing textures in it. We might not even need to put the cling film over it. I'm just going to lay it flat on next. Got some really nice, I hope you can see that. Okay. Some really nice creases in it. Then very loosely, again with with your paint. And what I'm going to do with this one because I've done just plain colors on that. I'm going to do a mixture. I've got my dark blue here. It's still quite watery. And I'm going to actually put a little bit in altering that. Now remember it's tissue paper, so don't push very hard. Literally just lay your paint on. I might actually make that a bit more watery with, with that, I'm going to get some different variations. I get a bit more kind of really fluids. Then I'm just going to rinse that off. I'm going to add some of the teal with it. That's a bit those colors mixed. Whether it's what you're doing, this for this little project. But you could use this for all kinds of wonderful things. For collage paper. You could even, you can even use it for making a painting as the collage with all this texture in it. I kind of lie that nice way of if you're at the end of a palate, Sorry, end of a tube of paint. Paint. You can use it up, add some mortar, make it fluidity, and put it on tissue paper for collage with a lovely way to do Kahlo show. That was, that's the first bit. Then you can put the roof on top. Now you might not want to because you've already got wrinkles and stuff going on in there. But I'm going to do this for the sake of the exercise. I'm, I'm just reusing a piece here. So I'm just gonna put this on top, do what we did before. Draw some things into it. Then I'm going to leave that to dry. It'll take about well, I put mine dragged quite quickly or you could put a hairdryer on it particularly need at least an hour. It's probably it to dry. You can just drag it. Just be very careful because they've tissue paper is so fine. That gives you an idea for some collage paper. You could do it on ordinary paper. It doesn't have to be tissue. I just want my feeling was I wanted to keep it very soft because those pictures are very soft. But you could do it on ordinary copy paper if you wanted to kind of put this to one side. Whilst that dries. I'm going to show you some ideas. Now. This is, this is the picture that I liked. I've been thinking about what, what can I do with it? That's going to reduce it up a bit. Because I'm going to take these pieces of nice. But slacking. It needs a lot more to it. I was just kind of playing around. I cut one of the shapes out here. Before I draw on it again, I wanted to put some of this on. This was to reiterate this triangle. I think I didn't know where I had that. I think it was up here somewhere. Maybe it was there. Then I put a darker piece down at the bottom of the composition. So what I'm going to do is I'm going to stick that down. I'm going to turn it around. I can see when you use the tissue paper, it kind of blends so you really feel as if it's part of the picture. I've put a bit of water on this. I'm going to put some glue down here. What I've got here is you can use mod podge on using some Liquitex dose medium. My brush. I'm just going to stinkiness down. Scan. We're experimenting. We just don't know where it might take us. But I just woke up with this idea. I thought God that, yeah, that would be really interesting. It's lovely to go with those, those feelings because that's real creativity. That's really what the thing is about. What it's giving you. I'd be very interested to see what it might be giving you, where you feel it might go for yourself. Kind of interesting. Then I kind of put this one, I think. Just have a look. I feel that one wants to be Let's go see if we can take those out. I've got this triangle shape here, which I really liked, and I wanted to reiterate that. So I'm going to put this one here. Then we'll see what happens if I draw into it. Once this has dried. See where that takes me. The whole point of this is now you've got really a very good foundation for abstract painting is to constantly stretch the boundaries. Allow yourself to explore new possibilities. I think I've kind of quite like that. It just looks when you do it with the tissue paper, it just looks like you've painted it. Rather than happy. I had this piece. Where did I have that? I think I'm going to put that down here where it was. It was here in the middle. I didn't buy that. Don't like that either. Try it this way. Even if you don't, if it doesn't work, you can paint it out or you can do it again with another piece of collagenases. Whatever you do is fine, That's better. That's why we all know. Now, can you see how much more depth it, Scott? I hope you can see. I can build on that now I really want to do something with the lines. But until this has dried, I'm going to hang five. But it's kind of interesting now with doing the similar colors, same colors. When you do that in the collage, what might, how it might unfold that to me now is going in the right direction. So I'm going to let that dry now. The other one which I really didn't like. Okay, what am I going to do to make yourself like it? Again, I use called the tissue paper habit, stuck any of this down. But I also then dived into my collage books. I found these colors. And so I've kind of cut a few of them out. Let me just turn it that way. Okay. This way. Can we say that? Yeah. This is the tissue which I've used. No, this is going to put these. So this was my collage box. I'd scour Manoch magazines, lovely colors and textures. And I like this because it's got all the textures in it. It's actually a swimming pool and it was somebody's legs in the pool. So I thought that color is going with this. And I loved the textures, so I didn't like this. That is going to, I thought would be quite interesting here. This was a little bit of a mess. So I've got the buff color, which are the raw sienna. This is the paper on here. Then I didn't like this area here and it needed strengthening up. I've put some of the darker color. I thought, well, we'll get, will be able to use this somehow or the here for to bring the painting together. Then I've cut out this bit here from the tissue. That looks nice. I've got a little bit more of that turquoise teal color here. You can see how I'm kind of messed around to find some composition. Still use this as a base and let's see what it looks like. I could be absolutely disastrous or it could be great. So I'm going to have a go with sticking this down. I won't bore you with doing it all because it takes too much time. So I'll stick it down and then I'll come back and then we can have a look at it. Then we can, I can have a look at this one. I might just carry on working. The point is, as I've said before, step out of the box, have some fun. Play, play, play, play, play. If all else fails, doesn't matter. Redo, go back over it, do something else, do something else, do something else. I'm going to include the resources. Wonderful video that I saw on YouTube last night. And it was about an artist called Robert Bradley. You might have heard of him. He does the most unbelievably fantastic collage paintings, which are huge. They're like 15 feet long. This is going to put the camera up because I'm going to talk to you about this. So two seconds. Robert Bradley, he was a hairdresser where everything was going okay. It wasn't his passion. And he really loved paint. He took himself off. He did some evening classes and then he won one day in the hair salon. Some of the pieces for somebody who was having some highlights done. The paper that they use, they fell on the floor. He thought, Wow, this is kind of interesting. That started an idea. And this is what's so exciting because this four, you might start an idea. Any case, I'll put the link to the video in the resources and you can watch it because now, his last painting that T did can you believe sold for 10 million years? Sorry, $10 million. It's 15 foot long and it's layers and layers of paper. This is fascinating. I guess that must have given me some incident when I went to bed last night waking up with these ideas. But that's the point, That's the exciting thing about it. That spot something in me which bogs something in my work. And I'm hoping something the time saying to you will spark you into some new ideas. I'll put the link in and hopefully you can have a watch. It. Come back soon when I've had to play with these and we'll see what's happened. 11. Experiment Assessment: Okay, So I had a really good session and play with these two pictures. And I have to say, I'm quite surprised and pleased about how they've all come out. This was the one that I really didn't like so much. Now already like it. So I pulled the collage down as I showed you before. I decided that a little bit of other things. I've added a little bit of extra color just for the composition of it. And I just painted a few little bits in. But overall, it's come out as a very fascinating experiment and an interesting picture. Still got a lot of the background from this Arabian lap wrap, which gives it some real interests. I've drawn a little bit on top of it just to kind of give it an edge. But I think it's come out really quite interestingly. You can see the textures. And notice it's got something interesting happening with this one, fascinated me. This one is kind of like, it's sort of like a figure, if you like, kneeling with this hand coming up. It's sort of like a bit of the hand of the way. I'm fascinated with how that turned out. And I've left a lot of the background in here. See, I've put the collage in, but that's kind of given an extra texture. And then I drew it in with an acrylic marker. Yeah, I've, I've felt the experiments have really worked and I'm happy to share those with you and I hope you're doing. Your experiments have turned out as great surprises. And I mean, if you think about these two, in comparison to the landscape u1, which was the safe one. It's really kind of gone from the sublime to the ridiculous, but that's what we wanted. We were looking at options and possibilities. Those certainly have stepped out of the box as far as that's concerned. Interesting. I hope you get the same kind of fun, interesting differences in your experiments and keep playing because you just never know what's going to happen. Now we're going to move on to our last experiment and see what's going to unfold with that, I'm going to go and get that ready. We'll get started on the hat. 12. Paste and wrap: In this experiment, what we're going to use is the paste, the stencil paste. We're going to use that width, the rap, so you get some really nice, interesting textures. I'm going to show you what I'm going to do. Then you can experiment for yourself. What you're going to need for this little project is I'm just taking this on a small canvas to be able to show you this works also really well on a big canvas. But just for the exercise, I'm going to use a small one to show you. I've got my stencil pace, but you can use any kind of filler or any kind of pace that you won't really. What I've done is I've guessed the canvas about renewal painting that I don't want, which is fine. I've got a credit card. I've got my palette knife, and I've got some rat. The first thing you really want to do is to have to do some food drawing for a design. You got an idea where you'd like the paste to go. So I've actually done a free drawing on here, this very, very simple shapes to be able to show your property. So basically all I'm going to do is I'm going to put the paste where I, where I want the texture. I'm going to put some here. And I'm going to put some up here. Literally, you can mess around and see where you'd like it to be yourself. But I've kind of got an idea of how I'd like this to be. A bit too much. Just take a bit of my fingers. You can have it smooth, which is fine, seven dependent. But if you'd like some extra texture, what you can do, especially if you're doing this on a big canvas because it's difficult to do it with a knife on a big cat. Overall, a big, big campus. Going to come down here a bit. I wanted to come back. I've got a bit of a design so I can see it's kind of a bit thicker here. The thicker you do it. Obviously, the more texture you're going to get. Once you've got it on, then you get what you want to say. Suspensory ritually. Just dab it in the areas that you want, that extra texture. I don't want you to all over. I just wanted some areas. But it's great to use for that because it makes it really, really interesting. And you need to let it dry. So I've done some of that, not all of it. I won't different texture in there. This is a really interesting way of doing it to get interesting different textures which you can do with a knife. But it's more difficult. This makes life much more simple. You can just throw it away once you've done it. You need to let that dry. With this being paced, it's not gonna take too long. I'm going to let it dry. And then I'm going to show you what you can do with the paint on it, which again is really interesting. 13. Starting the Layers: I'm ready to work on this now it's dried. I've got my colors again, I'm staying with the same palette, limited coat, a limited palette. I'm going to put a ground color on it. I just wanted you to see different ways that you can do this. I've got my big brush. I've dampened it down a little bit. Again, we're experimenting. My ground is going to be the raw sienna and maybe a little bit of the white vote. I'm just deciding as I go, this is going to really be my underpainting before I stop doing what it is that I wanted to do. So I'm just going to gently go over the top. And then you can see how the how the texture is working there, where I've got it on, where I haven't. Really interesting what the effect that it can have just received. We've been to at least try To start with I might just put a little bit of this on different places. Just put a bit on here. Just a bit of a color change on it. I'm still getting the the texture. I love how this always works. It's really nice. Then I'm going to just hair dry this off. Once it's dried, you will get another feel of how it, how it looks. Stabbing off just different, little few different places. Then we'll come back once it's dried. Unfortunately, I painted this in once there's a dry thinking WE camera was on but it wasn't. But basically what I've done is put some more of that color on the area that I haven't got a lot of the texture, some texture, but not very much. Now it's more or less dried and you can see the lovely effect that it has. Now I'm going to build it up a little bit and keep pulling it back so we get this nice ridges of the texture with the color going on in-between. So I'm going to go to a little bit of the glove. And I'm going to mix that with a little bit of the teal and a little bit of this blue, which I've got here. Just a tiny bit of blue, not too strong. That again, just lay this on this whole tree. I don't want anything strong at the moment. You can see that I'm i'll, I'll maintain some of the color underneath, which is what I wanted. Slowly but surely we build up the layers, but you getting that at really nice texture going on, which constantly adds to it. I'm going to put a bit of the bluff into here. It's gone a bit, a bit with a green tinge, which is what I wanted taking this course. And then I'm going to add a bit more of the green down here. I'm getting that through. Can you see how that's coming through? Which is what I wanted to add a little bit of teal in there. I think that just a very, very simple design. I'm putting a tiny little bit here, not much at all. Down here. Just to hint to the color. I'm laying laying it on top. This up here. Again, building the layers, a little bit of that up there, actually, capturing that texture. I love it. It's really interesting and as you build layers up, The Bluff, white. Don't want it too opaque at the moment. I think maybe once it's dried, I'm going to give it a coat of glaze because I feel that would be give it some extra depth. I hope you can see that how that's working. Just turn it around and you can see it that way. All these lovely lines that are coming through from the texture and you can still see the color underneath. It's really nice. Again, I'm going to let that dry. I'll give it a hairdryer and then come back. You have to have a bit of patients with this. If you've got a hairdryer or you can just work on it and slowly but surely. But that's now coming together quite nicely. I'm going to put this area in. And then I'm going to add some glaze. Coming back with this and just gently putting this in again, I don't want it too rigid. I want it to feel sort of as organic as I can with the with what's going on with the texture. So I don't want it all even going to perhaps play a bit with it with the tissue just so it keeps it. In context. This hasn't got the texture on it. But I wanted to obviously feel part of rather than just completely different. Some areas of it little bit darker than others. Kind of nice how that's working. I'm going to put something across here. Feel that could be I could go towards the blue with that. I don't necessarily want it blue, blue. I'm just going to have see how I can mix that with. Maybe put a little bit of the color of that. That's kind of like a gray blue, which is really what I wanted. I'm going to bring this across here a little. So we want to still have contrast. And obviously composition needed when you're doing something like this, you've got to be thinking about that too. That's actually quite nice. Quite like that. Push this up a bit, not want gamma, let, let that dry. I wanted difference between this color and this color. See how drive that is. It's not bad. Not bad. I want to bring a bit of gray, gray blue, intuitive, as well as the blue. So I'm going to add a little bit more gray to that mixture. Want to make it a lot lighter? Let's have a look, see how that works. Yeah, not bad. I'm going to put a little bit of this and here, I'm loving the ridges that we're getting from the from the text to it's just really nice. Blend that out a little bit interfere. You can see how it's. Taking shape of it now I want to go brighter over here. So my feeling is then to go into the teal, mix a bit of a teal. Then I'll mix the blue. And now that's very bright at the moment. But I like it. Let's then go back then into the gray blue. We can get better contrasts with that. Sit. Going to melt into the, into the texture. A little bit heavy at the moment. I'm going to dab a little bit of that out. Just stroke it into here. It's really interesting how it works. Getting there. Again, that's going to have to dry because it will it will smudge otherwise. And I don't want that to happen. Now this area here, here, I think I'm going to go into white little because it needs some kind of left. I've got a little bit of fluid white here, which I'll just going to gently put on. Again. I'll go obviously with it being white, we can be changed, but we want, we want some changes in it rather than just the same old color. Go a little bit here. Might go back over that, but we want some variance. I mean, obviously why it's quite opaque. But it does change the picture up a bit. Maybe one since dried, I can add a little bit of white over just the top to get some of the textures showing. Interesting what he did. More of that blue in here. Making progress has that not dry up? I'm going to let that dry. Come back again. Let's see what's going to happen next. Carry on. 14. Finishing the Painting: What I've done since it dried, given us a glaze. I've knocked it back a little. This was too strong for me looking at it, so I've just gone over it a little. I loved glazed it and I think now we're going to use the glaze for the next layers to give it that translucency because they don't want to lose this color, but I wanted to strengthen it up. And I certainly want to do some more with this and have found some contrasts. The glaze that I'm using is the second glaze from Golden. But there are many different makes it glazes, so I just select that one. It's nice to use. You know, this is an experiment. I just want you to explore different things in doing this experiment with the textures and see what you come up with. Then you can, you can take it on further to the paintings. When I finish their associates actual show you some other things that I've done using this method. Okay, so let's just carry on with this little, I'm going to actually put out some glaze, so I've got it ready. I'd like to just work on this little, I'm using my nice little Gesso brush which I love using. I want to just do some more with this, but with the glazes. I'm just kind of gently rubbing it on. I don't want anything harsh. I want some contrast, but I don't want it completely different to this area. I'm just going to make a little more definition. Just gently doing it. You just keep the things soft. But you have got some distinctions. This can go perhaps change that tone a little here. Now I'm switching to my microphone because you can just sort of really see what I'm doing. And I hope you can get suggestive of how the process is going. And it takes time and just watching me in silence going through isn't terribly inspiring. I'm going to put a little bit of music on. You can see what I'm doing and I'll come back when I'm doing something a little bit different. You can see how I'm building up the layers and I'm becoming conscious of the composition because I need to bear that in mind. Okay, So simple little painting, an experiment, painting it that. But still, it's important to keep in mind and focus on your contrast, your tone values, your composition, and how that's coming together. And all these little experiments can really help you develop that and develop your eye to get the balance of the painting. So it's nice to be watching, but you can see here I'm balancing the color, a bit of the blue onto the side here, so it gives another depth to the composition and keeps your eye into the painting. I mean, whatever it is, it's just a kind of strange and it'll have abstract. But nevertheless, it can be strange, but it can be pleasing and it can be compositionally correct. So when you're doing your little experiments, keep those things in mind because it builds that up for you to apply when you're coming to do your actual painting. I mean, this might turn into an actual painting, I don't know, but it's good to be practicing and to keep those things very much in mind. We'll carry on with it a little bit and then I'm going to show you some other, As I mentioned before, some other paintings using this method. Coming to the end of the painting now and I enjoyed watching. And you'll really have a dough and experiment yourself with these textures and all the different things that we can do. But this tends out quite nicely in a nice guide to show you here, this is what I did awhile ago then lots of glaze and texture and I sort of abstract landscape. Here's one I did with gold and blue and I love using for these textures that really comes up nicely. And then this is a selection here. So I hope you'll have a go and explore for yourself and enjoy the whole process. 15. Recap and Conclusion: Hello and welcome back. I hope you've enjoyed doing all these wonderful experiments. And you've discovered some really interesting textures and patterns with your with your civilian wrap. Clean film. Just really to recap because I loved this whole process and we did some really interesting things. We started off with a black and white ones with these, and then we can develop that one was started off like this and then it's gone to here. I think I can show you a close-up. And then the next one which I really loved with his dancing with the stars. Whereas a copy of that one. I really, really enjoy doing that and it came out. You just never know what's going to happen and what picture will manifest itself in a way. Then of course, we did the paste with the tree-like corns and that started. Here. You can see that hopefully when Tom to hear with the pace and I think that's turned out really, really nicely. I hope that you've had some really good experiments with that yourself. Then of course we went on to do the colored ones and then with the collage. Again, so many different effects that you can get using color. Not just doing the color on the canvas, but doing the color as collage on tissue paper and doing the effect on that and putting that onto the big picture. So these have turned out very interestingly and beautiful textures. I hope I can show you a close-up of these. This one is just fascinating. I'm really interested in that one. And I love the colors and the combination of that one. Then of course, the landscape on the abstract thing isn't what you want to do. You want to do it with landscape. Then obviously the landscape, you can get some really amazing effects to get bushes and leaves and all that kind of thing, foliage. You've got a wonderful range of things that you can experiment with to get something unusual and different your painting. So it's really worthwhile seeing an experimenting with it. And then of course we went onto the one with the paste. That's this one. Let's move out of the way. Now I've actually done a lot more to this than done with the experiment and lovely experiment. Then I decided I'll see what else I can do with it. I've actually done quite a lot, as you can see. And what's kind of interesting is because we've got so much orange in the picture. I wanted to bring in the complimentary color. So I've done that with doing some very deep purple lie look into some of it. Then I put glaze, a lilac glaze over some of it. So it really kind of brings it together. Again. It's all in the experiment. Try it and see. It's very different to how I left it with you before. But I've spent quite a bit of time on it and I loved the difference in the texture, the texture here. And then I've got a smooth texts to hear. The difference in it is really, really fascinating when you look at it, you can't help but examine the texture going on. I really hope that you'll play with that and have some fun with it. I really want to see them in the projects. I get so much enjoyment and seeing your work when you put it in there. So please do. I'd really love to see what you've been doing and how things worked out, maybe some before and after, which would be great. And I shall look forward to seeing that. And look forward to seeing you again in another class very soon. So happy painting and take care. Bye for now.