Masterclass - Painting a Baja Fairy Duster

1. 1 Intro: Hi, I'm Bill Singleton and today's class we're gonna do a masterclass and painting the Baja fairy duster. So this is the painting and I called a masterclass because I'm going through every step of the entire process, the entire painting process from beginning to end. So I did this in a acrylic wash on toned paper that you could also use traditional wash K scene acrylic paints. Any of those will work. This technique will not work with watercolor because you need opacity, especially because using tongue paper watercolor doesn't do well over Tom paper. So the reason I painted this in the first place is I had a request from desert Survivors nursery todo bookmark. Here's when I did for them earlier in the year and they wanted another one because quite a few bookmarks over the years, this one for, uh, Chema Counties department Environmental quality. This one is a very duster, and this is one that was actually growing in my front yard, and I've done it the entire life cycle really here with flowers. So I have the fully open flower Wilton flower, the buds and then the seed pods. This one's exploded, so we'll go through the entire process of painting this on follow along and I hope you enjoy it. Let's get going. 2. 2 Drawing: 3. 3 First Colors: okay. First going to start with the block in phase. And we're just going to use these colors here. Almost always had black and white on my pal and for the background in the use can use this green, emerald green. But we're gonna warm it up with burn number and possibly a little bit of the sprint. Sienna probably won't use much of this. Basically what we want a war in background. So let's get going. 4. 4 Block-In and Background: okay. I couldn't do the background. I'm starting with that larger brush here. This isn't Skoda number 12 flat. I could probably go one size bigger, but I don't see my other brush. So let's do this. So I'm gonna go green and burnt Sienna, mostly, basically, just putting his background in okay. And the brag around you can be at least the style I'm doing. You can be pretty change earlier, abstract er, non representational, because there's not gonna be some detail here, but not a lot. And you don't want people's eyes to focus on the background. So we're keeping a kind of ah sort of abstract. There's gonna be green leaves here in front that we wanna have this background behind it, get it fairly. What of this For a bookmark. So it's gonna be kind of linear, so some of this is gonna be cropped out, but I'm just gonna take out I usually do here. So once again and issues in Green and Bert, Bert over Bersih and, uh, birth number. They're very close colors. So if you've noticed in some my other paintings for 11 nature stuff hes it is burn number, black and white and pretty much every painting. So those were almost always on my palette. So I don't want to lose my drawing here. So gonna be a little more careful. Right in here. - Thesis the seed pods on painting around here. This is such a beautiful plant. The flowers are pretty in the seed pods are really interesting looking that this is actually this plant. That painting is actually from my front yard, and it's about five or six feet toe. These little pods pop out and little baby plants are popping up all over the yard. Since we're doing the background here, we can kind of indicates, um, stems and branches and organic looking shapes. It's again just using these two colors. - I want to get to know about this stage here. You can start to see the big shapes taken taking place here. Like baking here. Thinks a little tea green, a little browner. It's nice to have some kind of variation, just like in nature. You're not going to see a monotone landscape. We're going to see a little areas of green, light green and dark green, and we're bringing covering and brown and cool round warm brown. So it's nice to get a little variety on your breastroke here can get sometimes more from the brown pile, sometimes more from the green pile hair started in some writing. We'll build this up because we go to This is just a block in right here just to sort of get our main lights and darks and shapes indicate the the direction of these stamens here. So these statements will be read. But this what gaps in between them. Do you want that to read his background? - So you notice it did a little bit of wet brush here, and I'm gonna Liberte Dr. Rush, it's looks, adds variety, just like in nature. There's soft edges, hard edges. So try to kind of capture a little bit of everything. So it looks more naturalistic. All right. I think that looks pretty good for the blockage. No switch brushes here. Could you get around? Don't see you go to this one. It's a big round. So get this green here. Well, it's gets a little bit. It's been a little white to it and we'll get a cooler green. We can have some little those shapes back in here man. A little bit of this burnt Sienna here. Start indicating some leaves back in here. So these are very cool ones. I'm out of the white, which really cools it down a lot. I think that's all. Now I think I'm going to start putting the red start indicating where that red's gonna go. So for that, Indonesia's cadmium free read medium color So liquid Texas come out with these cadmium free colors, which are really good if you don't know what that means is, um, cadmium is a really good color for reds, cadmium, red cadmium, orange, cadmium, yellow because they're very true and solid and, uh, opaque. But they're highly toxic, can't me. It was a toxic chemical. So artist have been complaining for years about it. I don't personally, I have very little toxic colors that I use have been trying to get away from the mob. So start with that. That's a little warm, and if you can tell that it's going to get out a little bit of yellow in it. So these Baja fairy duster is actually kind of cool. So I'm gonna go this primary red next to it here, too. All right. And then I was just gonna block in these areas here Smaller Brush a round number four here and see how this looks. That looks about right, I think. Color wise. I just want to get some red on here so I can kind of see what the color harmony is gonna look like in the painting. So I get a small brush and put put these little stamens in out here. Yeah, this looks about right. And then this It's gonna be a dead blossom here. So when were the a few days old in the statements Air kind of wilted. Somebody's little bit of white in here to cool this down a little bit. These statements have started to kind of dry out. So doing kind of cool here, but then it's kind of shadowy. Warm it up. Warm this read up a little bit. So this is the color I probably have in here, too, for some of these fine lines. And then there's gonna be a little cluster buds right here. Indicate that. And then, of course, there'll be some stuff in the background. So it's this. Get some of this red here, mix it with green. There's a few flowers in the bag we can combat at some more of that later. So we're gonna need a little bit of yellow for in here The at the base of these flowers here. Then use of these buds back in here. Little cluster of flowers that haven't opened yet. Also really interesting. Like it in the base of this is yellow. Here. So this is a warm yellows is yellow joker. I'm going to just kind of start blocking in this seed pod here, which has got a little bit of yellow car. But it's mostly I think this burnt sienna color probably white. That's pretty close, I think so . This is, uh, this bird's CNN, mostly white. Just a little touch of this yellow car here. So these pods, when they dry up, they sort of twist and pop open in the seeds off, fly a little ways just a few feet. So just blocking these in basically know where the upper side is hitting the light like in here, it's gonna be lighter and cooler and having quite takes care of both of those things, remember every time you adding white, your cooling it down war set out and then get the same burnt sienna color. Maybe put a little bit of this burn number in it. This could be the shadow side here. You can see already that light and cool already makes this work. - So this is a warm color here for these shadows and in the shadow here is kind of about halfway . It's getting a little bit of light up in it. All right, let's just put a few little stems and things back here in the background. Since we have this color out all right, I think that's it for the block In next, we'll start doing some with his background and block it. Next will do. Live a block in the foreground stuff like some of these leaves and the flowers next phase. 5. 5 Painting the Leaves and Flowers: Okay, we're going to start paying some of the foreground leaves. And I introduced a couple more colors. Vivid lime green kept me and free yellow light. So put them right here. It's go with this number four around. So we try to do as many of these as I can with one stroke, and sometimes that's not always possible. But so here's a branch coming up here sometimes a zur painting. The hairs kind of flare out. So what I do is kind of get the paint kind of twirl it a little bit 12 my brush, and it's sort of gets the point back a little bit. So here, a couple of branches, little tiny leaflets coming out here. Actually, I don't think I like. I think I want this a little further over one thing I didn't like. The way it's matching that same art repetition doesn't look good like that. So let's put one, like maybe right through here, then one come and this way, all right, so it's cool if you can get it in one stroke. It, uh, for one thing, it's faster, but it also looks cool. Looks a little more spontaneous. These are a little bit more of an oblique angle right here. And put a lovely white in some too. Especially these right on the end here, catching a little more light. Come back in with a smaller brush for those and there's little leave back here. And these here think dark in them just a little bit because they're hitting the light a slightly different angle. So I'm gonna paints some that are in the shadow a little bit here. So you noticed. I warm that up a little, put a little bit of brown in it, warm up some of these leaves that will be in the shadow Here. You can always come back and modify these later if we need Teoh. So in a way, I'm still sort of blocking in and really, but this style I'm doing here, it's a lot of blacking in your blacking in pretty much most of the painting. Until all of a sudden, you look up like, Oh, it's finished. - Well , very. These someone put like a little more brown in him. They'll be a little further in the background. No, down through here, it's kind of random leaves around. - Could a few in here. - Then let's put one big one coming down here. Maybe some little leaves here and there. But catching the light back in the background here, - that's starting to take shape. Go back into these flowers now. You know that I have some of the greens established here in there. These flowers are pretty tiny. So getting my number one brush out of here, the one thing I really like about these paints is how opaque they are. You can really see in areas like this, but even so, I'm still they need to hit some of these a few times toe to make him a opaque enough. And if you're painting thin lines, you have toe what do your paints? Just a little bit so that it flows off the rush rate. And remember, they're all coming from down in here, so they're going to radiate out from that center. I think this brush is even though it's a number one. It's still too big for these statements. They're so tiny, so it's time liner. So this guy here, it's called the liner Rigor. Get it wet and then load it up and then you can get some really fine lines coming through here. Yep. Get really fine stuff. I don't think I could have done that with that number one brush or something like this. Gotta have the the line of rush, the rigor. Like I've said before, it's kind of like gears in the car as you're driving, you're gonna go from first the second that they heard the fourth year, you're cruising along, and then you get a stop sign. Gotta start the gears back again. Or maybe you start going up a winding mountain road. You're gonna need different year. Same of these brushes used the proper brush, the proper gear for whatever it is you're doing. These actually come from a base here. This throat is yellow. Let's bees nectar in there somewhere, cause the the hummingbirds just love this plant. So there's got to be some kind of a nectar source it down in the base here. The other good thing about this, uh, Krulik Garson amusing is that you can layer it on so I can cover some of this black hair. There's a dark color that's in the background until it just doesn't show through anymore. Now, speaking of going through the beggar, and I think I'm going to go back into this background now, start putting some of these lines back in, so that would be this green, this bird number. So mixing that down and the main thing I'm keeping in mind is his radiant point here. Where's all reading out from? So all my lines have toe end up here. So basically, I'm putting some background back in there, which when we blacked in, we just kind of indicated because I didn't know exactly where it was gonna in the that makes you recover any of this lighter color. That was Thea Color of the paper. It didn't matter If we mess up these red stamens in the front cause we'll just come right back over him again, it's actually this part in here. Then here will probably be the most time consuming part of the painting. That's where the most detail is. It's also the center of attention really feel like it? This is a stage. This is the main actor. There's couple of supporting actors here to be three different supporting actors. That's a main actor, So we want to put the most detail on the main actor. That's where your eyes going to go. And the interesting thing about this style of painting is that you don't have to detail the entire painting while at the same level. I'm sorry you don't have to detail the entire painting at the same level of detail. In fact, you don't want to. That kind of makes boring paintings. Really? You want to detail it to where the focal point ISS. So wherever people, wherever you want somebody to focus in the painting, whatever you want him to look at, that's where you put the most detail. That's where you put the most contrast of value light and dark and maybe the most contrasts of color of maybe compliments like right here. These are compliments. So green and red, complementary colors. So whenever you put them next to each other, they're gonna pop so I can make this red mawr intense, actually, by putting green nearby it and not even changing the color of the red So simultaneous contrast. So we don't want this background area to look like lines here. I mean, I had to put him in here, but you don't want to look like lines out here. It's gonna be weird because it's it's not lines. It's just right around stuff. So as it gets further out here, we can kind of make it go more nonlinear, abstract, - So you can also start putting in some of the a little bit of background in between these leaves back in here. So it's his warm dark, which will kind of push it back. We want contrast, like around this, this bud here, some contrast in here a little bit darker, warmer color around it. And around this one, too, - just kind of keeping this a little more abstract out in here. I don't want to look like anything in particular, just just color. Maybe had a little bit of other colors in here. There's a background, maybe make this a little leaf here. So just bank color on a warm. Did you see? I'm kind of varying it here, and they're not painting in solid colors. One stroke ahead, a little bit more brown on another stroke. I have a little more green on it. Just kind of keep vary in it except more rich and interesting flow. All right, now, I'm gonna come in and do some of these stay mons better in the shadow area, so and mix it with some brown. So I mean, even though this is red, it's a warm color, but within that color, you can have warm and cool also. So I am putting some warmer red here. That's gonna be for these shadow areas of these little right up little stamens. That air, starting toe curl and twist is they dry up. So the these statements, and with a lot of other stuff, I sort of do three kind of color planes. In a way, I do the main color. What should be the red here. And then I do a shadow color, which would be, in this case of warmer red. And then I do a highlight color where the light's hitting it more, which would be a lighter and cooler red. So you have those three reds. You can do the same thing in the green, have a warmer green for shadow areas, cooler green for where the light is hitting it, and then a mid tone green that's starting to look pretty good to get this shadow areas in their think I'll do a little. A little shadows here. This one doesn't have as many shadows cause of the way the light's hitting it. Then in here, there's some of these little buds air having picked out yet. 6. 6 Painting the Flowers and Seed pods: Okay. I'm gonna paint some of these stay mons in now. So I did the darker statement areas A little darker hairs, but now I'm gonna come in with the lighter hair. So for that, there's two reds here can see in the my palate. This is a warmer red. This is a cooler one. So where the light's hitting it? I think we want to be a little cooler, so I'm just gonna mix that and white, see how that looks. Think that's pretty good. So these are the ones that air catching the light here. I think that's a little too cool for up in there. It's going to warm it up. Yeah, that looks better. So it's basically both of these reds mixed together a little bit of white to this first stroke. Look to pink. It just, uh, didn't like red enough. This this is better. So you can only do this kind of stroke Really? With this rigger brush. If you're painting fine, little stay mons or details like this, this is pretty much a necessity. And it's maybe if you didn't have one, it might be possible to do with that Number one brush But you would be struggling because you see what? This There's no struggle. You just love the brush, get the pain to the right consistency. So it flows and then you just pull the brush across. Be careful not to get too blob. Too much, too big a blob of paint on the India rice. Sometimes I kind of twirl it again to get the right amount of paint load. If you get too big a blob, you're gonna get a big old fat line, which we did not want here. So that is starting to take shape. Now what's really gonna make thes pop is the little pollen. Second, the end of these, and that's what really gives it that razzle dazzle. But for now it is doing these statements, getting them all in to speak straight. It's possible that you don't have to be exactly straight, because in nature there's a few that her little wiggly and bet, but generally they're straight. And if you live in zone nine or or higher, these plants do really well. They don't need a lot of water. Their native to Baja California, it's about a a couple 100 miles south of to sign here. Southwest, their native Sonoran plant in the lagoon family Comptel, Cem Beanpot here. So they helped the soil put in nitrogen. Then there an amazing bird plant, especially having birds at one of these right outside my living room window and we sit every morning. And what's the hummingbirds? Come and just go from Boston to blossom. Let's put a few of these colors down in here a little bit on these with the lights catching them, taking shape even as a good time to start putting in some of these little close up upon at the end. Each little statement, some starting with this, uh, yellow car here. It's another good thing about this rigger brush here. Maybe I should brush up some of this ridge. We can just dip straight into here. So some of these and putting on al vases and putting them, they're going on top, which means it read that they're all forward. So I'm gonna have to hit it with a few strokes toe, make it look like it's down inside their which they are, and then we'll marry this color also. So this is a warm when here we should do one that so this would be, I guess, our Middletown. So it's It's obviously a warm color. We'll do this. One is the Midtown. They will do a a little bit darker, warmer version of it, and then do a cooler, lighter version of it where it's hitting more in the sun. So let's do a little bit darker one here. So here's our Gallo. Let's put just a touch of this number. They can see the difference there, so this will be the ones that are further back. That's working. All right, now get a base color here. They put some yellow in it. Now these guys are really gonna pop one or two down in here. Well, I do kind of certainly has an overall edge to it. This arc. - Maybe a little bit of white in this, too. I can do just a few. That really pop pair then hit this year. The base of this right here, There. Okay, it's coming together. I think there should be a few mortal, really light read strands in here. Yeah, that's better. That's what it needed. Those first ones I did with the lighter ones were just not quite light enough. - They're So that's where the sun is catching this. These few random ones here. And I should pray deliberately that up in here, where the lights just catching on some of these help to give it a little bit of three dimensionality here. I want to do too many of these. But I do like that color. I'm gonna put a little more red in it and then put a few more of these strokes here. Yeah, that's about right. - Maybe down in this area, these little buds, you're catching the light here. Okay, that's coming together pretty good. I think I'll put a few darker, warmer tones in here to you. Really? Maybe just full intensity. Let's see what that looks like every once a while when you dip your brush or get a drop of water right here. 10 minutes you're painting. It'll run and mess up your painting. So you get that just like that off? Yes. This is just pure red here, which will put a few strokes of that. Yeah, that makes it, like, really rich. Do that up in here. - So this is just pure intensity red here a little bit of that in here. All right. I think that's another that I may come back to that one. Alright, it's time to work on these. See? Positive it. Those were pretty good flowers air pretty well along. So let's get back to this seed pod here. So the colors were using on that where this burnt Sienna mostly white. Let's put a little touch of red in here. There's obviously a lot of red in this plant picking up here, and you can see it in the stems and stuff, too. And then they seedpods. So these seed pods have already exploded. There's still a seed sitting here, right here, - so it looks pretty good. It's put some quite in it. Maybe a touch of yellow Oakar that looks about right. - Okay , mid areas. A pretty well defined. So not going to do If you whites highlight areas, it's really catching right there, right here. And then we'll do some stronger whites were really catching, which is right there. It's a little bit of yellow. Okay, here. So our to the sort of final stages here where it's a lot of just kind of detail, kind of touch up so a little bit of white. And here where it's catching, I think that's about it. It's dark now, So the same color, A little bit of burn number. So this is the sea that was left. These have a pretty delineated little seed pod here. All right. Sort of defining the edges of this one hidden in the shadows. Leftover seed area here. Okay, that's looking pretty good. Take a pill. IBRA red in this. Just a touch. Just a little bit. Okay, So pretty good, I think. Take a break here and then come back and do some final highlights in chips can see the detail. So come in and define these seedpods a little bit and find this little but area this and just generally tightening things. 7. 7 Final Details: all right, zoom in and work on some details here. It's gonna work in this flower. So I think I kind of clean up around this edge like I'm going to make this a little more defined. Some of these were shooting out a little too far. And then I don't like this green And here sort of fighting with the the, uh, flower there. So I want to make it go a little bit more into the background so you can't see my palate now, but I'm mixing. That's green and burn number here. I'm just kind of go around this a little bit said to find this edge of it. It's that this flower has a more of, ah, I radio shape to it. And as I said before about this being the main character, we're gonna want to make that contrast pretty defined here. We want this to really pop from the background, some darkening this a little bit here and there. I'm gonna get rid of this greens here. That's party. Looking a little better itself are. I haven't used any black in here, but I think I'm about to now because this is pretty dark is about his dark as I could get it. Just using burn number and and brown and red. So I'm gonna get this burn number and put a little bit of black in it. This is gonna be for contrast then that should make this pop a little more in here. So once again, your eye goes to where the contrast is the greatest anywhere in a painting or in life. Basically. So in this painting, we're gonna make the most contrast in this painting right here where main character is. So this is the focal point. So I can't make the red any lighter writer. It's a bright as it's gonna be in is light. And if I did change the lightness of a change of color so I don't wanna do that. So to make this pop instead of changing the color of the flower, I can change the color of the background, and that's what's really gonna make it pop forward. And then I'm into the painting over a few of these little stay mons here and there and the little areas of pollen. But go back in and retouch those Let's get some dark right in here not carry some of this darkness down into here because this is our secondary character here. So we wanna focus a little bit on this one, too. So put some darks around it, make it pop a little more e Just realized you guys can't see that part. So go back up here where the camera is. Yeah, I think that's what pretty good. Yeah, that's popping up a lot more. - Start putting some of his start back in here behind some of these leaves. I'll probably come back with some more leaves on top of this here. And actually, I'm gonna have another leaf Come across here. So once again, main character, Main area here. So more contrast. - So put a few greens around here that's looking pretty good. Put a few word darks and when science is black and burn number and I put the burn number than in there to warm it up because if I just put black black is a cold color. I mean, they're warm blacks with overall black is pretty cold. And if I put just black in here, would it would not look right? Would be to cool of a background so putting this black in here, - So darkening all this back in here a little bit more. All right. I come in with some some of these little pulling heads in the background. So for this, I put yellow car mixed with that color that was already on. My brush would be easier for the pollen. That's way back. Okay, Now, this absurd in medium level ones, which is pure yellow car here. Hey, uh, next we'll do the really light one with some of this yellow and white. These are the ones that are catching the light here. - That's about Get that now, I think Probably one last time, but a couple of red strokes in. Then just mix it with this color that was already on my brush here. All right. I think that one's pretty well complete. A little bit. You Some final touches on this part. Okay. You know, working this little apple area buds here. You wish my brush out. Get back to the yellow, yellow and white, - This is Here's this straight up yellow Oakar. No fineness. Find these little tiny pedals just a little bit here. Cibeles. I guess this is red with a little bit of burn number here. - A little bit of a stem going down here. That's a mother. Go steamy things and a few more darks right in here. I'm pretty kid. I move this up a little bit of work in this scene. Pot here, by the way, is this museum putty stuff that put on the back to keep it from sliding around? Okay, seedpods that see? So the global, this background in here, - just kind of putting some background in around this hair, defining the shape a little bit with the background. - I'm basically just making this stand out a little more by darkening the background around it. - If you do the tip of this year, maybe dark in this little in here, right down in here to find this a little bit, we're in the final stretch here. Okay, Maybe a few little highlights. Now what ISS Where else do we need to tweak stage now? Really? Let the light catch a few little hairs here. Statements, I should say very hair like that. Maybe here, too. They wanted to. These statements is catching the light here. A little edge in this for the lights catching it dark in round top of that one little seed pod. There. Right in here. Sharpen this up a little bit. - That's pretty. Let's zoom back at all. Right. Maybe a few more believes. And I think we're done. Here's this. Keep him from slipping. Slipping this bad. Okay, Yeah, I think just for a little bit of the leaves. I'm gonna put some of this for radiant. Hugh on here. This is a much cooler green. Could make some of that white. And cause that's kind of the way those leaves are. They have a lot of that kind of color in him, so it's a little bit more of a blue green. Almost. So I'm gonna use this color here since it's cooler. Can it? So I got red in there. Do you know what red in there? This is gonna be for the highlights. That's gonna be pretty pure white with a touch of his grain in it. Now I can make some of this back into it. Mm. That's too cool. Slippage. That's what I'm trying to get Here is a warm agree. I mean, a cooler green for the highlight areas. That's kind of cool way to do that. Leave this kind of calligraphy style. Do the same thing here? - No , just a few little leaves here and there. Just some sort of plant noise here. I think we're about done. - Okay . I think this is about it here. Just a few more little stems and plant stuff. All right, I think that's it. 8. 8 Quick Recap: So here's the final painting. Scroll down the second. No, zoom in and talk about some of the stuff here. So it zoom in and see what we learned so appear. You see, Remember, we started out with the background hair, did some, um, some rough lines and colors and stop. So you get more and more detailed. And many things kept in mind was the warm, cool relationship here, Especially right in here. You see this? This background is very warm and very dark around this flower here, says Flowers, actually a warm color. It's actually Ah, hot color has is rid. So I had If I would have made this just black behind it, it would have been too cool. I wouldn't look kind of weird, so I had to make this really warm in the background to make this flower pop out, saying these leaves here. So even like in here, it's It's green, which is a cool color, but it's a warm green, and here's a cool green, so this green here pops forward, and this sleep here is even cooler than this leaked. This has more yellow, and it is a little bit lighter and bluer. So we kept that pretty much through the whole process here. Same thing here, basically the same thing. Just different shaped hairs. And then with this seed pod, which is a, uh, it's kind of a warm color. It's warmish brownish, but it's, um cooler than this background here. So even though this is green and it's a cool color and this is brown and it's a warm color , this is actually cooler than this. And that's what gives it that illusion popping forward that this is about because this is being hit by ambient cooler light. In this background, it's much warmer. So then I like to kind of trail off the page here with these should have been yet id kind of swipes and stumbles and Slash is a paint, so that gives it sort of an abstract quality. And so the next step after this is to bring it into photo shop. And, uh, so what I did next was scan it and brought it into a photo shop, and I'll show you that next 9. 9 Bookmark: Okay, So I, uh, finished the artwork for now, ready to do the bookmark. So the printer that I'm using, uh, said this template on this is really useful because you see, here the lines indicate that blue is a safe zone. This pink color is a trend zone. So what you want to do is make sure. So I brought in my artwork, moved it around till it fit right, and I made sure that it it goes all the way to the edge in every direction here. So it's got a good bleed all the way around. And then I did my text brought in desert survivors, and I made sure that it's well within this blue area here, nurturing people implant since 1981 and then at the bottom here, their address and contact info. So, as you can see, I made sure that everything important in here is within the blue line, definitely within the pink and in the edge. So it's all there, so in the text. So you click in here if you look up here. So this is ancient script regular, and that's the point size, and it's centered text. So these were different sizes, and I like this fun. I think it matches the artwork well. So once you get it to this stage here, it is ready to send after the printer. So in this case, what I would do is just make sure this template is up. Don't want that printing, and then I would flatten this save. It is a high resolution file, depending on what the printer waas often a tiff or a pdf, and it's a c m y que, which is what printers use. And once you get all that said, it is ready to go, and I can basically just shoot this over to the printer and email it, and about a week I have hundreds of these postcards, so that's how you do it from start to finish from acrylic wash to scanned image T photo shop and text. Flatten it, send it out and you've got a bookmark. So thanks for watching hope you learn some stuff. If you have any questions about the entire process, leave it in the comments or questions and I'll try to get back to you. Thanks for watching