Paint with Me - Backlit Forest in Acrylic

1. Introduction: Hello, my name is Claire and I'm a full time artist based in Melbourne, Australia. I've been painting for over 25 years and I've been teaching classes both online and in person for at least six or seven years now. In this paint with series, you can learn how to use acrylic paint and create a stunning artwork by following my steps. In this particular class, I'll guide you through creating a simple yet expressive landscape painting using only four colors. This class is perfect beginners who want to take on a quick and straightforward project. 2. Materials: Before we get started, I need to talk to you about the materials that we're going to use and how to prepare your surface for this project. I'm going to be painting on cotton watercolor paper with acrylic paint. Now you can use any surface that you like. You can paint on canvas. You can paint on canvas boards or masonite, or timber, or watercolor paper. Now, the best watercolor paper to paint with acrylic on is quite heavy weight watercolor paper quite thick. You don't want anything too thin. This is 300 GSM paper. It has a nice cardboard quality to it, and it's not going to warp and bubble too much. Now I've stuck this down to my table just so I've got a nice, sturdy surface. I also like to have a bit of a border around my paintings on paper. So that's what the, my skin tape is for. I've also coated this paper in a layer of paint. This layer of paint has two purposes. One, it's going to seal the paper. A watercolor paper is obviously very absorbent. If you don't seal the paper first, the first few layers of paint are just going to get sucked into the paper by putting a layer of acrylic paint down First, you seal the paper so that you can then continue to paint on top of it. It also creates a nice base for the painting by having a color down on your paper, rather than having just white paper or a white canvas, makes it much easier to judge values. Now, some of this color may show through later on and may not. But it's more important that you have a fairly midtone value down on your page first, or on your canvas first, just so that you can build up values on top of it a lot easier than with just plain white paper. Now, if you're painting along with me today, you can feel free to use whatever colors you happen to have handy for you. I'm going to be using a fairly basic three color palette. At four color palette of simple primary colors. You can substitute any colors that you like with these. As long as you have a yellow, a red, and a blue and some neutral color, I'm going to be using burnt sienna as my neutral. But you can use any brown, or gray, or black. However, if you do change the colors to what I'm using, obviously your painting is going to look a little bit different because you're not going to be using the same colors as me. But if you do want to follow along exactly with what I'm doing, these are the three colors, plus my neutral that I'll be using. Plus, of course, white. Obviously, white is what we're going to be using to change the values of our colors. White is very important, but white is always there. The colors I'm using today are nickel, azo yellow, thalo blue, green shade, and magenta quin violet. I've also got burnt sienna. These are the colors that I'm going to be using to mix all of the colors for our painting. If you don't have these exact colors, that's perfectly fine. But I do recommend getting at least a yellow, blue, and a red. And of course, the burnt sienna is there so that I can dull down the vibrancy and neutralize some of the colors so that everything is not super vibrant all the time. Which I will talk about more while we're painting. This is what you need to do. Get yourself set up. You need some water. A couple of brushes. The brushes, again, it's totally up to you and what you have. I will be using mostly bristle type of brushes. I also have a soft acrylic brushes. Just use what you have on hand. This is a really more about learning technique. As far as building up the painting in layers. You can focus more on specific brushes later on once you've had a bit more practice. 3. Step 1: Sketch: The first thing that we're going to do is we're going to sketch out our composition on our paper. This is just so that we can get everything roughly in the place that we want it. The easiest way to sketch out a composition is to pencil out the rule of thirds onto your page. The dimensions of your canvas might be different to mine. In order to get the placement of everything roughly where it should be, you should divide your surface into this rule of thirds grid. Doesn't need to be perfect. You can see my lines are a little bit wobbly, But what this is going to do is help you balance everything and sketch out everything where it's roughly supposed to be. It's going to help you place things in the correct way. For example, this beautiful big tree, which is our feature for this painting, is going to be sitting pretty much on this third line here. And it goes all the way up to the top of the page. I'm just going to sketch that in here. Now, once I have that in place and a few of the branches that come out of it, I can now work out where other things go. There's also a couple of trees this way as well. Over on this side you can see three. And then there's another tree in the background here. We have the top of the trees in the background coming about here. In this point I'm going to roughly marking where that is. Then we have all these ferns in the canopy down here. I'm just going to make some marks that help me indicate these are ferns and plant life and things that are happening down here. Then maybe the ground. Your sketch doesn't need to be incredibly precise. It's just a way of blocking in some marks and some shapes to help guide you and let you know where the information has to go on your painting. I'm just going to move something out of the way. It's not so dark in this corner, but it doesn't need to be really detailed. You don't need to have every single bush or twig or plant locked out. You just want to have a really simple plan and layout for the composition of your painting. 4. Step 2: Underpainting: So the next important step is what I like to call the underpainting. Now the idea of an underpainting is to help you set up the values for your painting. It's just a really simplistic underlayer of paint where you go around blocking in the different areas of your artwork using relative values. When I'm talking about values, I'm referring to how light and how dark a certain area is. For example, the value of the sky that peaks through these trees is very, very light compared to the bushes down in the shadows. The bark on this tree here is a little bit light down the bottom in value and then it gets darker as it goes to the top in value. There's some light peeking through back here on these trees in the background that are quite light in value compared to shadows over here. What we're going to do to help set up our painting is to just block in those areas of value to make it more obvious where we're going to put things. Because this painting is going to be built up over several layers and this is just the first underpainting layer that's going to help us work out where things are going to go. Once you get this layer down, it's really the beginning of your painting. And from there you build it up with lots of layers and different values and brush strokes. But this is a very important step that we need to get down. I'm just going to get a little dollop of each of my three primary colors, the blue, the red, and the yellow, which has a little bit of blue mixed in it. But that's okay, and a big drop of white. I'm not going to worry about the brown, the burnt umber just yet because I'm going to use that later on to help create different varieties of values. But for now, we're just going to put in a simple blocking. The first thing that I'm going to block in is actually the warmer trees in the background. I'm going to do that by mixing up a value of light green using some of the nickel azo yellow. A little bit of the flow blue. Anywhere in my reference photo that I can see these lighter bushes in the background showing through, I'm going to block them in. This layer doesn't need to be a really thick layer of paint or really vibrant. It's just a rough guide for where some of these color is going to go. Let's get a little bit more yellow in that mixture because our background is quite yellow. You probably might not see most of this as easily as I can because of the film. But there we go. I have blocked in all of my furthest green color that I can see. Now I'm going to work my way forward and start bringing in some more blue into this mixture because all this color under here is much cooler. I'm going to come in front of these trees here. I'm just really loosely blocking in the color. I'm not worrying about detail or putting in specific branches or actual trees or anything like that. I'm just looking at value and color at the moment, working out the underpainting, the color that underneath everything, If I was to chunk it into a big section, all of this undergrowth area is going to be this similar color and value. Then as I get down to this bottom part here, I'm going to add a little bit more white and just lighten it up a little bit, just blocking this with a bit of a cooler blue color in front of this tree. Here there's bushes. I'm going to make sure that I blocking those as well. Okay, now I'm going to move into the underpainting for the trees and a bit of the background. Okay, You can see in the reference photo that this tree up here has a lot of foliage that's happening up in the sky area. I want to actually block in the underpainting for the trunk of the tree first. To do that, I'm going to mix up a light purple color to begin with. That's just the magenta and the thalo blue. And I'm just going to block in the shape of that tree here. I know there's a couple of branches that come off it as well. I might just move to a slightly smaller brush because I'm going to do the same with these other trees in the background, but they're a bit smaller. I don't want to use a really big brush for those. I want to make them a little bit more delicate. It's nice straight lines like that. Some of these branches in here, some of them cut across here as well. Now that I've added the trunks in in my underpainting, I can now come back and add in some foliage around here. I'm going to go back to this green mixture that I have. It's quite dark, this foliage up here. I'm just going to block and see how I'm dabbing my brush. I'm not blocking in a solid layer of color to create a really loose representation of those leaves in that space. Let's get some white. This white already has a little bit of blue in it, That's okay. Anywhere that I see sky peeking through, I'm going to lock that in as well. A little bit more white anywhere in between all the trees. I'm just going to block in this lighter value of sky. It's quite normal for this to look very naive and childlike at this stage because we're just painting really flat colors and there's no detail, there's no contrast. All we're doing is setting up our painting so that we can continue to layer. Now we can see a bit more clearly where things are happening. We've got three different areas here. We've got back the sky, we've got our foliage, and we've got our trees. We're going to let this dry and then we're going to start building up our painting into the next stage. 5. Step 3: Building up values: So now that we have our underpainting established, what we can do is we can start building up certain areas of the painting. Now the way that I paint, I don't finish off one area before anything else is finished off. I kind of build up the whole painting in lots of layers. So I'm always working around the painting and changing contrasts and mixing different colors and playing around. So this process is very sort of intuitive and I will try and talk my way through it as best I can. But it's really just a process of building up the layers and the painting is complete. Whenever you feel as though it's complete, I do have the reference photo next to me here. And I am looking at this reference photo, but not to make it exactly the same, but to help guide me when it comes to my values. I'm looking at the reference photo and seeing where is it dark, where is it light, where are the interesting areas of this painting? And that is what is directing me to make my decisions about what to do a medical next. The first thing I'm going to do is I like to work from the furthest thing away to the closest thing at this stage, the underpainting stage. It doesn't really matter which order you do it in, but once you start putting in more details and more interesting areas, you really need to start thinking about the placement. It makes a lot more sense to paint the things behind these focal points before I paint the focal point. If I was to paint the tree and get a lot of detail and interest in this tree and then ignore the thing that's behind it. I would then have to go back and paint in behind it. Again, it's much easier just to work from the furthest thing away to the cost. That's what we're going to do to begin with, I'm going to come back and mix up a thicker version of this color here. With this layer, we're going to start building up much thicker paint. Instead of using very thin washes, we're going to come in with a thicker texture. This is where the heavy body acrylics come in handy because you can water them down to make them quite loose and it's almost watercolory. Then you can actually use them straight out of the jar in their heavy body form and create a lot more texture with your paints. I'm just mixing up a really bright yellowish green color, just using really loose dabby brush strokes. I'm coming into this background area and adding some more texture. I'm just going to go along the tops with the lightest value that I have here, picking up more paint when it's running out of my brush and looking at my reference to see where this lighter color peaks through. Once I've done a few layers that I'm going to add a bit more yellow and darken some of the areas. I'm just adjusting the value of this color, bring some down into here. Now I'm going to add just a little tiny touch of magenta into this mixture. You can see how this has now turned it into more of an orange color. I'm going to add some of that in as well, just towards the base of these background trees in the distance. Just to add a bit of shadow and depth the placement of this, I am using the reference as a guide. But it will get to a certain point where you need to start paying more attention to your painting and not the reference. Don't get too fixated on making it look exactly like that. You see adding some more things down here. There's a bit of a patch of lightness that comes through here. Actually, I might add a bit of that there as well. Now I'm going to move down into this blue area now, we can start bringing in some more cooler colors. The really good thing about this reference here is it has a really strong contrast between warms and cools. There's a lot of warm tones in the background where the sun is hitting this foliage, and then there's a lot of cool tones in the shadows. It's really fun to emphasize that and play around with that. I'm going to mix up a very blue green by using the flo blue and this mixture of green that I already had over here and a little bit of white. I'm going to again, add in some brush strokes and that mimic the foliage that I can see. There's a lot of fern shapes back in this area here. I'm making my brush stroke mimic those fern shapes. There's one in front of the tree here. These are really nice cool blues. Another thing that I like to do is I don't like to use the same color all over a certain area. Once my brush has run out of paint, I always dip back into my mixture and I make it slightly different. This time I've added in a little bit more of the white to lighten the value. Now I'm going to add in a few marks with this color. Spread it all over the place. Maybe this is somewhere over here as well. Now that my brush has run out, getting not enough paint on it anymore, I'm going to come back into this mixture. But maybe this time I'll add a little bit more blue. A bit of a darker value. I'm going to add a bit of this around. Every single time I come back into my mixture, I'm slightly altering the color and the value just to create interest. Otherwise, you're just going to keep painting the same thing over and over again and it's going to get very boring. The painting is not going to have as much life as it could have if you change up the colors and the values, have fun with it, play around with it. Like maybe we can add a little bit of magenta in here and a little bit more white. And we're going to have some really cool purple tones. If I look around in this reference, I can see underneath some of these ferns. As it gets closer to the ground, the values in the tones do get quite purple. We can play around with that as well. Down here, some purple tones. Even like the grass area down here, I can actually make this a cool, pinkish purple. Let's get a bit more white into that mixture and see what that looks like. The great thing with acrylic painting is that you can make these intuitive decisions about color. If it doesn't work, it's not a big deal because this painting will dry very quickly and I can work back on top of it again and I can change anything that I'm doing here. At this stage, there's always the opportunity to change things and for the painting to evolve in a certain direction. If you make decisions about color and you put it down and you don't like it, don't stress about it. Just wait ten, 15 minutes. The painting will be dry and then you can come back in with new color and play around with it a bit more. I'm going to let this rest for a minute. I'm going to move on to these trees here. I want to bring out a bit more of the values and things that are happening in these trees in the reference, as I said it, it's quite shadowy up here where all of these leaves and branches are. And then there's some really nice light areas down in the mid area of the tree. I'm going to start with the shadows. Let's maybe bring back some of this cool blue color. Let's pop a little bit of that on our tree trunks up here. So it comes down to about here on this one. Make it come about halfway for this one. It's peeking up a little bit in here like this. Maybe we'll go a little bit of white into this mixture and just add a few marks of the lighter color just to add a bit of variety. Now we're going to come down to the tree trunk area. Now, it doesn't really look like it in the reference, but I am going to add a little bit more pink into the trunk just to warm it up a little bit, because I want it to have a nice warm feeling. I'm going to start with white. A little bit of the yellow and a little bit of the magenta. I'm going to create a soft pink color. I'm just going to fill it in with that. This isn't the final layer of this tree. This is an extension of the underpainting. Really, I'm just bringing in a little bit more color. I will come back with a smaller brush and some more details, but for now I just want to get that lightness in here with these ones back here. I'm just going to get the base of those with this lighter pink as well. This one here that, and then I don't want to forget this one over here, which is actually a little bit darker, so a little bit more pink into this one because it's in a little bit more shadow than the others. Okay, same with this one over here has got a little bit more pink in it. The last, final little step that I'm going to add in on this layer is that we're going to break up and add a bit more interest into the leaves up here. I'm just going to add a bit of white into this mixture. You can see that I play around with the pools of color quite a bit. Let's just add in some lighter touches of this foliage. Keep your brush strokes really loose and playful. See how I'm scribbling. It's almost like I'm painting with crayons. If you imagine a three or four year old how they would use crayons at kindergarten or preschool and they scribble. That's what I'm doing, The motion of my brush at the moment, it's very scribbly. I'm doing that to create really loose brush strokes and to not get too fussy with my placement of things. This is now the second layer of painting. You can see I've increased the vibrancy and the thickness of some of these paints. I've changed up the values a little bit and added a bit more interest with my brush strokes. We're going to let this layer dry and then we're going to come in at another layer, continuing to build up contrast. 6. Step 4: Adding contrast: The next stage of this painting is to start bringing in some contrast. Contrast is the difference in the lights and the darks At the moment, there's a lot of midtone values. There are some lighter areas, but they're really not dramatically light as well as there isn't any super dark areas. I'm going to look at my reference and have a look around and see where I can picture really dark areas and really light areas. Obviously, the dark areas are mostly down in this shadow place. There is also some darks up around here. I'm going to do those first. We're going to add the thalo blue. I'm going to add a little bit of the burnt sienna into here as well. Just a tiny little touch of magenta to create quite a dark color, a very dark value. I'm going to use this and I'm going to go around using my reference and just looking to see where I can see darks. And I'm going to make marks that represent those dark spaces. It doesn't need to be perfect. It's not a lot of detail, it's just blobs of dark that I can see in the reference and I'm representing those. If I work my way around, I can see some around here. There's a bit of a dark shadow in there. There's some dark shadows up underneath some of these trees in the foreground, especially down towards the base. I might be able to add a little bit of white into this. A little bit more blue red to go for like a darker purple. It's not quite as dark as the previous, but it still provides contrast. I can definitely add that down in here underneath this tree area. Okay, so let's mix up again. Let's get a bit of the burnt sienna and the thalo blue to make a dark, cool brown. And we're going to use that just to add a few touches of darkness up in this trunk area. Yeah, this branch that continues out over here is quite dark. This brush may be a little bit big for this, but that's okay. There's also a very dark branch here. Okay. Might move to a smaller brush, find one. Yeah, it is. Using this dark, I'm going to add in some more of the branches off this tree here because it kind of extends a lot further than what I have sketched originally. So I'm just going to make sure that I add those in, but it doesn't need to be a smaller brush as well. Down in this area here, we can bring a bit of contrast in to the bottom of this tree by adding some shadow. Some of these trees that are in the background as well, they've got quite warm tones down there. Let's get a bit of the magenta and the burnt sienna and a little bit of white. Let's get a little bit more Ben Siena, pop, some of that color down in the base of these trees. These are gum trees, by the way. Obviously I am Australian, if you haven't already noticed from my accent. These are gum trees, Eucalyptus trees that are everywhere where I live. They have really beautiful colors in the bark that you don't always notice until you look a little bit closer. And I really love emphasizing them and playing around with the colors that I see. Now we're going to push it into the opposite side of things and we're going to start bringing in some really light colors, mostly in the sky. You can see that the brightest areas of this reference are in the sky. All this back light that's happening, we're really going to emphasize that. Now I'm going to use mostly almost pure white. I'm going to add just a tiny touch of thalo blue. I'm going to use a fairly small brush and I'm going to create what's called light holes. Light holes are basically everywhere that you see the light coming through the trees. We're really going to emphasize that by making it really clean and crisp, and bright in those areas. You can use this technique to bring out the back lit effect. To also break up areas where it may be quite heavy with brush strokes. Example, down in this area here, I can break up the edge of these trees really emphasize the back lit sky. This really only works if you have quite thick paint. If your paint is still very transparent and wishy washy, it's not really going to work because it needs that really thick opaic paint in order for this to cover over everything really well. Even like up in this area here, I'm going to thin out where I can see the light. You can also use it to kind of edit out areas. If you've got a bit crazy with your branches or with your background trees, you can use the sky to cut back in and get rid of it. I'm going to thin out some of this bit here, a little bit crazy. Again, I'm using my reference as a guide. I'm making everything exactly the same. I'm not making every single little touch of light and keeping it, what's the word photo, really stick. I'm not copying everything. But I do have the reference next to me so that I can just really quickly look at my reference and flick my eyes back and forth between my reference and my painting to help me work out which areas I need to add some of this light into, which areas need to stay dark. So let's come up in around here. And finally finished with the back light. Now while this is all quite wet, especially when I'm painting this back lit tree scene, what I like to do is while this background color that I just added in is wet, I just realized I'm a little bit there. You can flip over and use the other side of your brush and draw through to create more thinner branches. Because even though you've just covered over a lot of that with the background, you'll see that in the reference that there is a lot of branches, but sometimes having them painted will make it look too heavy. By scraping through and adding branches that are drawn with your brush will help to create the effect without it being heavy. Okay, for this layer, we've now finished and you can see that the contrast has been boosted and we now have some really nice darks and some really light lights. The next and final layer is really going to be pulling everything together and adding a little bit of detail where we need it. Adding a bit of value changes where we need it and wrapping it up and finishing the painting. 7. Step 5: Finishing: Now comes the really fun part where we get to add in details and play around with lots of mark making and really fun, expressive stuff in order to finish up this painting. Now, at this point, your painting can be finished whenever you feel like it. If you like the way that it looks in this more simple form, then that's fine. You can stop now. But if you want to add a little bit more interest and a little bit more expressive brush strokes and things, then you can continue to play and add. There is a point where you can go too far and overwork your painting. That knowing when that's going to happen does take practice. The more you paint, the more you'll become aware of when it's time to stop. But don't be afraid of, don't be afraid of making choices and experimenting. A little bit, these little paintings, especially if you're working on paper, they're very fast and they're very affordable. You can do a lot of paintings on paper and just keep practicing. And practicing and practicing. They don't take up a lot of space. Nobody else has to see them if you don't want them to. And it's a really great way to just get experimenting and get that feeling of wanting to just paint out of your system without being committed to a big finished painting that other people have to see. I do encourage you to play and have a bit of fun with this, but at the same time, don't worry about it being ruined, because you can always just start again and do another painting. It's just paint. It's all about learning and having fun. Try not to take yourself too seriously, but what we're going to do is play around with different brush strokes. Maybe bringing in a bit more color in the trees. Let's just see what happens. I don't really have a plan at the moment. This is where the painting takes on a life of its own. I look at the reference a lot less. Now. I pay more attention to the painting and what needs to happen to make this complete. Who knows what's going to happen? Let's see. But I'm going to start with maybe bringing out a little bit more interest in these little fern areas. Let's get a little bit of a fun light blue green color. That's my technical thing. Let's get a little bit of this happening. Let's see where I can see this. In front of this tree here, there is some really nice ferns. I'm going to make a little bit more blue, blue color in this using just a small flat brush. I'm just painting the shape of these fern fronds. May there's another one that comes out here a little bit, some over here too. I'm just having fun making that shape. I'm not really worrying too much about whether it's the perfect placement for it or not. Again, you can see I'm mixing up a lot of different colors. Now I'm coming into a bit more of a lighter green. Maybe we can add some of that here where this lighter patch is. Maybe there's a few ferns back here that are sitting. The sun is coming through the trees, you can see them and they're a bit brighter. Just some of that. Straight yellow is really nice. A bit of white in there. And bring that up into here. There is some yellow up there. Maybe I'll add a bit more whitened. There's some taller fans that are coming out a bit higher up. Let's add some of those into. It's really just about playing around with more textures and more brush strokes and seeing what happens. Let's, I might need to put some more blue on my palette. Some little dabs of turquoise color, more blue. Maybe there's another tree coming up there down in this foreground area. We can add some of these fern shapes, and maybe they've got the bases. I guess that's what they're called, the base of the ferns. You can see some of those too. Let's up a bit of a light purple again. It's a little touch of the palo blue in the magenta. Maybe a little bit of the bird sienna as well. Just to make it a little bit less vibrant, I'm just going to play around with some really textured marks down here because there's lots of sticks and twigs and bits and pieces. I can even mix up a little bit more of the brown and the magenta. Maybe there's some sticky bits. Some of these can come into here as well. If you like this comes into play, then we can add a bit of this color onto the trees back here as well. Sometimes it's nice to travel color around if you use color somewhere in your painting, move it somewhere else. Even if it's just a little touch of it here and there, it will really help to make the painting feel cohesive. There's a little bit of a pinky bush back here somewhere. Okay, let's go back to maybe some darker colors again. Maybe there's some darks down here. There's purples. And like I said, this is the fun bed again, you can still use the back of your paint brush to scrape away some areas that you've just added in to add a bit more texture and interest. Maybe there's another tree back there, who knows? All right, now let's add something onto the trunk here. Let's get a nice light color. Let's get some of the lights. I'll mix it into this pinkish brown that I've already created. I just want to add a little bit of yellow into it, though, just to warm it up. Just a smeeche. Okay. I'm making a lot of my brush strokes on the tree, very vertical, because that's really going to help emphasize that the tree is up and down and growing. There's just a really lot of lines. I'm bringing you like some lighter values here. Let's cool it back down and add some into the trees in the background there. I really do encourage you to just play around and have fun. Even if you are painting along with me, don't be too fixated on what color is she mixing. What did she add to that? What did she add to this? Have a play. Because we're using a limited palette, there's really only so many choices that you have in regards to color. If you're wanting to warm something up, then add more of the red and the yellow. If you're wanting to cool something down, add more of the blue. Just keep shifting back and forth between colors. You can't really mix a bad color with a limited palette because everything is going to work together as a whole. Because everything that you're creating is only mixed from a few limited values and a few limited colors. You can't really mess up too much. I could even mix up quite a bright purple and add that into a few areas of these trees. It's still going to make sense and it's still going to look like it belongs. Don't worry too much about making the wrong color. Pay more attention to values where the lights in the darks are and a variety of values. See how in this area here, I have the same color really, but it's a variety of different values of that color. There's light and dark versions. That's what creates all the interest. I'm going to come back in here as well. I need a little bit more of this nickel as yellow used it all up. I'm going to come in with some white with that and make a really bright yellow color. Touch it onto some of the trees in the background. Again, I'm just increasing the vibrancy and the values back here to really emphasize the light that's coming through. Can use it in amongst this area here to break up some of that darker tree as well. There's a bit coming through here, a little bit of light sometimes comes through, some light comes through the back of the trees up here as well. So maybe we'll add some of that there. There's some flex of light that are coming further into the canopy over here, for example. It's like another different type of bush light hitting here. So I think we're nearly there. I'm pretty happy with how this is looking at the moment. Just add some extra marks in here. Okay, I'm going to dry this off and I'm going to show you some close up images. Here is a satisfying tape peeling shot. This is the white border that I was referring to when I said that I like to put tape around the edges of my paintings. It is for this reason, this nice little four centimeter edge around it. Here are some shots of the painting up so you can see the texture and the brush strokes a little bit. I hope that you enjoyed this painting project and I hope that it's given you a little bit of confidence to be a little bit more expressive with your own painting and color mixing. And make sure to check out my other videos. I have three videos in this series of paint with me where I go through step by step process of painting a particular artwork. So make sure that you check those out if you haven't seen them already. And I will be showing you a still image of the finished painting at the end. If you'd like to just pause the video. Once this image comes up, you can sort of have a closer look at it. Thank you for joining me and I'll see you next time.