Transcripts
1. Introduction: Hi, I'm Nadine. Thanks for joining me for class today we're going to
be painting a toucan. Just because I think if
you love watercolor, you're going to love
painting a toucan, these big stretches
of beautiful transparent, color are
really fun to paint. And it's really a lesson in. Getting the colour in in just clean single strokes and not fiddling too
much, letting it dry. And also the other thing I want to look at
today is getting, I'm often asked about the
darks about the blacks getting solid blacks without
leaving streakiness. So that's the other
thing that this lesson is about today. So what we'll do is we'll
go through the materials, go through the sketch, and
then we'll paint step-by-step. And hopefully when
you're finished, you're happy with your
painting and you can upload it for me
to have a look at.
2. Materials: Okay, We'll go through the
materials for this class. I'm using a reference
photo from pixabay. You can download that
from the Skillshare site. And I'm painting
flat on a board. I'm not taping
down and I'm using 300 gram Arches
cold pressed paper. I've got a regular HB pencil and eraser for the
sketch. For my brushes. I'm using three today. I've got this large neef, it's a size ten, it's a squirrel taklon mix this one, i've
written the details of which brushes
in the materials list. Whatever you've got I'm
sure will be fine. You just want
something that's big enough that you can
go the distance. So don't pick a tiny brush
to try and do is beak. And then I've just
got a couple of small round synthetics for the detail. In terms
of the paints now, for the yellow and red for the orange of the beak I'm
using two Daniel Smith paint. So I've got pyrol red and
hansa yellow medium. You could use cad red
and cad yellow for that. If you've got those. I'm
using another yellow. I've got a little bit
of yellow here in the cheek and for that I've just got some yellow ochre from Winsor Newton or you can use some
raw sienna for that. For the black, I'm using. I like art spectrum, Payne's gray for these darks. Or sometimes I would use
Daniel Smith indigo. Either one is fine.
This might be hard for you to get depending the art spectrum,
depending on where you are. Because there's an
Australian brand. For the blue in the eye, I've just used some Winsor Newton, French ultra because most people have that kicking
around in their kit. It doesn't really
matter. Whatever blue you've got will be fine. and then I'm just, you don't
really need this. I've got some Van Dycke, Daniel Smith, Van Dyck
brown underneath the Beak here, a bit of a shadow. You could use some
burnt sienna here, or you could even
use whatever black you're using for the rest
of it to do the shadows. don't specifically go and
buy the Van Dycke brown, Although I do like
this, it is quite nice. I use it a lot. Then I'm putting a
little highlight in the beak and a little
highlight in the eye. Just with some art spectrum,
white gouache. Other than that,
you need a palette. I've got a tub of water or maybe a few tubs of water
because you will need to keep cleaning your
water because we're using yellow to keep
everything tidy. And just some toilet paper, or some tissue to
clean up your brushes. And I think we're probably
ready to start the sketch.
3. Sketch: We'll start off with the sketch. Really simple. I do want you to be careful
of the curve of the beak. You really want that
beautiful shape in properly. Now, I have drawn this probably a lot darker than
I would normally, just so that you can
see it on the video. I will say be careful of your pencil lines in
these areas where we're painting yellow
because pencil is really difficult to get off
underneath the yellow. So maybe these ones up here keep them a
little bit lighter. Also don't go too heavy on the black of the beak
here on this line, because we will let that bleed a little bit into the
yellow underneath. So go easy on the pencil. Don't get too fussy about, don't worry about
all these stripes. And I've also ignored, it's got like a serrated line
along the joint. of the beak here. I haven't
worried about that. I'm just giving myself
a straight line to keep life simple. So that's really
all you need if you don't want to sketch
it up yourself. I have uploaded a
template for you to use, but it is a pretty
simple sketch, so give it a go first before you give up
and use the template. So we're ready to start to paint.
4. Starting the Top Beak: Okay, We're going to start onto dry paper into the yellow. We're going to do the top beak
first and then we might do the yellow orange
around the eyes. So I've got some
Hansa yellow medium and some pyrol red squeezed
out in my palette, you're better off using, I've got some dried up stuff
from yesterday. You're better off squeezing
out some fresh paint. And I'm going to use my size ten brush for this just because I want
to go the distance. So what I don't
want to do is have a small brush trying to get across the page and
have to keep loading up, getting more paint, getting
more water so use. Use a larger brush.
Make sure it's clean. Make sure your water
because we're using yellow, make sure your water
is super clean. It's really easy to get mucky
when you're using yellow. Okay, so milky consistency. Yellow paint straight
onto the page. Now I'm going to start,
although this is black. I'm actually going
to start in here because we're going to be painting
the dark over the top. So I'm going to start at
the tip of the beak, press down really hard so that I spread my brush
out and come into the, doesn't matter if
I paint over that because that's going to be black. Get another, load
up my brush again. Coming underneath that
line, trying not to go. I'm touching to
where I was before, but not painting over it, just joining the edge
and one more, pushing down all the way through. I'm not going to quite make
that so I've just dried. I just took the excess off my brush and just
closing those gaps. I don't want to
introduce water there. Now, while that's wet, I don't care that
I haven't quite come to my pencil edges here, but I'm not too fussed about that because I know I'm
going on with black. I'm going to switch now
to a smaller brush. Take off the excess water, pick up a little
bit of pyrol red. So pretty dry brush. And while this is wet, I'm going to come
along that top. Got to keep a
really steady hand. Washing my brush, dry brush, just tidying up, dragging
that red I'm just dragging that red
into the yellow there. You can see here my
pencil is quite heavy. That's what I was talking
about, that you want to watch your pencil lines. Okay. So I've got that
little bleed of red. I've still got
water in the page. Pick a bit more pyrol
red taking off the excess water on the heel of my brush but touching
it to the tissue. And then I'm just going to
drag a couple of lines. of red
I've probably not I've dried my brush,
see that's dried my brush too much. So I'm just going to
pick up, go again, little bit of red through
there, dry my brush. And now I'm going to
pick up a bit of yellow in-between those two lines. So what I'm looking for here
in this first wash is a few, a bit of mixing on the page. I'm going to put another
yellow here and I'm keeping the light up the top
so I'm picking my yellow again and just
dragging it I just, I can do that a few times. I just need less water in
my brush than on my page. And I'm going to drag that. As I said, this
doesn't matter because it's going to be black
underneath there. But just so that this
doesn't push back, I'm just going to drag
that paint forward a bit into the tip that's going
to be black. Right Now what I'm going to do, this, will have another
wash over the top. What I want to do is avoid the temptation to
fiddle in here. I just need to let that dry knowing that I'll
put another layer on later. I am just going to back off. So I'm just drying my brush, just that join there. So again, I don't want
to introduce any water. I want to retain this light. That's really important to
retain that light there. So I've been in here
for long enough. I need to come out of that. I don't need to worry
about the messiness here because that's going
to have black over it. What I am going to do, while I've got this yellow
is I'm going to paint around the eye here. I'm going to start
with my yellow. Picked up a little bit of
paint, milky, milky paint. I might need to switch
to a smaller brush. I'll just see whether
I can get, It's okay. If your brush It's
got a good tip. I've got a bit much
water there so. I'm just drying it on my brush, coming up to my pencil line. Now, if you've used a heavier heavier
pencil than a HB, like if you used a 2B
or something, you might find that
that pencil moves and gets mucky in your yellow, which is why I tend to
not use darker pencil. Pop that in. And I think I probably want more light than that at the top. So I've just got some water
and I'm just going to pop a little bit of water in
the top part of that eye. So I'm flooding with water, taking off the excess. Alright, and now again,
while that's still wet, now I'm going to grab a
bit of pyrol red and just let it mix, so I'm
touching into that yellow. I find that letting it mix, although I'm after
an orange here, I find that it's more
interesting if you let them mix on the page, than mixing up orange in your
palette and putting it on, I think you just get much more. Movement interest,
nice things happening. If you let the paint
do the work for you. I'm just washing my brush. just drag that around a bit and I'm getting very
close to mucking. So I've got to. I can feel that I've not got long
before I have to get out. So I'll just tidy up that shape. Remembering that I can always
add more. If I need to. Got a bit messy on the edge where I'm going
to put the blue, but I'm not going to worry
too much about that. That's where I'm going to stop. Let that fully dry. Then we'll come back in and we'll do the
bottom with the beak.
5. Bottom Beak: Okay, So it's been about 10 min now and I'm fully dry in here. So I'm just going to start
the bottom beak now. Same idea in that we're
going to paint first with yellow and then
I'm going to drop some hansa red in there. So clean water, clean
brush onto dry paper, loaded up my brush with
a milky consistency yellow. come into that tip, push down. I am leaving a gap between the top and
the bottom for now. As I just joined that. I don't have to get
all the way yet. Alright, then I need
a bit more paint and now to tidy up
the bottom bit. So you should be able
to get this in two. Strokes. Again, not terribly worried
about coming over into this part of the beak
where I'm gonna be black. Now while it's wet. Switching to my smallest synthetic or my middle
sized synthetic, picking up some pyrol red
while this is still wet, dragging in some red paint. And again, so when
I'm doing this, I'm really focused on I've
got my hand hard on the board, there on the page, and I'm dragging my whole hand. I'm not moving my wrist. I'm taking my whole hand across. Because I find that it's
easier to get that shape in. Tidy up and,
take the excess off. I'm just going to tidy
up this tip here. Okay. And then I'm going to
turn because I want to get a red right on the bottom. edge, so a bit more pyrol
red get some water, take off my excess again, dry brush and know I
keep saying that, but it's so important you don't want to introduce
a whole lot of water. Just dragging. I'm holding the page
because I'm not taped down. I don't want the page to move. Alright. And then I
need to come out of that. Let that dry. I'm going to let you have
a breath for a minute. We'll let that
fully dry and then we'll paint the
black of the body.
6. Starting the Darks: Okay, now it doesn't
really matter if this isn't dry because
I'm staying out of there for a minute
and I'm coming into this part of the bird. Now, what I'm gonna do
I often have people ask, how do you get a clean
black without streakiness? And really for me it's
about wetting the page, first not going
straight onto dry paper. I'm going to take
my larger brush and I'm going to wet down
where I want to put my dark. so coming. Just to the edge
of my pencil line. I'll hold up my page in
a minute and you can see how much water I've got. I want it, I don't
want it saturated. And I am going to
be a bit patchy towards where I finish off. Let me see if I can catch the light. So I'm not absolutely
pooling water, but I do want it a bit damp and right to my
pencil edge preferably. Okay, I've got all
sorts of bits of fluff and stuff
in here this bit of paper has been kicking
around my studio for a while now the
other thing I wanna do is make sure I've got
freshly squeezed paint. If I'm trying
to pick up dry paint, I'm going to have to put
too much water into it. It's going to dilute it. And then by the time I get
onto the page, it's going to be really wimpy. Okay, So really toothpastey paint coming in. I'm going to start in the
middle of the bird. Come up. So you can see, if it's not moving, you've not got enough
water on the page. And I do want to work quickly because I don't
want this to dry off before I've gotten all that dark on. Now going to switch to my middle sized brush now to
push out to the edges. Because I want to retain a little bit of
light on the top. I might close it in, but I initially, it's
easy to make it darker, harder to get the light
back if I decide I want to. Just looking at my
reference photo, does he, he does have a few flicks. I'm not sure if this
brush is fine enough. I'm just going to
drag a couple of little feathery bits
out of the back there, But my brush hasn't
got a very good tip. So be careful of that before you drag too much or you'll make
it a really fat head. I'm just coming to
join to my edge there, down the bottom here. I'm just going to move it around a bit and get
myself some broken edges. So I'm dry on
that paper here, so I can pull that down. And on the front here, Does he have he does he just got a few flicks down there as well. So I'm just dragging from the wet paint onto the dry page. And I'll just let
that travel down. I probably need a
bit stronger here. I don't want too many lights, so I'm just sitting back. The reason I've been messy
down here is that I don't want to cut the subject off to look like a I've cut
him off at the neck. I want it to disappear. Now. I need more dark in here. So while it's still wet, I'm picking up some more
toothpaste paint, dropping that in and
letting it bleed. You can see these
darks pushing out. Maybe a bit more here. Then I want to look up here. I reckon I want it darker
where it touches the eye. I don't mind the light
on the top there. I'm going to pick up
my tooth pasty paint, make sure my brush
is really dry. And I'm just going to
drag a little bit of that paint along the edge. And maybe in here, just, just trying to decide where
I want to keep my light, wash my brush
take off so I've got a clean dry brush now so that I can push around a bit in there without introducing
a whole lot more water. Because the page is pretty wet. and I'm still painting flat. I'm looking down here, I reckon before, before it, I nearly have to get out, but before it dries, see how my waters
come because I dragged those out
onto the dry page. I've now got this transition, this hard line between
where the water, where the page was wet
and where it's dry. I don't want that.
So I'm just going to, actually I might have to go to, I'm going to pick a smaller brush now and this is my size one. Pick up solid paint. And I just want to drag out
into those little flicks i did because I don't want
to actually go to get, so I've not got
enough water on my brush. I don't want that gray. I want that to be dark. Okay. And then when I come down
to here where I've got this transition, dry my brush, just going to worry my
damp clean brush over that join so that I don't get a hard edge between
where I've been with the wet brush
and this dry wash. Just teasing it down. Now, if you don't
go hard enough, if you don't get enough
pigment on, and this will dry lighter than this. It doesn't matter.
Once it's fully dry. We can do the whole
process again. But I'd like to try and
get it pretty strong. In that first wash. I'm flicking paint
all over the place, which is bad when it's something as dark
as this. Alright. I don't really, I'm
just sitting back there that little, I'm not sure about
that little flash of light. I'll see how I feel about
that when it's finished. And I've got a
little bit of light here that you might not
be able to see but I'm just going to close up here. So again, my, my brush
is drier than my page. And then I can feel I can feel I'm starting to
fiddle I need to stop, get out and any problems. I will deal with later. What I'm looking at
is whether I need to make this darker here to
get the curve of the head. but I've been in there
for too long now, so I'm going to stop, come
out and let that fully dry.
7. Second Beak Wash: While that's still, I'm still
a little bit wet there, so I'm going to come
back into the beak, finish off the wash in here
and probably put the blue around the eye. So what I need you
to do is make sure you have crystal-clear water. So go and change your
pot, wash your brushes, and make sure that
everything is clean because we're going
back to yellow. All right. And keep your
hand out of the wet. I'm going to get initially some clean water and clean
brush, my big brush. I'm just going to make I'm just going to wet down
just a little bit. I'm going to stay
out of this top bit. I'm just going to paint, a line of water, across there. Then I'm going to pick
up my, a bit more yellow. I'm going to come underneath
that and paint a line of yellow. And then I'm now wetting my beak with the yellow
instead of with the water. Alright. Now, I'm all nice and wet. I'm just going to run my dry brush just over the transition between
the yellow and the wet. clean water there. Grab my, middle-sized brush, grab some pyrol red. I'm going to touch it
into the pyrol red, and maybe a little into
the yellow as well. And then I'm just
going to, so I've got a little bit of yellow and a
bit of red on my brush. I'm just going to pop
into that wet page. A few little stripes. Wash my brush. And I'm just going to
drag my brush through. just to rough it
up a little bit. Probably need a bit
more yellow in them. So I'm going to wash my brush, pick up a bit of yellow and just
touch a bit of yellow in. So really all I want is
just a few verticals Now, I'm not just looking
at my reference. I'm just going to drag it. I'm just dragging my brush just along that
edge because I had that lump of paint there. Sitting back and watching
what that's going to do. Wash my brush. I've got a piece of hair there. Might have to stay
until it dries. And then I'm looking, I'm
going to soften that edge. You might not be able to see it but my yellow has
run in to that water. So I'm just dry brush
softening off that edge. Okay. I'm going to come to the bottom, beak and I need that
to be a bit stronger. I'm going to wet that
down with yellow. So I've got clean clean yellow. Now. I'm going to pick up some
pyrol red and just drag that through a bit. Just want it a bit stronger. So wet in wet, wet down with
yellow first, then my red. Now it may be that we need
to put a bit more dark on with some Payne's gray. Bull I'll just see how I feel
about that before we, I probably want to do the darks
of the beat before I strengthen that. I am
going to go slightly harder, didn't get any paint with
my pyrol red, underneath. So the join between the top
and the bottom beak there. So I'm not saturated because I don't want the
paint to move too far. And then I'm going to
stay out of that and see what that does. While that's drying, I'm
going to come over to the eye, wash my brush. I might need to switch
now to the smaller brush. I'm going to take
some French ultra. I'm going to paint around that. I've got some French
ultra in my palette here. It doesn't really, you could use cerulean, it doesn't really. That might be. Think that's french ultra.
yeah that's french ultra. Okay. Some blue anyway,
your favorite blue I'm just I'm all dry in here. So I'm just painting
around that, keeping probably more light at. the top. And then I'm going to come
out and let that fully dry.
8. Finishing the Darks of the Beak and Eye: Okay, So I'm dry now and we're going to do
the black on the tip of, the beak and these
two darks in here. So I might use my medium synthetic to start
with what I'm going to do. I'm going to make this a little bit damp on the join where the transition from
the black to yellow. And then I'll go
into dry paper here. So clean water, starting
in the middle of this shape there and just pushing it out to
my pencil edge. Just a little bit of water. I don't want to flood it.
9. Finishing Off: All right, So what we're going to do now is we're going to come into this white
part, which isn't, strictly speaking white, it's
got a few colors in it, but what we're gonna
do is make use of the paint that's
already on the page. I'm going to take
my small synthetic. I've changed my water, so I've got clean water just make sure
my brush is clean. I'm going to wet down. come into this sort of not quite in the
middle of the shape. This brush isn't perfectly
clean but that's alright. And I'm just going to walk
some water around carefully. Then I'm going to come up and just touch just to the edge
of that Payne's gray. It's dry, but it will still,
Payne's gray or indigo. Those really staining colors They will still run for quite
awhile even after they dry. So I'm just, want a
little bit of paint. That little sort of
blurred edge there. not sure how well that's
going to come across. And if it doesn't
move, that's okay. we can put more paint in, more pigment in, if this
doesn't run for you. So see how it goes. Well, not very dry there. See I've got a bit more
running there, but that's okay. If you touch it and
it runs too much, just keep cleaning your
brush and wicking it off. Alright, so that's started. I'll need a bit more than that, but I'm happy with the little
bleed that I've got there. I'm going to come around and
do it on this edge as well. So here I'm going to
wet down further out. I'm not going to touch the dark
until I've got that water on. Then I'm going to come and I'll start down the bottom
in case it runs too, see how it's still
going, now Payne's gray, will do this, see how I've
got this blue there. Sometimes I love that, sometimes I don't I don't mind that I'm just pushing it back because I don't want
it to go too much. And so you've gotta
be careful I'm using a small brush because if I put
a whole lot of water here, it will run a long way
and I don't want that. I just want everything. I just want a little bit of movement. So I'm just washing my brush, teasing it to that edge, being careful not to
let it run too far. I just find that these
bleeds are a little bit more interesting than anything I could just actually
paint on the page. You get some really
nice soft effects. If you don't get any bleeding, you can wet it down. do exactly the same way, but then grab a bit of fresh Payne's gray and drop
it into the wet area. It is a bit more risky. It's just you, it's easy
to get too much pigment. Okay, now, I will
have to join up here. I've got a little bit
too much of a gap there. See, I might do it. Just do it with some water and let that run
a bit more. Okay It's okay to be subtle. You can keep it subtle
and that's fine. We are going to go darker underneath here once that's dry. But I'll let that dry
before I do that. A couple of things I'm going to
do while this is drying. So I want to put
some, little bit of warmth, a little bit of yellow probably through here and
strengthen that shadow. I'm going to come
underneath the beak and I'm going to paint a line of water. I might use my
slightly bigger brush. I'm just going to
paint underneath where the two beaks join the top
and the bottom join Just dampen it off a bit. And then I'm going to
take my small brush. As I said with the sketch, I've ignored the serration. I'm not interested in that. I'm just going to drag. I've got Payne's gray on
my brush. Not enough. Payne's gray. Ive got some. there, just want to
drag a bit more of a dark just so that it's a little bit clearer where that separation is, That's nearly it. But I don't want, I want
it to bleed a little bit, which is why I wet it first. And I'm going to just close that gap a little
bit, so darker on this, just teasing that down to cover the whole tip of
that bottom beak. And that's probably
enough on there. Now, again, this is
still, still drying. Still haven't got
enough in there yet, but I'm going to pay
my attention to this eye just for a second. So what I want to do,
is get a little bit of orange around the
corners here of the eye. So clean that brush that
had the paynes on it. Wet down just around here, I touched to the,
I didn't mean to do that. So I might be doing it with
there you go instead of orange. I'm doing that dark, that little shadow with
bleeding, Payne's gray. So while that's damp I'm going to pick up, I am This time going to pick
up a little bit of yellow and a little bit of orange and
mix them in my palette a bit and just drop
a little bit of paint into that wet page so
that I can strengthen up, give it a bit more contour, bit more 3D here. I'm just washing my
brush, teasing that up. I want to stay out of
the light on the top here. And so, I say as I
drag my brush out, so I'm keeping that
yellow, I'm going to strengthen probably a bit more
red, I think down here. So into that wet page, touching into the Payne's gray, made it a little bit harder for me because I'm trying to now balance the bleeding,
bleeding black. Now that needs to be more orange. so I'm going to grab more
yellow on top of that. I'm just slowly building it up and leaving some
flashes of light. But you've got to,
got to keep cleaning my brush or I'll just drag
that pigment everywhere. So we've got to keep making sure I'm washing
and drying it off. I think I probably need a
little bit of that colour, so I'm going to put my
brush in that and just drag it over the very top of the eye they're probing it
a little bit more color. Just over the top. Okay. Carbonyl things I'm going to do and let that fully dry and then I'm going to put strengthen up the blue just under the eye. But this is dry now. So I'm going to take
my medium brush. I'm going to wet the
page just a touch. In the I guess he's Jake. Yeah. I'm going to grab a little
bit of yellow yellow ochre. Just going to pull just
a touch of yellow ocher, wet and wet lady. Just for a little bit of warmth, if it gets too much, I can just touch
my tissue to it, so just a little bit. I'm not sure how well
that will come through. Actually, you'd be able
to see it on the photo of the final painting. Just a little bit of
warm through there. And then I'm going
to come under now, I'm going to use
some Van **** brown. You could use some burnt sienna, burnt sienna or, or really
anything dark that you've got. You could even use the
Payne's gray or the indigo. I just want a little bit of more of a shadow
underneath here. So I'm going to wet
down the page first. I've treated much Hugh
Van **** brown terribly. And so I've got these
kind of draw it up mess, but I'm going to
have to use sex. I don't have any cheap. And I'm just going to
pop that in the webpage somewhat with my small brush. Just strengthening
up that shadow. But my brush and tease my damp clean brush along the
edge so that I want, I want that soft transition. If when you do that, it makes it two lines. Once you've soften that edge, grab a bit more paint and
just drop it back in. And it doesn't matter again, if the Payne's gray or indigo or whatever you're using,
blades have fun. I'm just keeping an
eye on that edge. Then I'm just going
to strengthen. I'm pretty dry enough
I think in there. So I'm going to put
one more little layer of french alter. I'm going straight
onto the dry page. I just want to make it slightly darker on
the bottom part of that. Either the top, like when
you look at the reference, you can see it's quite dark. I'm probably not going
to go quite that strong. I've gone onto the dry
page and then I'm just picking up a bit more
paint and dropping it into the bottom there. And if it dries too light, you can do exactly the same
thing once it's fully dry. Okay. Then last, last detail. I'm going to take a
touch of white gouache. I've got straight into my tube. I'm going to pop a
couple of little white spots in the eye. And then I'm going to
pop, you might need it. I'm going to pop a
little highlight just on the front
of the beak here. To do that, I'm going to
grab a touch of paint. Touch my whitewash. I'm going to start up high. I'm going to put just a lawn
of gouache on, come off. Drawing my brush. Then I'm going to blend that
in the paint underneath. Wash that off. Just so claim that if it, if it blends too much and
you lose that highlight, which I probably have
done then let me just you can just know
that that's damp. You can grab a bit more. You might need. It depends on how you bakes looking and just come straight onto that will blend in with
whatever you put underneath. If you put it on and
you don't like it, you can paint over top of it. It's just a little
flash of light. So just, just as little subtle highlight on
the tip of the beak there. Sit back. Possibly I've got a couple of
little flashes of light in there that potentially
I will have to fill in. But I think I probably want
to let that fully dry. So I think I'm I'm think
I'm done and I don't mind. I said at the beginning that I might fill in some of that, but I actually don't
mind the light that's up there. So yeah. I think that's probably
probably done. So once you've gone through the exercise and you're
happy with your painting. Pop a picture up
under the projects. If you've got any
questions you can ask anything under the
discussion tab. I've always loved
seeing your work and if you post it
on your socials, if you tag me, then I can have a look and give you a follow. Alright, thanks for joining me.
Nadine Dudek, Professional Watercolour Artist
