Watercolor Painting like a Pro - Artists love Florence, let's paint Ponte Vecchio

1. Let's Paint Ponte Vecchio: how everybody on thanks to joining me in this new less sun today and we're going to be painting point evacuation. Florence tyrannous. I want to make your is a very famous bridge full of artisan jewelers. All artists love Florence. It was, after all, the hub of the Renaissance. So it seemed quite fitting. I'm having a bit of a journey around the world in my lessons were painting subjects from different cities across the world. So I hope you enjoy them. This system is probably for an intermediate level, but as a send while the lessons half ago anyway, you don't know you might create a masterpiece on Just certainly learn something along the way. So just have a bash. While essence can be a little longer than some maybe, but I feel there are some things you just can't rush on. I really don't want to have to speed up all of my videos just to make them shorter. Oh, as you might miss some things that you're interested in So bear with me through to the end . Thanks again for joining May I will show you my thought process on Tell you what I'm thinking when I'm painting. I've got a few lessons posted now, so I hope you're enjoying them. I've been looking at the students, working with discussions that they're posting on. It's really encouraging. May. I'm not gonna give any harsh criticism. I'll try to encourage you. I want you to carry on painting. It's something you could learn. It's a bit of a myth that you're born with talent. You can learn how to paint. You can learn how to draw. You're very, very talented. Andare love to see your work. I look forward to seeing more of them. That also encourages me to make more videos. So thanks for sharing your thoughts. Gay brushes ready on. Come and join me in this lesson on. By the way, if anybody likes wine, I spent over a month preparing a lesson about why making wine tasting. So if you're curious and want to have a look at it, then I really appreciate it. See you again soon and happy painting 2. First part Ponte Vecchio Lesson: Hi, everyone, and welcome back today in the lesson we're going to be paying Tim Ponte Vecchio Ponta vacuous in Florence. It's a gorgeous bridge full of jewelry shops on. Did you can just about see Palazzo, the last in your area here in the distance, The tower. So I've been looking at this photograph, which I grabbed off the Internet. Don't know who it's by, unfortunately, so I can't give them credit. I like this because of the contrast the orange with the blow. It really makes the bridge pop. I've been analyzed in it to see how I'm going to go about painting it. I was looking to see what sort of brush strokes so I was going to need. So that's going to help me choose my brushes. So this oneness usurious my soft, flat brush, which I like to use for the first wash on particularly for skies. Then this is my large square mop, which is great for doing any water by wet it, bend it and drag it across, then is gonna hopefully leave me some of these effective, so we'll see if that works. Then I remembered I have this lovely a Skoda set their travel brushes, and I've got a little patch for them on. But I've been working on commissions lately. There rediscovered this brush because it's actually got a nice spring. But if you get it right, angry can just really fine line. So I actually managed to do a lot of little details with this yet It's still really controllable because it's got quite a lot of spring to it. I've got a larger version of that which I doubt I will use, but it's nice to keep handy. This is one of my Rose Marie brushes. It's 1/4 of an inch. I suppose you would call it a dagger, but it's soft. Andi, That's good for doing some of the reports, so we'll have a look at that. This is for fine details, but because it's quite long, it doesn't have this much of a spring to it, really, and so you don't control it very well, but it's good for doing any scraggly little lines that you might want to do. So I thought might come in handy over here. But we'll see. I probably won't use it except for put my signature on at the end. This is lovely. Brush by rosemary again, 3/8 of an inch disable blend on. The reason I like these brushes is because the handmade so I like to support their business of that shouldered some more brushes, but they haven't arrived yet. Otherwise we could play around with those as well. This is really controlled when you conduce so many different things with it. I always keep that handy. I ordered a new palette, so I decided this time to not go for plastic Andi, even though it was a good plastic Palin. I've gone for this enameled one because it reflects the light through the paint, so it's actually more faithful to the type of color you're going to have on your paper. Andi, I've organized my paints and I've left the tubes so that we can see whatever she got shifted them around a bit. I might not use a lot of them, but I think I can see something of everything here. Some of them I'm going to use for mixing. I never use black, so I've actually just got a neutral tint, which is used for de saturating some of the color. Some of my dad's old paints to keeping me company. He left them to me. He died in 1999 but amazingly enough, some of them are still quite stopped, So I'll have those two hand I've got couple blue couple turquoise. This was a sample. It's called sonorous blue. It's a bit runny, but it's a nice blue. Then I've got to fellow blue, which is transparent Onda, Prussian blue. This is ultra Marine. Then I've got some Naples yellow, some yellow car, Kampman orange and not light or dark. Just cut me an orange. Then this is coming apart, but it's a cap me an orange deep. Then I've got this cap in red Pale Hugh Literal Crimson bun sienna CPR nutrition on I'm keeping my mother little polit sahan. Just in case I need it, I've I did some why you can't see. It's just off camera, but it's there. If you've seen my other videos, you would have heard me say that I'm not a purist. I don't mind. Use you might. I like some of the colors that you can mix with the white in them like a nice lilac, for example. It's great for during stone, bridges and things. I've done a lot of bridges recently because one of my best collectors ordered a few commissions and they're all bridges. And to be honest, if you look at your paints, then some a transparent. Some are semi transparent and summer opaque, so the opaque ones January you'll find that have a certain quantity of white in them. So if I was a purist, I would have to eliminate all of those opo colors from my palate. But why would I eliminate anything if it's useful to me? If the likes of John Singer, Sargent and Turner could use White in their paintings, then why not follow their example? They're the best painters, probably that have ever existed as far as I'm concerned. So I don't mind using white mixing white in some of the other colors. Let's get started. I've got my drawing done already on my 640 grams from Brown, Artist iCal is taped to my plywood board. I like this paper because it's very heavy. Duty can handle a lot of water. It doesn't buckle. It is just a better quality paper. Really. I think if your finish painting is more sturdy on bless. Flimsy, I think, gives the sensation of quality. I have my board propped up about a 35 degree angle on and make sure it's balanced properly . Otherwise, it's gonna go like that all the time when you use it to glasses of clean water. I've got another palette of paints in my little box over there, just in case there's something I need quickly. My other paints rule under the table. Anyway, I think we're ready to go. I've got my reference photograph where I concede, If I think you need to see it, then I'll show you it. But you can download on prints it off You can download from your PC as far as I know in the APP, you can't download any reference material, so if you need to print it off, then you're going to have to do it from your PC. The brush I've got first is going to be this flat brush. I'm gonna just put the other brushes so my handy on and here we go. So what can it on the skywalk? Always mixed colors. Another thing that I suggest to you as artists is don't just use the colors straight from the tube. Okay, you can choose all sorts of really nice colors. Then we all know you could mix your colors with the primaries. But that's also a little bit more complex than saying. Mix your colors with the primaries because then there's lots of different hues of red, lots of different hues, of blue lots, different hues of yellow. So is not going to get exactly the color that you want just by mixing those. If you start off with primaries that aren't the perfect pure primary, what I'm trying to say is, Be creative and mix your own colors. That's gonna become part of your own style. I could define the sky here as a Kabul blue, but I think I would prefer to have a little bit of ultra Marine mixed in there on. Then I'm gonna play around and see if I can get a color that I even like more going to start off with the ultra Marine here. On another thing, different makes of pain a different colors, even though they're called the same color. So you're gonna have to look around on DSI, which shade of ultra Marie and you like from a particular maker? I had this. It's not my favorite because I think it's a little bit too bright, Andi, A little bit too purplish as well. But I'm gonna adds a little bit of this new color I've got, which is very runny. So I'm going to have quite a lot of that in there on. Then I'm gonna have a little bit off this, which is a Kabul blue that's still really quite bright. I do wanna nice blue sky, but I don't want it to be too bright. Let's have a look with a little bit of turquoise and nights gone green year, hasn't it? So what can we do here? Add a little bit more, So I basically makes 12345 different blues in there to get that tone. Remember, it always drives lighter than what it looks on your palate. I think that is good to go. Let's go for it. Strong to the dry paper can always wash over some more water and make it a little bit lighter. Just going to go straight down over the tops of the buildings and then wash some white across the top hair. Sorry. Wash some clean water on the bottom and that's gonna drag it down while I've got that there . Get some dry brush marks with this brush as well. Don't forget, you can go over quite a lot of the drawing lessons. Any specific areas where you don't want to contaminate with the blue because anything dark are is going to be painted over anyway. So the sky here is a bit too dark because I want it lighter. I don't want that there, but that little bit of blue is gonna act as if it's reflected light from the sky, some just cleaning my brush on my paper hair to dry off the brush, a bet and just getting some off. Then if I want even more clouds, so don't. If you saw my cloud video in the Venice lesson, I can just use this and lived some off and you get nice soft edge makes you look a bit more like Sky doesn't have to look exactly like the photograph. Just clean my brush. Now you gonna mix an orangey color and do basic wash across the bridge and maybe into the water. So again rather than just having an orange straight from the tube. I mean, I've got 123 different oranges here, and I've got yellow car on and Naples yellow as well. I'm gonna have a go at mixing my own and already say that this with just the dirty water is still in. My brush has made the orange quite green. So I'm gonna need something a little bit stronger in there to take that blue edge off of it . I'm really liking this palette because it doesn't have any sides here. So it just comes straight out and you can drag it off the edge. That looks OK, but I've got the blue here, so I'm gonna probably need a little bit more orange. A bit more water. Andi, I'm just gonna drag it across. I don't want to go too far up. Otherwise, the paper underneath is still wet on. It will end up going into the sky. So I'm just leaving a little bit around the edge. Andi, just try and keep it so that it doesn't run into what's already wet. Her poor manage. Otherwise is gonna be a room. Miss Could have let the sky dry. and then going back to this. But I want some to go into the river. Are you know it's the name of the river in Florence. Looks OK, so I'm gonna do that here. A swell. - It's so hard. It must be about 30 degrees in the house on outside today. Here in Rome, it's about 30 to 33 degrees. The papers dry. I'm really quick, which could be an advantage. It could be a disadvantage. This is all gonna be darker anyway, afterwards, But I might as well put it in now on why? That's where I've got a deeper red here. I'm just gonna put a little bit more in here because while it's still dumb, it's gonna mix with the other colors on dure. Not going to get hard edges. Andi gives you a sense of depth and texture. Maybe here, I'm gonna do this side. Gonna try Lift this out if it's still wet enough. Starting some burnt sienna. I promised myself today I'm not gonna fill around, Aunt, Try Andi, make the painting more painterly because what I've found the little serious of bridges I've been doing recently The size was very small and So I realized that I ended up filling around with a lot of the detail, even though I was really pleased with the result. It wasn't a type of style that I was aiming for. They represent the subjects really well. The light is nice. I'm really, really pleased with them. But I want not to be more of an Impressionist, but I'd like to have the paint is a little bit more atmospheric. I don't have any ambition to be, Ah, photo realist. I've done that. That's the sort of thing you do when you start out, when your school or when you're trying to press your friends, you try to get things photo realistic because in some ways people think that you have more skill. I think it's actually harder to get the essence of a subject, So I'm looking at the largest shapes. Or at least I'm trying to. I notice how big this brush is. Another piece of advice that always give is try to use the biggest brush that you think you can get away with using without making it going, looking sloppy with a burnt sienna on my CPR here and I wouldn't not quite runny. - Changing brush. This is my Skoda are size 10 see what it's like? I'm used this for a long time. No, I want a little bit moss of this CPR on. Just put it in. So running a little bit. Hopefully there nice little brush Papers dried already so didn't run in as I was hoping, but comfort some water across too much water here, just lift it off with a brush. Andi dry a brush one a little bit more dense than because it's still what gonna? But on this left hand side where it's darkest met the top Then hopefully it will run across to the right. If it doesn't, I can always touch it up. Papers already dry underneath. - Now I would leave the darkest parts of course, to last then you recent I'm during this moment is because it's just helping. May sort of see things a little bit more three day, so just gonna dry off and then we get back to it. 3. Second part Ponte Vecchio Lesson: so base now is dry. Let's get back to painting. I'm going to mix the color of the bricks in Florence. Definitely some of this burnt sienna. Ciena's near France s where the name comes from. That is quite good. But I want a little bit more red in a Cadman reds, Don't it too thick. What could we describe? This us A milk consistency. So with monuments, you've got to be quite careful to get the outlines correct. Otherwise, they're not gonna be recognizable as those monuments. Oh, by the way, I've also changed to my Skoda number two round brush because this a lot of detail in this painting, as I said, I don't want to put it all in, but I want it to be recognizable. So what to do now? Well, with that mid tone, which is this brick red gonna have? Look around to see where it is on the photograph on where I need to put it in on. That's basically what I'm doing. So try not to keep outlines to size. We're trying to create some texture. Small, slightly thicker, intensifying a little bit. So a little bit less water. The amount of pain, These old bricks. I have a lot of texture in them on Did. You don't want things to look flat unless that's your style. Some people have that type of a style. I'm just gonna water that down a little bit because I still on the same color. But here it's in the light, so it's a little bit lighter. Well, I've got that wet rush could drag down because underneath will have stained the paper. So now, by dragons, something a little bit more water across than it's going to stay darker where the paint had stained. But I'm not gonna have too many hard edges and lines, so there's just gonna be a little bit of texture in it. This is stock. CPR could have put those on at the end, but every now and then I like to put in some details by putting in some of the dock. Now it's just helping may keep a little bit of perspective. It makes it look a little bit more finished before it actually is, so it encourages me to carry on with it. Otherwise, I might think, Oh, no, that doesn't look anything like it's supposed to pay. I don't know if you've ever heard of an artist called Alvaro Kasten yet if you watch him in his demos. I met him in Rome through the watercolor Association and he starts off with an absolute mess. You would never think anything would come out of it on then. Just that the end of the demo, it'll just comes together And you think Oh, my goodness, How how did he manage that? Now I'm really trying to play with this because that's the whole point me painting. If I wanted to sit a desk on do illustrations, then that's why I would do a good idea to is to stand back and have a look. Just see if things were in the right place. Your turn. Without eternal values, your painting is gonna look off. If you don't get those right. I don't always get them right. I think that I'm usually satisfied with the end product. Remember to squint as well, because when you squint, you flatten everything on. You can see tones better. I'll be one of the darkest Darius. This what took my brush? Because the shadow towards here is a little bit lighter, so I'm just gonna drag off some of that pain because the paint is a mixture of hard on soft urges. And if you don't give me the right place, then sometimes it can look a bit off. Make some CPR on bond The burnt Sienna just to do the shadow area. I don't want too much. Yeah, it's quite nice. It's When I was standing back, I noticed how much yellow these are. But if you have a look, it's actually quite an opaque yellow color, and you connect tree. It's seeing the car on the first draft that there's white in that color. So that's why I cannot share the on top of this orange because the color is gonna be opaque . If this yellow isn't opaque enough, then I could always put some white in. And it doesn't matter if it's not exactly the same yellow. It's the variation in color compared to the others that I want because it's gonna given idea of different volumes. - It's watered down a little bit. I had enough on the brush for the color to still be there, but if I had a little bit more water than I could just get a lighter tone that looks completely the same as the other one. So that it stay in a little bit and then just gonna lift it off. That's fine. Anywhere else. I think I need some over the other side as well. I'm gonna do the same hair on this building. There's nothing I need to leave particularly light there, so I can go over the whole area. Anything darker will get painted in afterwards. No, I'm gonna have a look at the river on that same yellow. It's gonna be reflected in here. So round about there. Now, let's more injury color on top of that. Afterwards, make sure that any reflections correspond to what's above it. Now I want small orange, maybe a little bit less intense. Dragon this first to see if I get a nice effect. If I don't, I can always add some water. Andi, make a whole block of color. Snuck can dissolve that a little bit, but sometimes dry brush strokes. Just what you want when they're in the right place. This brush is probably a bit too small for this job. But gun in my hand now, sir, it's what I'm gonna use but more red. Yeah, this is really just dirty water. I'm only doing that so that it blends in a little bit underneath. I don't want too many hard adjusts. It's in the water after all. I will be adding a darker color afterwards, so it's gonna break up those lines by using this Reg as a wash over what's underneath it. I'm giving the same color to everything, but with a different tone. So it's still gonna look like the light is reflected and bouncing score glazing here . I've got Naples yellow on. Just put it in this on this building at the back Naples yellow is a little bit more opaque . It's quite thick otherwise, it's not gonna cover anything. But it's still quite wet, don't it? Thick and sticky. If there's been any windows here by going over with the first wash at the beginning, that would end up looking like glass. Thing is here, I don't have any open windows, so I don't really need that. I think I'm going to turn those into windows, even though they're not there. I've just opened his blinds. Paint I put on there was too thick. So I've wanted it down a little bit. It's orange tiled roof. Do something now with the river while the building's air drying off. So I'm going to get these to Russia's My Rosemary soft dagger on my large square amount. What colors have we got going on here? Well, just start off with. I think one thing I'm going to do is turned my board up the other way. The reason I've turned the board up the other way is because it's dark down here than it is here. So if I turn it up the other way, I've got the boards at an angle. So if I went at first, then puts and paint at the top, then it's going to run down on Get lighter hope it works. Now I've explained that it's really nice blue there. I've got some follow blue onda, little bit of that sonorous blue, which is more or less a light Kabul color. If you don't have the sonorous, it might be hard to find. You can use a light Kabul, so mix those two together, going to wet the paper with some clean water first and get quite a lot of paint on my brush . Just mix in those exact two colors again together. Maybe a little touch of turquoise as well. My, us quite sick. And now I'm just gonna go across hair. Uh, the are no doesn't look like a swimming pool. So I'm going to do saturate that a little bit with my neutral tints, which is you could use Payne's gray change brush like that one. It's too long, Can't control it. And you can't even makes it color with it. Just d situated the blue with a little tiny bit of CPR. It's better. I'm trying not to go onto the bridge a little bit more CPR with the blue to remember the paper underneath is what So hopefully that's going to give quite a nice sort of smudgy effect. This is what I'm trying to co pay a little bit more Pickman papers really quite wet. So now if I want it to get dark heart, then I've got to have quite thick paint. Um, I didn't similar during crimson because I want a little bit more of a purple color hair. I'm gonna tip my board up a little bit. I don't want it breaking the banks as it were while it's still went over here, I want to lift some off to recuperate the light coming through the bridges, the reflection. And now I'm going to flip my boards back around dry some of that off, aunt trying. Get some of the orange back. Hey, I'm just lifting off. The paint had dried underneath, so if I lift off the top layer, then I should still find some of the orange underneath. Quite satisfied, Reflect. I'm just gonna leave it to work on its own, then get back and do some of the smaller reports. I've seen another bit of blue that can take off. 4. Part three Ponte Vecchio lesson : so notice that the color wasn't running down as far as I wanted it to go. So I don't want this bloom leaving a hard edge. So what I'm doing iss lifting off on drawing my brush just to break up the edge. Andi, to create some of those lighter reports. So until it's dry, the water still gonna carry on running down. So keep an eye on it as it does dry, just in case it does something that you don't want it to do on. Then you can be there to put things right. Just gonna let it dry off, which is only going to take a couple of seconds because it's so hot today. Time to do some details. So I'm going to use my little brush, this one here, which is my Skoda number two. Andi, I've already got one of my darkest darks in here on dso. I'm gonna compare that on the photograph toe where else I can see my darkest dark. So obviously it's gonna be a little bit down here under the bridges and just up here on then Also some of the little windows, not all of them, but some are really quite dark. So I'm gonna mix a similar color, which was just a seat PR with a tiny little bit of burnt sienna quite dense. I might have to go over it again because it dries lighter than what it looks like a the moment, but can always add small on top. So it's better to have a little bit too light than too dark to begin with. And they don't want that all uniform. It's not a straight hard line. It's obviously the shadows bring a painting to life. I'm following the photo more or less, but of course, for wanted it exactly. I'm not doing photo realism, as I said. So for Miss One out, as long as the overall pattern doesn't look odd anywhere else on the photograph, I see that I need this dark color while I've got it on my brush. I'll just have a look on and put it there. I fired, drawn the windows in with my drawing at the beginning. Then I would probably wouldn't even have to paint the men, which is what a lot of artists actually do. Look for repetitions of patterns, so I've got a shadow on the side of these balconies on the windows need a little bit more dense. Don't do, though, but darker here with dense to paint much too dark. Let's change color. It's not gonna be the same color. They want to be boring. Do a little shutters on the window. And if you've looked at shutters, they're like little slats. So if I've sort of flattened my brush a bit when I was mix in the pain, it flattened out a bit. And you get the little breast source sticking out so you can use those. If you've got enough paint on just two horizontal marks and you get something that looks like a little shutter doesn't have to be exact, sort of in the right place. It's the shot over here. Change color. It's still quite transparent. Just wanna make this look as if it's in the shade. Smith here, CPR darkest arc over here in swell, trying to do this quick so I don't get booked down in too much. Fill in. That's water. If it looks too strong on the paper, just add some water so, like this is too strong, just starts mortar. It's not in the right place. Just take it off. Spread that playing my brush to lift this white off. When you look at a painting or a subjects, your peripheral vision will skip blurry, which is what the Impressionists discovered. Ah, with photography. So the focal point will always be more in focus than the edge of the painting, even though we tend to do details right up to the edge but decided, I want to try and dedicate less attention to the side. Details. No, I want to. Just makes it a little green color. Four. Some shutters And it's also going to be a paper because farm using yellow car yellow chorus opaque so will probably stick out quite a lot. - I just noticed that Mr Peace out there Samore CPR on really, really quite dense of hardly any water. Prepare creamy consistency. - Same color. A little bit of water number two. Very dense color. Get my soft duggar now just mix, nor my colors together that I've got here on the palate. So it's sort of a brownie color considered a bit agreeing in there as well. It's my had a hint Blue. Where do I want this? Let's have a look. I'm holding it right at the end, so I'm controlling it less and marks hopefully will bay a little bit less contrived. Don't forget, we can always add small dark on top. But this is probably going to dry quite lights. But I had in different layers on top. We're just gonna add to the effect of the water. So it's nothing wrong with dream more, more layers until you think you get it right. Course what color waas really born so that artists could paint plan air, do their studies to take back into their studio to do in oil colors. I think it was Turner who actually turned water color into something appreciated in their own rights. So stand back and have look second, I must say this brush is perfect for this type of thing that's more blue to this. Got to know when to stop, which could get carried away, as I am probably. But I'm having fun. So when the step back and have a look gonna leave that to dry because this one last thing I want to do Andi, then I think I'll call it a day 5. Ponte Vecchio last part: strike already has assess really, really hot. So it's trying quickly. That's one thing I wanted to do. Try and do. Hopefully we'll work. Are mixing some burnt sienna summer littering crimson on this Cartman Red. I want to try and not get it to Rosie. Quite liquids. Just thinking about what brush I want to do this with. I think I'll stay with this one. This nice soft round brush. So what I wanted to do Waas This might be much. And now the orange quite strong, but should actually look OK where I don't want it. I can always go lifted off or water it down. So where do we want lifted off? Just, uh, mix a little bit of whites in here with the orange. Oops. It's too dry mixed in somewhat with my orange. Andi, I just want to change this. - You could go on forever. Playing around. Supposed the end justifies the means. - Gonna makes a reddish see pure color. There's so many different colors in the water because everything is being reflected into the water, so you can't really just put blocks of color, and you've got to build it up because they're not distinct colors. You can see a bit of this, a bit of that. Andi. It's hard to see where color one collab begins and where one ends. So by layering on you couldn't have the light reflecting through all of those colors and hopefully get the sort off effect that you have by looking at water. One of the reasons John Singer Sargent was so good was because he could capture so many different things just in one brushstroke sub survey. Shin obviously. But I have seen some watercolor artists that by layering over and over and over and over, they can get some really photographic effects. I want some of our blue. Which blue would you say? Try this soon. Rece Onda A touch of Prussian blue See what it's night going to get that same color. Three Blues together on day. I'm going to drawing a bet on Just believe it or not, I'm actually looking at the reference photograph. I think I'll leave it as it is. I'm just gonna dry and do that white line there. Just break up that side on. Then it will be fitting whites on a tiny little bit off blue. Andi There was some orange on the edge, my brush so that actually de saturated it a bit and didn't look like baby blue, probably to gray. But it's OK now, just some pure whites. Okay, so I think that's finished. I'm quite pleased with thought. I think I could be satisfied with that. So thank you for joining. May have you enjoyed watching. If you decide to paint your own, I would love to see your finished paintings. It's always a joy to see what other people have done. That's the finish. Painting or we need now is a signature Onda frame. So thanks again everyone for joining May RB, Adding more. I think my next painting will be off the Alexandra Twice CM Bridge in Paris, with the Eiffel Tower having a bit of a trip around the world with these paintings because it locked down were not allowed to travel. Really, I'd really love to see what you've been painting, even if you're painting over things. If anybody is interested in wine. I spent a month making a lesson on why making and wine tasting you may have noticed in my profile. I'm a professional similiar. It would be lovely. If you could hop on over and have a look at my wine tasting course on, let me know. We think of it. Thank you, everybody. Happy painting.