 Welcome to Monet Café. I'm artist Susan Jenkins bringing you a lesson that I think is going to be enlightening. I am combining in this video tutorial two mediums you wouldn't think you could combine. Acrylic paint and soft pastel which can produce beautiful results. If you would go ahead and like this video. Go ahead and subscribe if you haven't already and if you hit the little bell next to the subscribe button you'll be notified of any future videos I post. This free video tutorial is brought to you because of the faithful support from my patrons on my Patreon page. For $5 a month you can support this channel and you get extra content. Hello artists and welcome to Monet Café. I'm artist Susan Jenkins bringing you a lesson that I think you're going to love. Oh, and I'm wearing the brand new Monet Café apron. Artist apron. It has the new Monet Café logo on it. These aprons are great. They're offered by a company called Zazzle. The quality is awesome. They're washable. The logo doesn't fade and they have these three deep pockets to put your stuff in. And oh, I do have shorts on under this. It also has a tie in the back and an adjustable strap so you can adjust it. Anyway, I love mine. I almost hate to get it dirty, but it's time to get started. Now, I haven't finished this painting yet, but you're going to see from the beginning a lesson on how to combine acrylic paint and soft pastel. I was actually reminded of this technique from an older video of mine. Sometimes I see my past videos and I'm like, oh, yeah. So I think you're going to enjoy it. You're going to learn a lot. You can recreate from this tutorial or use these techniques to create your own work. All right guys, Let's get started and I think you're going to learn a lot. Here we go. The surface I'll be using is an acrylic pad made by Arteza. I really love these sheets that are, they have a little bit of thickness to them. They have a little texture to them and the sheets are 11 by 14 in size. And I love them to do all kinds of multimedia work, but they really work great for applying acrylic paint. Of course, it's an acrylic pad and I'll tell you my technique and trick for adding soft pastel. The reference photo is one of my own. It's some peonies, a flower that I really love. I took it from a flower market and I just had to paint it. And if you're a patron of mine, you will get a copy, a downloadable file of this reference image. And I also will have all of these products, product links in the description of this video. And before we get started, I thought I might have a shot of tequila. No, I'm totally kidding. I don't even drink liquor. But I think someone gave this box to my husband as a gift or something. I thought it was a great box to hold my acrylic paints and I have not used these in so long. I found that some of them were drying up. So I need to use this technique more often of combining acrylic paint and soft pastel. Now I have my surface taped down and whenever I use acrylic or oil paint, I love using this gray matters paper pallet made by Jack Richardson. And it's really nice that the surface is gray and on the back, there's some great information. He even describes why he uses a toned or a gray pallet surface. It has a value scale, some great color theory information. And this is just truly a really great way to have a palette for acrylic paint or oil paint. I used a pretty limited palette with my acrylic paints. I love to mix colors when I'm painting with mediums that are wet medium. And I got a couple of blues and yellows. I did get I like to mix my own greens, but I used a couple of greens as well. Now I'll include a list of my colors in the description of this video as well. I used a piece of willow charcoal, willow or vine charcoal. They're just sticks of charcoal and I find they're great to sketch with. And I'm going to let you know that this video, it took me a few hours to create this painting, so I will be providing the tutorial in segments to make the video so it's not so long and speeding up a few sections. I think you'll still learn a lot though. And for my sketch, I didn't bother to laboriously put up a grid system or anything. I like to just freehand it and make. I wanted these to be really impressionistic and loose anyway. And it's like I say to you guys a lot, sketch a lot. It really does get better the more that you practice. And now it's time to get started with acrylic painting. Oh, I love to begin with a cup of coffee. You know, this is Monet Café and I do have a Monet Café coffee cup and t-shirts. It's underneath every video, so check that out if you'd like to. I'll talk a little bit more about my color selection as I'm painting, but here are the two blues, Ultramarine Blue, Thalo Blue, Indian Yellow and an Azo Yellow and Alizarin Crimson and a Permanent Magenta. That's a green gold and a titanium white. You will of course need some water for acrylic paint and a brush. I'm using a just kind of a wide standard, very cheap brush. And I'm going to use the same wide brush the entire time. And of course you need some paper towels as well. Here I'm mixing up the two blues to see how it creates an interesting color. What I'm doing though is I'm creating a dark. So I combined a couple of the blues, some of that Alizarin Crimson and a little bit of the green to neutralize it. Because if I just did the blue and the red, what are you going to get? Purple, right? Well, I wanted like a dark, dark green. So I added just a touch of the Azo Green and a little teeny touch of the Azo Yellow. I just put a little bit on my brush to mix in. You see how really an ultramarine blue, Alizarin Crimson, and a green makes an excellent dark. So this was kind of getting me the shade that I wanted. I wanted it a little cooler as well. So now I'm just going to add a little bit more water to it and I'm ready to paint. And if you are not an experienced acrylic painter, and I don't claim to be an experienced one, I really like acrylic artwork and I've done quite a bit of it. I would say not nearly as much as pastel. But it does take you a little bit to get familiar with the water to paint ratio. This is very similar to working with watercolor as well. So it's like any medium. You just have to do it, you know, a little bit. I added some white to the greens. You can see to lighten up some areas. And really my strategy is similar to soft pastel painting and other mediums as well, which is to get in your big shapes. I'm saying that all the time when I'm beginning a painting. I am literally looking at the shapes and with acrylic painting, you can also work similarly to soft pastel painting and oil painting. You can work dark to light. In other words, I know that I can add light on top of dark. But I also know I'm going to be adding soft pastel to this. So really I ended up doing probably more to this than I needed to to create an underpainting. Keep that in mind. This is an underpainting. And I was having so much fun though. I was getting a little bit more detailed than I needed. But it was fun. I hadn't painted in acrylic paint in a while. You can see I've mixed my own purples. Remember, I didn't have any purple on my palette. I'm adding white when I need to lighten something up. Now I'm going to get to some of these pinks. And I wanted a warm pink. So you can see I mixed in a little bit of my red and pink and then added a little yellow that gave me kind of this. I don't know, just a really nice peachy kind of warm pink and a little bit more of a pink. Like a rosy type of color. Now this foreground flower is going to be one of my main focal points. And I kind of imagined it almost like an S-shaped curve going up from there leading the viewer's eye in. That flower there will be one of the next supporting character focal points. And so I'm keeping those things in mind more specifically when I start to apply the soft pastel. Making sure to give more color and detail to areas where I want my viewer's eye to go. So these are incredibly loose. I'm really, see I use the same brush, this entire painting. And I just kind of turn the edges to give the idea of petals. And I know I'm speeding this up so I can get to the soft pastel portion. But I think I spent probably 35 to 45 minutes on this. I don't think you need to if you decide to do an acrylic painting as an underpainting. You can really keep it even more simple than I did. But again, I was kind of having fun. I just love mixing colors. It was really nice, a nice departure. And when I first started, I wasn't sure if I was going to add the little tag that's at the bottom that has the name P&E's flowers on it. But I decided it actually made an interesting focal point element. Now it is in shadow. So that's why I added kind of the purple and a lot of other colors on that tag. It all comes together when I add the pastel. And as I often say, even with my soft pastel tutorials, it's a good idea to work the whole. Don't get too caught up on any one area and realize that the painting is a whole. It's a whole visual experience. And if we focus too much on one area, usually you can make it where it's not as consistent with the rest of the painting. I did decide to add some blues to cool it off underneath that table and lighten up those little, looks like baby's breath. I know they're not really white because they're kind of in shadow. So I gave it kind of a cool greens, like little leaves in there and kept things a little bit more gray. So this will all develop more when I add pastel. So if you give this a try with acrylic, keep it loose, even looser than I've done here. And very impressionistic. This is an under painting. I've zoomed in enough here where you can even see the texture to this acrylic paper. And now, how am I going to add pastel to this acrylic painting? Well, you can't just add pastel on top. It's not going to hold. You're not going to get any layers. So I'm now protecting my black board that I made. By the way, see that video, previous video on how to make that board. And I'm going to use this clear gesso. It's got texture. That's why I was doing my fingers like that. A little bits of sand to it. You could also use their other products to give texture. One is called Golden Pastel Ground. I like it too. Another one is Golden Fine Pumice Gel. I've opened the jar. It's also got a little sandy texture. Now I like a big wide brush is a good idea for this. And I used to put it in a dish. Now I just put it right on it and I just brush it in. And the reason that I usually go with the clear gesso is that it's more affordable and it works great. So that was just one coat. I used a blow dryer. You can see how it dries more clear after you dry it a little bit. And now I'm ready for pastels. Okay, what pastels am I going to use? This set is called the Sennelier. It's a wonderful company in France. And it is the Paris Collection. I love this set because it's so beautiful. It the quality of the pastels are amazing. And it's so affordable. These are 120 half sticks. It's not the full stick. I love the half sticks because first of all, they don't come with labels. That's a pet peeve of mine. I don't like taking off labels. Second, this little size or smaller size, it's not really little, is better to paint with than a long stick. I usually break my pastels anyway. So I'm going to use primarily this Paris Collection of pastels. And I'm going to show you a few other pastels I use from another set. But the other great thing is it's so affordable. It's on Amazon typically for around $130. I think I saw it for around $120 recently. And that's like a dollar a pastel. Now it's a half stick, but still that's an amazing price for such a quality pastel. As you can see, this set has vibrant colors. I will have a link to this set in the description of this video. So you can find it on Amazon. I have had so many people buy this set after I recommend it because it really is outstanding for the quality and the colors and the price. When I'm working with one set, I usually just try to lift out a few colors I think I might use for the painting. And then if you're a patron of mine, I'm going to try to show a final shot of most of the colors I used. Now I did get another set. This is the Schminke 120 half stick set. Oh, I liked that color. And they had some reds in there that was so pretty. The flowers, the peony flowers are pinkish red. Some lean a little cooler, some lean a little warmer. Now, unfortunately, they don't have that Schminke set available anymore. But you can find some of those sets on dakotapastel.com. All right, I'm ready to get started. I've got my painting on my easel. So many people ask, how do you put your iPad on your easel? It's sticking up there. Well, this is just a cover I got from Walmart. I flip it over and I hang it over the back. It's not magic. It looks like magic. I mean, that's one of the most common questions I get is how is your iPad sticking up there? So super easy. All right, now I'm beginning with pastels. My texture on this is wonderful. It's just enough texture from that clear gesso for the pastels to apply beautifully. I want to keep this very impressionistic. I'm not going for realism with this. I want these flowers to feel free and artistic. And so I'm keeping a very light touch. Now that's a good idea as a general rule of thumb. Even if you're working realistic, you start out with a really light touch. And with clear gesso, you're able to get quite a few layers. And with pastel painting, well, a lot of paintings, really, that's one of the strategies is not to try to just match color and put the right color in all the right places because the colors will end up looking kind of like a paint by number. Instead, we're layering color. That's what happens in nature. You're getting all kinds of colors influencing other colors and they're layered upon each other. So and they start to vibrate and interact with each other. So I'm going in now with a cooler, more neutral, kind of a lavender pink color. And I want to keep these roses in the back. They're further away. And one strategy with focal point is if things are far away, they're not the star of the show. I'm going to keep them softer, less detail, less bold color, and maybe a little bit more neutral, not so bright in the distance. So and I'm working because I'm left-handed, sometimes I will work from the top left corner. Now I do still work the whole painting and I'll come back to it, but I just developed a habit of sometimes starting in the left corner. And so you can see I'm just adding little strokes to give the impression of roses. Now this is right now, this is real time, but I'm going to speed this up and work more on the painting. I'm already at about 15 minutes into it. And I want you guys to get to see more of the full progress of this painting. And while if you look at the reference image, you may see, oh, pink, pink everywhere. There is quite a bit of influences of some warmer tones as well, leaning a little bit more towards peachy and even some reds. I would say they're cooler reds. What I have in my hand actually is a little bit of a cooler red. And but they do get a little bit warmer in some of the darker areas. So I just basically continue to layer. Now I'm layering a little bit of light. If you look at the reference image on top of the peony flowers, there is a little bit of light kind of catching. You can see somewhat where the light is in these by looking at the highlights. I see on the tag, there's some light kind of filtering from above. Now this was in a it's a grocery store actually called the Fresh Market. I don't know if they're nationwide in America, but usually in grocery stores, the lighting is going to be from above. And you can see it catching on some of the petals. Now sometimes the petals are lighter just due to that particular species. So it might not always be the light that you're seeing. But keep that in mind too and know that the shadows are going to be deeper down. And and they're pretty easy to see in this one. If you squint your eyes, you can see the darkest dark is pretty much, really under the table of course, but underneath that large flower to the right and almost center. And that is going to be a good focal point strategy. I think that's why I like this photo so much. It just naturally had a good composition to it. And the reason that's a good focal point, of course the entry flower, those little baby's breath and the tag, gently pulling your eye in, not too much detail though. You never want too much detail around the edges. You'll see me develop that later. But that main flower bringing the viewer in real gently towards that flower I was speaking of with the shadow underneath. What really makes a focal point grabbing is contrast. Light next to dark. Our eyes just naturally go to that. So you'll see me later develop that shadow under that flower. And it really does create a nice focal point and a little bit more darks into the center. So I'm adding some of those shadows, some of those darks. Now I'm using from the Sennelier Paris collection, one of the greens, one of those greens, that collection has a lot of nice darks. But one of the greens is just such a nice dark. It appears almost black when you see it on film, but it's really just a super dark green. Now I'm adding this beautiful blue that's in that set. Now if you notice I kept, when I moved my hand out there, I kept a little bit of light, tealish blue behind those background flowers. And the reason is, I don't know if you can see it in the reference image, but it had one of those plastic, cellophane type of wraps around the flowers. And down around some of those, it looks like at the bottom right corner, there's some like leaves coming out. Those also were something they were selling. It had a little tag on it as well that had some of that cellophane around it. So you're gonna see me later, kind of give some more detail to that, especially in the lower area there. And I'll talk you through how to do it. But basically you saw up top, what I did, I knew the cellophane, it's almost like how do you paint a glass jar with flowers in it? Kind of can mess up your brain a little bit. But basically I squinted my eyes when I was doing the acrylic portion. I did some dark and I left some light where I knew that cellophane would be. Not too light though, because it's pretty dark. And then I knew I could layer color on top, just glazing it. Almost like we glaze over water. If any of you guys have seen some of my tutorials on painting water, giving that illusion of flatness, you literally just glaze over it. So that's what I did with that cellophane. I also gave a little bit of influence of the red flowers highlighting onto the cellophane, or reflecting I should say. So keep that in mind. I'll go back later and even show more of that section and the foreground part with the cellophane as well. Now you can see I've just been gradually layering. It's all kind of the same process with these flowers. And this portion, I'm sorry, I did, I think I moved my camera further back and my head got in the way and my crazy hair. I think this was one morning when I had quit working on it one day and got up the next morning. And these are just one of those things you have to remember when you've been making videos forever and occasionally you forget. I just kind of wanted to paint, I guess. I didn't pull my hair back. But anyway, as I was saying, it's the same kind of process, just gradually developing these flowers almost from the inside to the outside. That's the way I think of it. Inside these flowers, it would be rather dark. And as they have more petals on the outside, you get more of the light reflecting them and you start adding the lighter values. Now I'm using that really pretty, it's kind of a bluish-purple, to just kind of highlight some of that plasticky material. And I'm giving a little indication of maybe it coming around the other side, even though I didn't see it very well, I sort of imagined it. And now you can kind of see how they're sort of wrapped in that. And it's so delicate. And so you want to keep it light strokes and very delicate. Now you can see it a little bit better. And now here's an example of what I was saying. I'm taking this pastel. I'm turning it on its side. I'm just lightly glazing. And it kind of looks like some of the light is hitting it. And keep in mind the direction of where the light looks like, how it's moving in a directional line. And that'll make it more believable as well. Now this is another green. It's dark, not as dark as the other one. I really like this green. It's very subtle and neutral. And for some of these leaves that I didn't want to be the focal point, I didn't want them too bright. Now, and here's another neutral green. Isn't that pretty? I do think I warmed some of these up a bit later. I kind of wish I'd have left them this neutral. And now I'm just carving in some of the negative shapes. And I think often, I know I did this, as beginning artists, we feel like we have to create the shape to be the way it is with our first initial strokes. And that's not the most painterly way to paint. We can literally just glaze in rather loosely the shapes using values and then later come back in and carve out that shape with some negative painting. Rather like doing, much like doing sky holes. Now you saw I added a little bit of yellow to one of the center flowers. I added just a hint of dark. Now a little bit dark in this center. This is one of the focal points. And that dark is so nice for these flowers. It's a dark burgundy. Now that one in my hand, I can tell is not from the set. It did have a nice dark that was kind of a burgundy, a dark brownish burgundy. But it wasn't quite this dark. This is that one was from the Terry Ludwig dark collection. I think it was the, they have two sets of darks. If you haven't tried Terry Ludwig pastels, they're amazing and they're made in the United States. The people there are awesome. Customer service is great. And they have such a wonderful set of darks. It's called Terry Ludwig darks one and darks two. I believe it's 30 pastels in each set. And they're not cheap. But if you need some good darks, you can even go online and look at their dark set. And it will show you, I think it's on the Terry Ludwig website. It'll show you the color numbers for each color in the set. I do recommend the one called Eggplant. I think it's called V100. I use that one all the time. It's a dark, dark purple. It looks almost black, but it's a great dark. If you had to pick one, that's probably a good one. And you can always tone them down by layering if it's too dark. And you can see, I'm just developing the center poppy in hindsight. I always say this with my videos because I get the benefit of being able to see the beginning stages and know what the final looks like. So a lot of times I'm teaching myself while rewatching these. But as I say often, there were some of the beginning stages that were so nice and loose. I almost wish I had just ever so subtly layered pastel. There's my head in the way again. But I was very happy overall, but I'm always learning. Now this flower starting to develop a little bit more. Do you see how I developed it? Not, I didn't worry about whether or not I got a little bit of that darker pink in the way of where I would put the light. I just layer it and then build those layers. I hope that makes sense. This flower had a little bit more vibrance of color. I didn't want to get it too punchy. Why would you think? Why would this one flower, I not want to just pizzazz and give a lot of detail? Well, it's because it's close to the edge and it's not my focal point. You don't want to pull the viewer's eye right out of the painting. So my goal is to gently lead it in the lower left up to that main peony. I don't know if I keep saying roses and poppies. They both, well poppies begins with P maybe that's why. But gently pull the eye up to that focal point peony flower and curve it around and out to those poppies at the upper left. So that's my goal. And so you want to be careful not to give too much detail everywhere. So I am jumping around sometimes slowing this down and then sometimes speeding things up in areas that's kind of more of the same. But I wanted to not speed it up too much here because I'm adding that shadow underneath. And it does have a bit of that cellophane coming out that is holding that greenery. So I'm trying to be a little careful with that. Now, I'm working right on top of the acrylic with the clear gesso, but I wanted to warm up that table. It was really a metal table, but I wanted to maybe make it feel a little bit like old planks of wood. So I did a little bit of gray and a little bit of a warmer gray to it. It did have an edge to it. I don't want it to be too awfully bold or straight. I like broken edges. They look more painterly. If I had a super straight edge there, I mean, you don't want it to be, you know, not level. But if I had a super sharp edge there, it would also distract from my focal point. So just a little bit of subtlety to give the viewer the indication that it is an edge. It's a straight edge, but just very subtle and gentle. Now I'm developing, I'm working from the inside out again, much like with the flowers. Keeping values in mind, but I know I've got some greenery coming out of that cellophane. And then later I'll go back and layer the plastic sheen on top of it, adding a little bit more warmth to some of these. And I really do kind of zone out, even when I was doing the acrylic painting part. I get my sketch in, I even kind of zone out with sketches. I don't think about the fact that they're flowers. I'm just thinking these are shapes and looking at the spatial relationship between these shapes, looking at the edges and how things relate to one another. And then when I start painting, I kind of do the same thing. If I start thinking too much about all these flower petals, it's going to get too detailed too quickly. So I don't know why I, I guess I accidentally zoomed out for this section here. And once again, probably I think I had gotten up in the morning and I had, I have a treadmill in my house. I never leave home guys. I am at my home studio like all the time. My husband's building us a home that we've been trying to build since our house flooded in 2017. We're living in a temporary living situation. My studio is in a 10 by 13 room. I've always had a little teeny studio. Monet Cafe was born of me just being like you guys trying to figure out how to paint with pastels. And so that's what I've been doing the whole time. So now I'm kind of redeveloping that shape. See, I didn't even have my shape exactly right with the acrylic part, but that's how versatile things are. You want to get it basically right, but you still have a little bit of wiggle room to correct things. But anyway, so I was giving my little story about Monet Cafe. One day I might have to just make a little history testimonial kind of thing about Monet Cafe and it's beautiful little history. It's dramatic history, I should say. Oh, but I know what I was saying. My husband is building our home. We had purchased after we sold our home that flooded. Praise the Lord. I was like, how is anybody going to buy this house that totally flooded due to Hurricane Irma? But due to the Lord's blessings, we got it renovated. We were living in a travel trailer. My husband and my two large boys that were going to college. And we made it through and sold that house and we bought a piece of land. And it was our dream to build a home on that. It had a little tiny home on it. And in the meantime, we renovated another property that we had, which is the one we're living in right now. It was an old, old house. We call it Granny's house now. We bought it from a 95-year-old woman. I think she was 95 at the time. And she actually got higher offers on the house than the one we offered. Trust me, we got it for a steal. But she loved the fact that my husband was a believer and she was too. And he gave, he made an offer that was a number that had some sevens in it. And these are not upper sevens, just so you know. It was, and sevens is a number of the Lord. And she accepted our offer over other higher offers. Now, was that the Lord or what? So that house that we bought didn't intend on being a house we would live in. It was before our property flooded, but it ended up being the house we're living in now after we got it renovated. Oh, and trust me, that could have been one of those home show things because you're always like, oh, we'll just renovate these cabinets and this floor. We'll add some vinyl flooring. And you run into all these problems. It was basically totally gutted and redone. While we lived in our travel trailer. Anyway, oh my gosh, was that a long tangent. But now you can see that I have developed that one area over to the right. Can you tell it looks like the little white tag is underneath the plastic? The reason is because I kept it cooler and a little bit darker value than even the white that's in the reference image. And if I'd have had that very white white and also glazed a little bit of that blue over it, but if it had been very white, it would have looked like it was sticking on top and not like it's underneath those flowers. So now I'm going in and I'm kind of redeveloping this main flower and I'm just gonna, and I'm using a white charcoal pencil. It's not even a pastel pencil. It's a charcoal pencil. And I had, when I did the acrylic portion, again, I didn't worry about a lot of pedals. I just kind of got in shapes and values and colors. And I knew I kind of needed to reshape it. My strategy was to give it a little more detail as to lead the eye in. But one of the things that already inherently had going for it with respect to focal point is the fact that it's lighter. Remember I said light next to dark or even just color different from other things draws your eye to it. So it kind of naturally had a focal point strategy. Oh, and another focal point strategy it has, it's larger than the other flowers. And if you haven't seen it, you might like to watch my video. I think it's called five focal point strategies, something like that. And it was really an education myself. I was researching focal point. And whenever I learned something new, I loved to share it with you guys. So I ended up making a video out of it. And from that lesson I created, I have remembered those focal point strategies so well. And that is definitely one of them, something large, something high contrast, something detailed. So check that one out. Now I'm just developing this little tag underneath. Same strategy as the other tag. I don't wanna give it too much detail. I don't want it to be so detailed that it looks unnatural. And I want it to be subtle. But I know that some of these, the tag is underneath this flower. Those little baby's breath flowers are underneath the main peony flower. And they have some little bits of green which get cooler as they go under the shadow. That's what happens with color temperature. I also know I'm doing the same thing keep preaching, layering. I'm not doing, notice I'm not doing white baby's breath immediately. They're cooler, they're in the shadow. Some of them are a little lighter, but I'm doing it gradually. Remember, layering. Think of going from the inside out or from the bottom to the top. And I'm just using some grays rather than whites because they're a little darker in value. And a variation of some colors and keeping it really impressionistic. Gradually I'm working to get a little bit lighter. And then I'll just eventually give just a few that are light. Now I also want this, I debated, I was like, I got to put the name on this tag. I thought, should I put the name? It has to have it because otherwise it's like, it's just a big white square. So I thought, okay, I've got to put the word or the letters. It was actually in the reference image of, here I go, peonies on the tag. I used a charcoal pencil and I had to keep in mind the angle and whether or not my little letters were going to center correctly or fit right. And I wrote the word sale on the other one. Now to make it look like it was under the flowers, I just added a few little flowers that were just barely on top of it. You wanted to still read the letters, but I have some of those baby breath flowers on top of it. So I think it came out as believable. And now I'm just signing it and I've just talked away. Look at me. I've talked through this entire 34 minute presentation. So I hope you enjoyed that. I really love this combining of acrylic paint and soft pastel. I had forgotten that I used to even do that. I hope you will too. Please comment in this video, like this video, give it a thumbs up and become a patron if you'd like to support this channel. It really is what keeps these videos coming, trust me. All right guys, God bless you all and happy painting.