 Delay, you guys. I was trying to get the puppies settled and everything before the live, and then I had to run the wagon down to Jeff because we live in a building that's arguably way too big, but it's still perfect. Anyways, here we are. I hope you can hear me because I don't have my mic on today. So let me know if you can hear me or not. It is warm in my place now because of all the running around. I'm trying to flash on. Can y'all hear me okay? Yes to all of my questions. Well, I can't even remember what I even asked in that video I sent you. So I'm just gonna hope that everything works out well. I'm still trying to make sure that you guys can see the whole piece. Anyways, so I don't know if you guys watched yesterday's video, but this is kind of an add-on to what yesterday was. And yesterday we did a sample board for a client, her name's Tiffany. She's in the chat and she lives in beautiful part of lower Alabama. And I'm trying to hone in a sample piece for her and this is what we came up with yesterday. However, I feel like we need to do just one more sample piece. I usually only do like two or three per client, but when you're working with colors that aren't normal for you or different, sometimes it takes a couple more sample pieces. And in any case, she is in the room, she's in the room. So before I mix colors, I think I'm gonna just under paint a little bit with this darker red color that we under painted with yesterday. This is a mystery, what's the name of it? Cardinal. This is Cardinal by Montana Black Label. You don't even have that much of it, but I'm just gonna dust some areas because the best way to get a realistic or I don't know, I don't know if realistic's a word when I'm putting red and aqua in a piece, but I feel like the piece is just gonna look better if you have a little bit of depth. And the way that I usually get depth is from under painting and using translucent. So a lot of this is gonna get covered up. Don't get too worked up about what this looks like here. Cause you're not really gonna see a lot of it in a moment. So I went ahead and mixed up my resin. I'm using Stone Coat Art Coat today. You can get it on my, nope, I don't have any in stock, but you can get it from artists, nope. Stonecoatcamintox.com. Okay. And use the code y'all for 15% off. Y-A-L-L all caps, no punctuation. So, you see the evidence of being cautious about overspray here. There's a little circle from where that bucket was. So I'm just gonna touch a little bit more there to cover that up. The babes' dad just got home, so they may be a little bit loud for just a moment. Okay. I don't have a mic on today because I'm charging my phone as I'm filming, so it doesn't die. So please let me know if you can't hear me at any point for any reason and I'll see what I can do. Just gonna make sure this is working. We're gonna hope it's working. Okay, gotta plug in. So we have our resin mixed. Thank you, Vamp. Sorry if I have extra sniffles today. I am battling it cold since yesterday and it hasn't gone away. So I, I don't have a Clara voice, Clara. Kimberly Vamp should be able to assist with, she knows how to work with things being out of focus. Hopefully she can assist. Okay, so I'm gonna make a big translucent white, a big Bermuda Bay. I'm gonna do some pearl. I'm gonna do some abalone. Then I'm gonna use breakfast at Tiffany's and the almonds. The critiques from yesterday's piece were to have more whites, none of the darker aquas. So that's what we're gonna work with today. So I actually think I need another one at ease. I'm not gonna have any real leftover resin to work with in case we need to make more of something. I guess there's just a little bit left in there. So that'll be fine. The fogging may kind of make your screen look out of focus. Very good point, Vamp, but it is not out of focus. I'm not using real words today, apparently. Okay, so let's get started. So I'm gonna use, actually I'm gonna use white titanium white that is actually stuck to my board over here. So I'm gonna have to take my, this over here to mix my whites. Sorry, sorry. It's just, it's not coming up from what I have it on for some reason. That wasn't a lot. Less opaque than I would like. So I'm just putting a little bit of that in there. So we want our opaque to be fully opaque as in you cannot see through it. So you can't see any of the brown from our stir stick at all. This one we want to be translucent. So like a skim milk, we wanna be able to see just a little bit through it. So you can see the tan showing through. Perfect, beautiful, got it. Okay, then we need our Bermuda Bay. This one is by Just Resin as well. Your brother has been selling countertops. I watched Erica Bing's club and last night was amazed. Yes, her brother is installing a countertop so I won't be able to tilt it. So we're gonna try to manipulate it without a tilt today. For some reason, I thought he wasn't installing till later. Doesn't matter though, as long as the sample piece that you work up kind of matches the movability of the piece that you end up doing. So if you can tilt your board, then if you can tilt your countertop that you're gonna be working on, then you can tilt the sample piece, but don't do a sample piece that you can't do the same manipulation of your resin on the actual piece. I hope that makes sense. You got our Bermuda Bay, it is opaque. It is a non shimmer. Oh, we're gonna mix up some breakfast at Tiffany's. We did not use this in yesterday's piece, but I think it's appropriate to use some of this color at least because why it's named Tiffany. So gotta have breakfast at Tiffany's in there somewhere, right? I think so. Maybe even just a little bit. We got that. Breakfast at Tiffany's is also by Just Resin. It's kind of like Bermuda Bay, but it's a little bit more greeny, but it's still true to the, there we go. Tiffany's hue of color. Then I'll just line up all of our colors right here so you guys can see what they look like as we go. Now I have this other color that was sent to me today. It's from Color Art or Resin Art and this color is called Boreal or Boreal. I'm sure it's probably over Borealacy. Anyways, I haven't used it yet. I just got it today. If we like it, I'll carry it, but I wanna put a little bit in the piece just so we can see what it looks like. It fits with the family of colors that we're using. It looks a lot like, well, in the dark anyways, like the turquoise luster from Just Resin, but with a little something extra in it, it actually doesn't look like that at all anymore. It looks more like Bora Bora from Just Resin, that's what it looks like. So it's not dark, but it does have a lot of sparkle to it. Tiffany, your call if you want me to put that in your piece or not. Your call on that one. Also, I got Shooting Star in today. I got Resin Art delivered, and so I just uploaded it as in the website. I'm sending out an email with a discount code right after this feed. So if you aren't subscribed to our newsletter yet on our website, do that so you can get discount codes when we throw them out. So this is Shooting Star or Milky Way that we talked about yesterday. It looks chunky, but it melts into your resin super easily, and actually that's way too much. I always use too much, but yesterday Tiffany said she liked the look of the extra sparkle. So we're just gonna roll with it being super extra sparkly. It does look a little dark too, so we're gonna just hold off on that one until we have everything on, and if we decide we need some dark bits, then we'll throw that one into the color mix. So this looks like a pearl. So now we need this, our almond from yesterday. Here we go. Let's use a little bit more. We're gonna use the almond in kind of not as big of chunks because we weren't sure if we liked the flow of it yesterday, so almond is a paste from just resin. It is a shimmer, and it is opaque. If you want it to be translucent, you can always just use a little bit less of it, but we're going for opaque. It's okay. This color goes really well with aqua. Well, what am I gonna say? You either have to go up there and get it, or it's okay, so it's okay. I'm doing a live, so I'm not going anywhere. They forgot to put some stuff into our groceries, so I have just a little bit of resin left in this cup, but I'm gonna go ahead and pour it into this other one just to make it easier to use later. We decided we need more of a color. So now we got everything ready to go. More real, like B-O-R-E-A-L. I don't have it on my website because you just sent it to me to test out. But it's a beautiful color. It's color art, not resin art, so it's made for any real application. You could go into acrylic, you could go into resin. So we'll see. Right, so let's get started. I think I'm going to put some of the, they're here. I'm gonna put down some of the Milky Way on the red bits because I just want a little bit to peek a boo through. Now we're gonna save the rest of it. And then we're also gonna put some of the base in. I'm just gonna skim the base with these colors I'm putting on right now. And then we're gonna do some thicker, dirty pours. This is the translucent white. The translucent means we're gonna be able to see through it. I'm just gonna use one of my stir sticks. You could use a Bondo spreader. You could use just your hands. You could use pretty much just anything. I thought I was gonna use that, but it's just gonna be too difficult. So I'm just gonna skim with my hand like this. I'm actually gonna be teaching a color theory class at one of Rhonda RK3 Designs's upcoming pro countertop class. One of the things I'm gonna go over is how basing your piece in the color that's opposite on the color wheel will actually make your colors more vibrant. So for example, I want mostly aquas, but basing it in red will make the aqua that's on top of it a darker and more vibrant color because you basted it in a color that's opposite on the color wheel. It doesn't make sense sometimes. When I first was taught that in college in one of my oil painting classes, I was like, you have lost your mind because we had to do paintings where we did the entire painting in colors that were opposite on the color wheel from the still life we were looking at. So if I was looking at a yellow apple, then I would have to paint a purple apple, for example. And then after that was done, we painted over the entire thing again in the colors that we actually see and not the opposite on the color wheel colors. And it made the piece look even more amazing. And so that's something I'm gonna be teaching in the upcoming class down at Rhondas. I think the July pro class actually is the one. So that's skinned and quite get all of it. So I'm just doing a little bit more of the other colors that we were working with. And this is all underpainting. This is just background for the other colors that we're gonna throw on here in a minute. So we'll get all worked up. This is not the prettiest thing I've ever done on the channel at this point. But like I always say, you have to kind of just trust the process when you're working with resin because it's just gonna do what it wants to do. First of all, and second of all, it's gonna do what it wants to do. Sometimes it takes a little bit to get the actual vision to be really present in what you're doing, but it'll happen. Okay, so now we have it. Everything is got a little skim layer of resin on it. And now we can go in and do other stuff. All right, I'm almost out of breath just talking about it. All right, now this could be a finish on its own, according to Ronda. I think you guys are a little bit not in camera. I hope that works. Now I think I'm gonna go the wrong way. You have to go the wrong way. Hopefully I got it that time. All right, now I'm gonna build some dirty pour cups. I'm gonna take just an empty cup. I'm going to try to use mostly translucent in between my colors to keep them kind of separated a bit so we don't get any secondary colors or colors that are made by mixing two of our primary colors together. Primary meaning not just, you know, the primary colors that you're aware of, more that it's primary as in the colors that we started with. Okay, so we got some translucent white, some of our Bermuda Bay. I'm just gonna put it right on top of that, the breakfast at Tiffany's. Now I'm gonna separate that with some Milky Way. I don't have that much left, but I have some clear that we saved. So I'm gonna throw that in our this and make some more Milky Way. That's why I always save some clear for later. Okay, Milky Way, now I've got some almonds, some opaque white, and some more translucent. So now we have our this. This has all of the main colors that we're working with today. I'm gonna give it just a quick swirl to just make sure that the colors aren't just coming out kind of blandly as we put them in for these beautiful colors out. Even though I did that, all of my copper ended up in the first one. So I'm going to rebuild another Dirty Pour. I'm gonna just put this cup of existing Dirty Pour. No, I'm gonna Dirty Pour into this. So there's already coloring here. I'm gonna put the almonds, some opaque white, Bermuda Bay, Milky Way, breakfast at Tiffany's. Now I'm gonna do a better job at swirling and lifting the color up through each other. I'm not trying to mix these together. I'm just trying to create some visual interest before we even pour the colors out. Hope that makes sense. All right, so we need more of the almond over here. We'll put some over here. And when we heat the resin up, we start to thin it out and move it around. It's gonna fill in all these kind of bigger voids in between the Dirty Pours, and that'll make it kind of blend together and make the piece as a whole make a little bit more sense. Translucence will always make the ribbons look amazing. When I turn this light off, it's giving a bit extra of a glare that we just don't need. Okay, so Tiffany did also say that she wants bigger breaks of white. So I'm just gonna pour some white into the piece as well just along the flow that we already have. But I'm gonna save some because I always like doing, no veins later. Okay. What are we gonna do to fix that? I'm gonna take this and do that. So it looks like taffy. Listen, I love taffy. So I like the amount of copper that we have in there. I'm just adding some color fill. You guys are gonna need all of this resin to end up on the surface. We could make another Dirty Pour, which I guess I can go ahead and do. So I don't know where you guys can see that I'm doing this. Hope you can see where I'm at. If not, I'll be right back on camera. I'm just piling on another Dirty Pour cup. And ultimately, the order in which you add your colors is completely up to you. Certain colors together, then stack them next to each other. Just remember, no matter how many colors you use, as soon as you put them next to each other, odds are you're gonna get a third color. Just mix up a little bit more Milky Way. I'm emptying out one of our first Dirty Pour cups into the Dirty Pour we're making right now because voice not want not. Where's my, I'm putting just a little bit more of the almond in because I have it, but we don't want it to take over. So I'm trying to be really mindful about how much of each color I'm mixing in. Just one swizzle, one swirl to get it doing fun things. Tiffany, are you seeing anything you're not feeling so much or that you want reworked beanie? What are you doing? Melissa, we missed you too. Okay, so we've used almost all the resin that I have. But this little bit of our, is it Tiffany, you can't need Tiffany's album. So I'm just gonna put some through here and just flip the cup over probably at some area. Maybe not, maybe I'll just run it through here. All right. I'm gonna go do some heat and we'll start manipulating the piece. Also have an alcohol rag on hand. You're gonna need it. I don't know where my big torch is. So I'm just using one of my little ones. This is a crimp relay torch. I'll be using something more appropriate. We get on location. Essentially all I'm doing right now is popping bubbles. And I'm thinning out the resin so that it can flow and fill in any low parts or thinner parts that just have the skinned resin on like right here. Also when you put heat on a piece, you'll see designs pop up, bubbles burst and start creating cells that everybody likes to see. Let's see if I can find a long enough cord. I'm just gonna do it from over here. So I do have cladopus heat gun attachment on this and that just concentrates the airflow to a certain area and so you can manipulate it around more easily. You can also lose where you're at on a piece and scrape your design, so be careful. I use this attachment to get the look of a piece that's tilted sometimes. And so for sure where I had this cut flipped over over here doesn't go with the rest of the piece. So I'm just gonna use my cladopus heat gun attachment and blend out that bit and make it look more like it belongs in a piece. It is easy to scorch a resin so don't add too much heat at one time in one area. I'm not excited about that bit that I had to add. I'm gonna try to just blur that out, got it. Over-turn on this side as well that I need to blend out, so I'm gonna just do that. I don't know if you guys can see. I almost got a super up close view. Luckily, Jeff was here to pitch it. It's like off, like you need to like, you need to lower that back thing, the back one. Just a little, cause it's like way too tough. Now I just try to do that to see how, cause if you touch it, it'll move. So now this piece will move and change as the resin settles a bit. But I'm just gonna help it along with some pieces that I'm not the biggest fan of, like what I just moved my hand through. Tiffany, do you have any thoughts? Yes, it definitely changes as it goes. You love the corner with more white showing. The thing I just unwhited, well that's kinda the great thing about doing resin for a countertop is that it's so customizable. If you go and see some granite and you top left, this part, I like that part. And so yeah, this is gonna settle and relax. If you're wanting something with more white in the background, then I'm gonna do a piece that is essentially just oops, essentially just mostly white kind of like a marble look a little bit or I'm just gonna, I'm gonna treat it kind of like I do my marble pieces. I think that's from the feedback I'm getting. It's gonna be kind of more, it's not gonna look like marble, it's gonna look like my version of marble, which has a lot of color in it. I have one that I did that is purple. Hold on one second, let me go grab it. So this is my top left. So this is my Amethyst marble and it is mostly white, but it has a lot of color. I mean, if you like this one, we can do this one and just invert the cups to where I had the big one as the Bermuda Bay. I can just switch that and make a little one Bermuda Bay and then have two or three bigger cups of the white. Because I can. And since we know what this piece looks like at this point, I am gonna go ahead and put the Borealis color in just to see what it looks like, even though we know that it probably won't end up in the final piece at Tiffany's house. Just resin, we used so many of your colors today. We used titanium, we used breakfast at Tiffany's, we used Bermuda Bay and we used almond. You may need to get the sample pieces for a wall in your house to show the process. We can do that. Okay, so I'm gonna put some of our liquid floating copper in but as I showed you guys yesterday, I'm letting some of the propellant soak out, which is why it's in the back of this paper cup and that's what the yellow is, that is around the rim of this piece. Our thing's over there in Australia today. I need to put an order in by the way. So you can see when I stir this around or kind of shake it up that there's kind of a dark bit. That is, I think my dayquil's wearing off. That is the propellant and I'm trying to get rid of it because if we put that on a piece, the vein that we do is gonna kind of bloom out and crack when we just want it to be the size that we apply it. You know what I mean? Because it is an enamel-based spray paint, when it, when the resin grows and settles, it'll crack because of, can I say genetics? The genetics of the spray paint, does that make sense? Probably not. Thank you, Don. The Amethyst marble, I do have a video up. I don't know if anyone of the mods have a link for that handy. Still got a lot of propellant in it, but we're gonna go for it. So you guys aren't just sitting here watching me stir spray paint in a cup. You can't see how awesome this floating copper is from where you're at right now, but I'm gonna change the vantage point in a minute and you are going to love what that stuff looks like. I have on my website the liquid gold and liquid silver. I don't think I have the copper listed, but if you guys want the copper listed, I have no problems listing that for you guys. Toughest part of using this, is figuring out where you wanna put it that doesn't completely take over because you're gonna wanna put it everywhere. We're gonna just make it blend in with what we already got going on and you always wanna go with the flow that you already have on the piece. Going opposite of it will kind of, it would, it'll kind of confuse your eye because your eye wants to kind of make things flow in a cohesive way and if you apply things in a non-cohesive way, it'll give you a headache. I don't know if it really will give you a headache, but in my head, that's why I say that. Also, sorry about all the excessive noise outside if you're new here. I live downtown Dallas and there's a pot bowl like right on my window and the big trucks that come downtown really like to anchor it, apparently. All right, I think one or two more lines of this is good and I'll show you what it looks like. And then we'll get some feedback from the clients that we have in the chat today. I think it's important to kind of work with your client within reasons when you make a sample piece. Some clients, I don't give too many options because they're gonna wanna pull from too many examples and make a piece that is not gonna be cohesive for their space and it's gonna deviate fully from what they initially wanted. I worried about that with Tiffany because she likes a lot of things. But ultimately, I sent her all of the options because I knew, I know her well. And so I knew I could tell her that if I don't advise it, she would go with what I said. But some clients, you just can't do that with. There are clients that I just give one or two options I give one or two options based on photos of inspiration they sent me and then I make them something along those lines whereas with Tiffany, I knew she was gonna pull from a bunch of different examples that I've sent her but if I told her it didn't work then I knew she would listen and if you know the clients well enough then you can do that as well but if you don't know them well enough then keep the options that they can choose from very concise to what they initially say they wanted or else the samples are gonna be across the board and by the time you're done with it you're gonna have a piece that looks nothing like what they said in the first place and it's gonna be attic, winded. Anyway, so this is a floating copper because we soaked all the propellant out it has not cracked or moved and it catches the light so beautifully so you can barely see it and then when the light hits it it just brightens up and shines. I wish I could post the view into my living room where you'll be able to see your painting with this. She does have one of my favorite pieces I've ever done it was a triptych in alcohol ink and I just love it so much. Anyways, this is the piece so far. You can see in this area we didn't have that much red and in these areas we did have a lot more red. We do have some peekaboo's in red which I think I'm gonna keep like this warmth right here. Not right here, right here and right here. I think I'm still gonna base it and mostly white with some red mix up mostly white resin with just a little bit of the Bermuda Bay a little bit of the breakfast at Tiffany's. I think the almond in the dirty pour is great because it just brightens up and shines through the Tiffany color and gives it some extra dimension so we're gonna keep the almond less Bermuda Bay less Tiffany, more white. I'm gonna base it and mostly white but still have some of that red poking through and we're gonna follow kind of this flow. So I hope you guys enjoyed this video. Yeah, I think the little pieces are gonna tie it into the floor really well as well and we can do more of the red peekaboo's can do. So we'll do more Milky Way, more white, slightly less Bermuda Bay, less Tiffany's. Oh, I forgot we had the borealis. Yeah, I can, well, I have almond, a little bit of white in the borealis. So little coasters. Okay, so we'll do one in just the borealis but it's actually called boreal. Play on for real or it's short for borealis. But you can see it has a beautiful sparkle to it. This reminds me of Bora Bora from Just Resin so much. Just Resin if you're still in the house. Do you get that vibe from this color? It's very unique color. It's a little bit more of a green hue IRL but it's super sparkly because it is a mica. You can see the lines where I swipe my finger across it. So if I were to go through and chop it up, it would leave kind of a starred texture. Any Alabama fans? I don't think our resident Alabama viewer is here right now. Her name is Lisa. I think I'm gonna carry this color. You guys like it? If you do like it, I do have a similar color from Just Resin. Oh, Lisa was here? Well, we didn't give her a roll tide from Tiffany. Anyways, I will be doing countertop and Tuscaloosa later this year as well. So this is what boreal or I guess it's boreal or boreal? I don't know. That's what that looks like. So we can do it with the color. I have some on the left. Those colors would make a fun countertop. There's Lisa. Hey girl, I'm gonna put some white on this and then I'm gonna smush these two together. That'll be that. Let's see what happens. Oh, we gotta spin it. Put some heat on this, bad boy. Yo, I might have to do a piece with just three colors, just these three. Man, I knew I was lurking. Well, since Vance is also hanging out in the shadows, look at those little microcells. You can really see the color of the borealis and that green, goldy blue sparkle. Dude, this is such a classic palette. I haven't gotten cells without a base paste in a long time, but y'all, y'all, I did let my resin thicken up a little bit before I used it because I had to run down stairs at one point. And that took a while, but I would hang a piece like this in my house if it was like massive. What do you guys think? I can't wait to see what she does with it. She's an actual fan when I'm not, so I'm leaving that one totally up to her. She's gonna let me fully bamma out her countertop in Tuscaloosa. Super pumped. So I hope you guys found the video for this other piece that I did, my Amethyst Marble. It was one of my favorite, like full finish finishes. I do have the full process of this video on YouTube. Hope you check it out. I think someone added a link in the chat. You're so fun. Can I quit being a CPA and come with you anytime? Thank you for that fun fact. Claire just added a link for my Amethyst Marble. Oh, I have a Zoom call at three, so I got a jet, but I hope you guys have an amazing day. And I will be doing something similar to this, but with some color adjustment for tomorrow's live. We'll see you guys tonight on RK3's channel, where Clara is gonna be hacking the feed. So I'll see you guys there. Be kind to one another, cause you never know what someone's going through and always remember that we do the tests, so you don't have to, and we'll see you guys tomorrow. Bye. Bowie, you say bye? He said bye.