 Hey guys, how are you today? So right before I got on camera? I just scraped some gesso on here with a palette knife. This is one of my old canvases from 2013 that we're gonna paint over today. And actually before I get started, hang on, let me go grab something really quick. Okay This is the male nude we did last week. It's on the same size canvas as the one we're gonna do this week. I'm gonna put it back up here. So we're gonna do a female this week. The pair of them will be for sale. They don't have to go together to the same place. They will be in my Etsy shop. The image will probably be edited for Etsy, so I don't get in trouble, but they will be for sale in the Etsy shop and or privately if you want to just PM me through Facebook is the easiest way. My email address is in the description below. Anyway, they're both for sale, $25 plus shipping. It shouldn't take too much to ship them because they're not very big. So I would say five or ten dollars for shipping in the US. I don't know about internationally, but we'd have to check on that, but that being said, they're gonna both be for sale. So this week we'll do a female nude. I don't have any place to hang them. I'm running out of places to hang stuff, so they've got to go to a forever home. All right, so first thing we're gonna do is put our tracing paper on our canvas and hi Eve, hi Kylie. How are you guys all and everybody else who's watching and not chatting? Hello everybody. I'm gonna feel for the edges of the canvas to center my image and then I'm gonna use my pencil to just give me, you know, a basic outline to work with. This is a great shortcut. When you're doing any, you know, any painting, but especially figure work, especially if you're, you know, new at it, you're unsure of the proportions, that sort of thing. I may even give these canvases to somebody, so if you're interested in acquiring them, let me know. I haven't decided yet, but they need to go to somebody else because I don't have any more room in my house to hang anything. Not to mention the fact that we have a room full of nudes in my husband's office. So, yeah, there's that. I didn't put a book under here, so let's see. Actually, I got it well enough, I think. It's easier if you put a book under there because you get a sharper design. Hey, Deb! All right, so this tracing paper, by the way, or transfer paper, this is a deco art product. You can get it, I'm sure, on their website and probably at any of the big box stores. It might be either in the paint aisle or the fine art department, I'm actually not sure. All right, so now we're going to take our image and I'm going to stick it for her back on the clipboard, and I'm going to stick her up against my cabinets over here off-camera, so I can use her for inspiration for shadow and light and also, of course, shape. Now we're going to get started, and I have to tell you guys ahead of time, I don't know how this one's going to turn out. I was really happy with the last one. I'm really kind of not in the mood to paint a nude, so as all of you who are painters know, when you're not in the mood for something and you try it anyway, sometimes it comes out great, sometimes it comes out like poop, so we're going to just try it and see. I have no idea. I'm going to grab a few things. I've got this, I think this is for cleaning like your fingernails or something. I don't know. This is from the Japanese dollar store. It looks like a little coffee cup thing, but anyway, I like it for texture in the paint, and then I'm going to grab some brushes and just a couple of like, mark-making tools. I have my palette knife I used for the gesso is in the water, so all right. First, let's do the background and let's see. We're going to grab a plate. I've got the Americana Deco Art paints out. All right, I'm going to grab some purples and some blues, because of course I am. I'm going to grab a little bit of pink and some white and actually, we might do yellow instead of the pink. Well, I don't know. I think we want to use similar colors to the male nude only instead of a dark background with a light figure. I might want to go with a light background with a dark figure. Yeah, see, and I'm, so we're going to just have to like wing it and we'll see what happens. And like I said, it might turn out like poop, but no, no, I don't know. We're going to find out though. Oh, there it is. I'm going to, in the Deco Art Americana paints, they make a paints gray, which I actually really love and I've used for a long time. They don't always, oops, they don't always have it in my craft store, but you can get it from Amazon or directly, on Amazon or directly from Deco Art. All right, so let's do the background first. I'm going to grab some white. That's not enough white. I can tell you right now, that is not enough white to cover this canvas. Okay, and then I'm going to put that upside down because it's almost empty. And then I'm going to use the pink, I think. Add this color. This is gold. It might be interesting to use gold. I'm going to try to keep track of what colors I end up using today. For you, like last time, so that I can make a list for you. You know, I'm kind of thinking, okay, so this is flesh tone. We're not going to use it for the flesh though. Wouldn't that be interesting? Yeah, as long as you're being creative, there's no, you know, there's no rule that says you must do this or must do that. I liked Tamara Laporte's recent live broadcast that she did on Facebook and where she, somebody asked her about drawing every day and she said something or journaling every day and she said something like, why do you have to journal every day? As long as you're being creative, what does it matter what you're being creative with? And I really like that because it doesn't really matter. As long as you're, you know, doing what makes you happy and you're living a creative life, what does it matter exactly how you're doing it? So I'm going to, just like before, kind of map out the figure a bit by painting out the background. I'm just going around the lines that I made and I'm going to grab a few of the other colors and I'm going to just kind of do this. Nope, I went over her hand. That's what baby wipes are for. I posted last night that I just cleaned all my studio rags and I do use rags instead of paper towels. I do use the one disposable thing I do use are baby wipes. I don't really use them for cleanup though. I use them to push paint around. Oh, and there I did it again. That hand, I think, wants to be painted over. It seems to. So this is just a little bit of the gold. Can I rinse the brush off? Exactly. So art, being creative is not all about just painting. There's a lot of ways to be creative. So think outside the box a little bit. Okay, I'm gonna, I want to get the edges. So I've got my hand. Let's see if I can show you. Braced in the back like this, when you have little canvases like this, that's an easy way to pick them up and paint your edges without getting your fingers stuck in everything. And I like these canvases that have the canvas wrapped around the edge and stapled in the back, gallery-wrapped instead of the staples on the sides because you don't have to necessarily frame them before you hang them up in a place for sale or your house. Oh my colors are in the way. Okay, I'm gonna put that big brush in my water and I'm gonna grab the paint's gray. So one of the joys of acrylic paint is you really can, you don't have to work like with watercolor light to dark and consciously work on getting all the light areas correct and or saving the white space and working your way darker because you can't really take it back. With acrylic, you can just keep putting as many layers as you want. Oh, I hope you guys are all doodling or art-ing or something. That would be fabulous. I'm gonna take my filbert. Y'all know this is my favorite brush. And we're gonna start mapping in our shape with the dark, this dark blue, which is paint's gray, is really a dark blue black. Start with our hair. Blurring the edges just a little bit. Pushing the paint around. I told you that's why I keep baby wipes in this studio is really to push the paint around. Oops, stuck my arm in something that I didn't want to stuck in. So now I'm going to start looking at the inspiration photo and putting the paint's gray into the areas of shadow. And like anything else you're ever gonna paint, it's gonna have this stage like this that's kind of really poopy. That's my word of the day, I think, today. I have this feeling. I have this feeling. That's my word of the day. Poop. I'm glad it got quiet over here right before I went live talking about noise because the gardeners were just here next door. And right before I went live the dogs to the parking. I was like, Oh, that just totally figures. So now I'm just gonna move the paint around. Okay, and I'm going to just wipe my brush off on my baby wipe. I'm not gonna really clean it. I don't mind that it's dirty. We're gonna stick with the shades of blue for now. This is Aqua Sky, which is still a cool like a shadow color, right? But it's a little warmer than the paint's gray. So I'm literally just following the canvas around and I am working on my shadows. Now if you have an inspiration photo you're gonna work with and you're not sure about shadows and, you know, the values of your colors, of your shadows, printed in black and white. Sometimes the fact that the photos in color, especially when you're doing a figure work that's non-traditional colors, having the inspiration photo in its original form can be distracting. I'm gonna switch to a smaller brush right now. Switching brushes, shapes and sizes will help keep your marks fresh. Hey, Mama Cats, how are you? We're doing more naked people. As I was telling my sister earlier, I was emailing back and forth with my sister this morning, Elizabeth, and I said, I gotta go. I've got to paint more naked people. I don't know what she said to that because I really had to go. I need to go with, let's see. I'm gonna get a couple more brushes because, you know, okay, so we're gonna put some purple in here. Now I'm gonna go instead of going with this cool purple, which I could, this is very blue. I'm gonna go with this warmer purple, which is more red, which is purple pizzazz, which I really, it's an Americana color that I really liked actually. So I'm putting a little paint on and then I am pushing it around with my finger. And just like with the other painting, I am counting on not getting this done in one layer and having to do it in a few layers of paint. This leg is not quite shaped right, so we're gonna have to fix that. I'm going to adjust my figure here a little bit because she's a little bit off. At first, I'm going to bring in some dark. Okay, and then I'm gonna just wipe my brush off like that. Now, this is a little more challenging in that the background is light. So the edges of her really show. It is easier to sort of fudge your shape a little bit if the proportions are off by having the background be the same color as your edges, your shadow color, or your edges of your figure. That being said, I don't want to get too literal with the painting. I want to keep it loose and suggestive, so I'm gonna try hard to do that. Sometimes is a challenge. So now we're gonna go back to the purple and work some more on where really we're working our way darker to lighter and warmer, darker and cooler to lighter and warmer. There is a nice shape, and you know, it just takes to work, and you know, these things don't happen, you know, quickly or you know, easily, especially at first. So be gentle with yourself and know that you know, a really good painting doesn't happen. Overnight. That's better. Okay, so I'm gonna go with a little flat brush, and I really want to go with maybe some yellow. I'm gonna have to be careful with the yellow that I don't mix it too much with the purple because I'm gonna get brown. I don't necessarily want brown. So we're gonna let the purple on the body dry just a second. That's a really great question, and I do want to encourage you all while I'm painting to ask questions. I do have the iPad like right there, so I can see them. It's difficult, especially it was at first when I first started doing this kind of painting, but also especially if I like a piece of the painting, and I like it so much, but it's really not working with the painting. It's still really hard to go over it. Does that make sense? Because there might be a part of the painting that I really like, and yeah, that yellow is gonna be interesting to add. We're gonna try it anyway. But it took a lot of practice to just get myself to the point where I just realized, you know what, it's just a painting. What's the worst that could happen? And you know, to figure out how to be okay with that, it's fine. Hey, Yasna, how are you? We're doing more naked people in case you didn't know. In case you didn't know that already. Okay, here we go with yellow. Let's find out what happens. So if you do something like this and your background's completely dry, just have a baby wipe on your hand, put a little bit of it on there, and if you hate it, just wipe it right off. And don't kick yourself over it. Like, you know, it happens to all of us where we put a color on a canvas and then go, ooh, God, what was I thinking? It was to everybody. Now, I'm also not treating any part of the painting too preciously, and if I go over the edges, I can touch them up. I am trying to not have to, you know, touch them up too much, but with acrylic painting, it's really the layers of, you know, marks that you put on the canvas that make it interesting, and especially if you get the right color in the right place. Yeah, the yellow, the yellow is a really warm color, and it's going to make her really pop, and these kind of paintings, it's a color that's really needed. And like I said, have the baby wipe in your hand, because in some areas maybe you want more of the yellow than others, and maybe you just want to hint of it. Like I did in the hair. I just wanted to hint that was too much. Yeah, you can just go over it if it doesn't work, or like I said, if the background is dry, then you can just wipe it off with a baby wipe. If your under layers are already dry, then I wouldn't worry about it. I would just wipe it off. Now a lot of yellows are not real opaque, and that's true for lots of different kinds of paint. So you will probably find that lots of your under layers will show through the yellow, and you may or may not like that. If you don't like that, then you're going to want to put white there first, or gesso, and then put the yellow. I don't mind that. I like layers. And don't forget, we're mixed media artists, right? So what does that mean? That means if after you get the painting done on here, and you want to go in with some of your gelados, or some of your paint markers, or crayons, do it. Do it, do it, do it. Don't let anybody tell you you shouldn't be doing it. You do what makes you happy. Now here I go with the purple again, but again, I've got to be careful because we don't want too much mud if we can help it, right? So I'm continually looking at my inspiration photo, altering the edges of my image, where appropriate, correcting the shadows, correcting the color, layering my colors on top of each other, and I'll keep doing that until I get something I really like. And that's what I'm talking about. If you get too much of something somewhere, just go in with your baby white. The one thing I liked about this original inspiration photo, this painting that somebody else did, probably in oil, was that the female figure wasn't skinny. Hey, Aquarius artist, hello. I don't actually often do an underpainting, but then again, I seem to always be working on top of an old painting that I'm not real crazy about, so I don't know. Can you call that an underpainting? Maybe. Maybe that's what that is. I don't intend to always do underpaintings, I should say. Oh, thanks. Yeah, I liked this pose, and I like the fact that she wasn't skinny, you know, she had curves, which are challenging and beautiful, and I liked that about this particular pose. I didn't like that there. Okay, I'm going to actually mix a little bit of the Payne's gray with some of the white, and then I'm going to put it on the canvas, and then I'm going to push it around with my baby white. Again, what's the worst that could happen? Just experiment and play. And like I said, I'm not really, those of you just came welcome. I just started out by letting you all know, this may turn out like poop, I don't know. I promised to do another nude, so we're doing another nude, but I'm actually not kind of in the mood to do nude. So, you know, when you're painting and you're really not in the mood for the particular subject matter, it could go either way. We'll see. She's not turning out too bad, actually. I'm kind of surprised. The background behind her was just a little bit too white, I have to tell you, I think. Does that mean I think it's better now? Not necessarily, but we'll keep playing with it. Yeah, a lot of the old masters reused their canvases. They painted over old paintings that they didn't like or that didn't sell a lot, so I don't, you know, ever feel bad. And honestly, I have pictures of all these old paintings. I do have pictures of all of them. So, you know, I have a record of them all. Somebody, somebody is going to see it and go, what the heck? What's she doing to this canvas? I won't be around to answer them. So, thank you. Yasna, I appreciate that. Wow, it's already been 41 minutes already. Holy cow. All right. Let's keep going and going and going. There's a little too much paint there. That's why I have a baby wipe in my hand still. There goes the salesman again. I can hear the house phone machine blinking and beeping. It's only people who call it or salespeople and those idiots who want me to really believe the IRS is going to come take my house. They were going to do that when they wouldn't call me on the telephone. I have done some palette knife painting in the past and I really like, I really like working with palette knives. So, again, this is the yellow and the purple is wet. So, that means that I'm going to be dabbing this on in a way, hopefully, that I like the mark because I can't move it around too much or we'll get lots of brown on here and that's not necessarily what we want. And, did you know that they have palette knives with different textured edges, which are fun. Now, of course, you don't need them. You can make texture tools, but out of, you know, just cut the edge of an old gift card or something, but they do make a series of palette knives that have a textured edge or a dappled edge. So, they're a fun tool to have in your repertoire. Also, deco art has hold on. Okay. Also, deco art has some plastic texture tools that you can use to scrape in the paint. Sorry. I was, you know, painting and talking at the same time. You probably don't work so well. Yeah, I'm frequently like to incorporate a palette knife in my painting when I'm doing something that I really want to be super expressive and be very loose with my lines and I frequently use my left hand. You know what? I'm going to get this other blue out because, you know, one more color. I don't know where to put it on my plate. How about right here? Oh, let's shake it up first. Hi, Hina. How are you? We're painting more naked people. Now, in the description below of this broadcast, there is listings of different places that you can get inspiration photos to try something like this and do some figure work in cool and warm tones instead of just flesh shades of flesh tone. There is fan suggested sites and also my Pinterest board. The link to deco art, of course, is there and a bunch of other stuff. Oh, thank you. I'm good. I'm actually, I wasn't so sure how she was going to turn out today because I didn't really think I was in the mood to paint a nude, but she's not too bad. I don't think she's done yet, but she's not too bad. I switched to the fan brush because I have less control and I think my marks were getting too controlled. I was trying too hard. Maybe I probably would have actually started the canvases with a neon background. I know that's probably not what you expected. Generally speaking, when I do canvases like this and I'm not painting over old work, I usually start with a neon background, abstract neon background. When I say neon, I mean neon. It's just more of a challenge to start on a background that already has something on it, but I kind of like the challenge. Does it always work? No. No, but I like the challenge nonetheless. Yeah, and sometimes the neons show through the layers in and I'll rub the paint back until I actually see some of that neon color in the figure somewhere and that may be what this is missing. Now that we mentioned it, that might be what I'm missing. I have some neon orange. My favorite neon paint on the planet is Americana Neons and any of their colors, but torred orange. It's my favorite one. It always has been. Oh yeah, I think that's what it needed. Now because I put that white on there where if I put this on or near that white and then move it around where the white is, it's going to be brighter and more vibrant. Yeah, I do think she needs some splatters, but this is a really bright warm color and it will really go far in helping you suggest those light bright warm spots on your painting and you can smudge some of it. You can leave some of it, make some interesting marks. Yeah, now the background has too much going on and she doesn't blend with. This is why I don't do light backgrounds very often. I usually do a dark background, so you guys shouldn't be surprised if I darken up the background because I don't do light backgrounds on figure work like this very often because I have problems with it. To be honest, I always want the background to be dark. I think it suits it better. I mean I'm really wanting to darken that background, so I think I'm going to have to do that. Now what we can do is just mix all of our dark colors together that are on our palette instead of wasting paint and I'm not necessarily going to cover up the whole background, but I am going to make it so she blends in more with the background, sort of hides the edges of her figure and then get a baby wipe out and just blended around. I'm actually going to mix my a couple of colors over here and make a dark color. I'm going to end up being a dark purpleish blue color. Yeah, yeah, better already. Yeah, I don't think I want to make the whole thing dark. I think I just want to make around her dark. I think she works with the background better, at least that's what I think I want to do. I just got to splatter a paint over there, but we'll see. I know that the light background is not working for me right now. Of course, I did already say a couple of times that this whole thing might turn out like poop. I did say that. Now if you're working on a canvas like this and you've put some color down and you want to blend it out, but before you can get there, the color dries a little bit too much to move around with the baby wipe. Get some rubbing alcohol and it should reactivate the acrylic paint enough that you can move it around. Now I kind of like that you can see the pink and white through this background. Just because I'm doing it one way with one set of colors doesn't mean you should do it the same way. If you guys are going to do this and I hope you try it, I want you to choose your own colors and experiment. What is the worst that could happen? Don't worry about it. Just play and have some fun. Right? So yeah. So I like that. This baby wipe is really, it was really dry and past it. So let's get a fresh one. Oh yeah. See? Much better. This is not where I thought this painting would end up at all, but I like it and it does sort of look like she's opening a curtain, which I kind of like. Oh, thanks. So now I need more. Do I want to do something I don't normally do, which is use black? Or do I want to just use dark blue or really dark purple to darken up our shadows and really make her pop? I might want to use purple. I have this dark purple. No worries about yelling. I always forget capital means yelling. Oh, I kind of like the dark purple. Let's see. Oops, that was too much paint. Yeah, I think the black is too harsh. That's why I chose the purple. I think the black is too much for the painting. I do still think I'm going to go in with more Payne's gray in here, but the purple is helping. The background is much better. I'm very much more happy with the background now than I was. This brush I think is too big. I keep getting too much paint in the wrong spot. So let's switch to a smaller one because that big one's giving me problems. Yeah, that's better. Does anybody else have any other questions for me this morning? I should say this afternoon, it's just about lunchtime. Oh, yeah, it is past lunchtime. It's 1.02. That might explain why I'm kind of hungry. I did get myself to the gym this morning. So just keep layering your colors and making interesting marks and putting the cool colors in the shadow spots, the warm colors in the warm spots, and keep doing that until you get something that you like. There's no rhyme or reason to it. It should take you this long or that long. There's just a matter of working at it until you get something that you're really happy with. At some point you'll know that you can't do any more to it without screwing it up and that it's as good as it's going to get and or that you really love it. So that's probably the time to stop. Honestly, I'm just about there. I heard you say that you were moving again, Deb. I can't believe that again. We're not planning on staying in this house forever, but honestly, I dread the day when I have to move. I've been here so long, kind of in my own place now, Kylie. So I have a really small brush here somewhere. I thought I did. That was it. Let's try this one. This is the Payne's Gray again, which is a dark blue. And actually, you know what? I'm going to mix it with one of the blues that's on here. I'm barely touching the canvas. I think references are good. Yes, I agree with you. So the reference photos are really just for shadow and light and especially when you're doing figure work so that you can, you know, keep an eye on where the shadows should be or shouldn't be. But you really need to make the painting your own as I'm obviously doing here. This painting is very much my own. It looks nothing like the original at all. And I really think that you need to, and neither does the first one I did, you need to, you know, keep that in mind when you're doing this kind of work. I'm kind of liking. I'm getting to the part where I like her. There's something her face isn't quite right. And you notice I just went in there with the warmer yet still cool blue color and covered up a bunch of her face. While I want her face to be suggestive, it wasn't quite right with the rest of her body. And it's still not, but it's getting better. And there's always one part of a painting that just takes me longer than the rest of the painting to get right. Always. In her case, it's her head and her hair. Painting her in watercolor, I have to tell you guys, I think it was much easier. See if the light's coming this way. It is an evolving thing. Definitely it is. And don't we all just love it. That's why we're here, right? Good or bad, we enjoy the process. At least I hope you all do. Because if you're not enjoying the process, what the heck are you here for? What is the point? To be honest. Yeah, so yeah, so I did tell my husband that when when and if we do move that, you know, my requirement is that he not stick me down in a basement somewhere. Because, you know, I can't paint in the basement with no light. That's just not gonna work for me. I spent so much time getting her boobs right now. I'm having trouble with her hair. It's always something. Yeah, some sunlight, you know, I told him if, you know, if God forbid our next house should be in the basement or something, you know, I need at least daylight bulbs. So I told him it's gonna have to have a good lighting. Yeah, I know I shouldn't complain too much. I'm so sorry you have to move again, Deb. That's just not fair. You just got settled in, it seems like. See, she's getting better. Her face is getting better. I don't know. I like her body. Just cut her head off. Sounds bad, I know, but yeah, yeah, yeah. Yeah, yeah, so yeah, you see me, we had the same idea at the same time, Ian, you see me in here with the white. We had the same idea. Great minds think alike. So if you want your, whether it's yellow or it's the neon orange to be brighter and more opaque, you need to put white down first. I know I already said that. It's not going to be if you don't put the white down first. I don't have too much yellow left on my palette, but I wanted to use up what was on there. So, oh, I agree too. Well, I don't know. You're a creative type. It can't be that bad. Oh, there we go. I thought the screen froze. It was just me stopping to look at the iPad. You know, holy moly. All right, let's see. We're gonna stay away from the muddy gray tones that are now on the palette because I don't think they're helping. And I'm gonna have my two purples and I do have some blue that's on here. So let's grab some of the blue, one of the blues that's on here. That was too much blue on the face. I got a mark in a place I didn't want to mark. Oops. Okay, now our warmer of our two purples. Now if the sun's this way, her face would be this part of her face would be in shadow. And there's always we're gonna do figures and faces and you're gonna have every time you do one, no matter how many times you've done them before, there'll be one part of it that just gives you fits and you paint over and over and over and over again. It's not right. Sometimes you need to just walk away. And sometimes you can work your way through it, but it happens to everybody. So don't ever feel like if that happens to you, that you're doing something wrong or you're not good enough, that's all a load of crap. Don't listen to that little voice that's telling you you're not good enough, you're not worth it or whatever. Okay, that's the warmer. Let's go with the cooler now, which I need more of in there. Try not to pour a bunch out and just use what's in the cap. That's not a bad idea, Ian. Talk about a warm color, a little bit of red. I told you guys I need your help today because I'm, you know, that's better. I got to tell you guys right there, that's already better. I'm already happier with that than I was. Let's try the little bits of red. I tried to put the two caps together. Did you see that? Holy cow. Let's not do pink because we put pink on the man. I would like to see something different about this one. Let's try the red. I have this tomato red that's really pretty. I have neon red, but I think there's enough neon orange on there. We don't need neon red. A little bit of crimson is too dark. Let's try this one. This is tomato red. I actually like this color. It's not going to be as warm as the neon orange, but it is a warm color. Oh yeah, Ian's right. See, look at that. This is why even when I'm not in a mood, I paint with you guys. You guys steer me right. Look at that. I'm going to zoom in a little bit so you can see. Just not too much. You don't need too much. I'm actually barely touching my brush to the canvas. Her body is pretty dry. If you do this and you get some of it in a place that you don't want it, you can just wipe it off. I think you mean that literally, Ian. I'm going to do this. I messed up her hair a little bit, so I'm fixing it. I wiped it too much with the baby wipe because, you know, little name is not grace or patience, especially today. Yeah, I agree. Or in this case, red and neon orange. If you're ever unsure about what colors to pick in your painting that are going to work together, get a color wheel out. If you don't have one, you can buy one. If you can't afford to buy one, you can download one on the internet. They're everywhere. And that's a great reference tool, no matter how long you've been painting and how much experience you have, we all still need to occasionally refer back to a color wheel. Okay, now I do want to do this and tie a little bit of that red into the background color a little bit. Not a lot, but I don't want to just have the red be there like for no reason and have it not be anywhere else. That doesn't mean we're going to go crazy with it. I really like the way she turned out. I'm surprised because I didn't expect this to turn out good at all today, to be honest with you, as if I'm ever anything less than honest. Yeah, I really like her. We need to fix the edges though now. So I'm going to take my baby wipe and I'm going to actually close the red up before I spill something everywhere that I don't want spilled everywhere. And I'm going to just take what's on the palette that's wet, whatever is wet. I'm going to just use that. It gives a nice balance to have a little bit of the red in the background so it's not just on the figure. I agree. Again, I can't seem to do a painting, whether I'm using acrylic or watercolors with, you know, if you just tell me, you can only use three colors, I'm in big trouble. Obviously, because you know, I don't know how to do that. There is, I haven't seen it. It would be interesting to see. I'm putting this in the background to warm up the background a little bit and pull some of the yellowy colors from the figure into the background. This is, but this isn't yellow. This is the gold paint that I had on my palette that's still wet. I haven't heard about this color wheel and I don't know anything about it. Maybe you should give me a link or us a link. I just have your standard old color wheels. I haven't heard anything about a new one. But then I'm, you know, completely absorbed right now in either doing these tutorials or the secret project. So there's a lot of stuff I don't know about right now. I'm sure, I'm sure, I'm sure there's a ton of stuff I am missing right now. Yeah, so adding a little bit of the gold and then, you know, just put, you know, some on there and then don't be afraid to do like what I'm doing now and wipe some of it back. It's not going to hurt anything. I want to add some of the blue back. I lost some of the blue there. So and I like the blue and I'm actually liking those streaky finger marks. I don't know what else to call them. You're going to have to figure out the link for that because I haven't heard anything about it. Like I said, though, I've been crazy busy with the secret project. So it doesn't surprise me. I missed something. I'm going to stop touching her because I really like where she's at. And I don't think there's anything more I could do to her to make her better. And I'm happy with her. Is she perfect? No. Do I expect her to be? No. I'm going to move all my stuff out of the way. And let's see. I'm sorry. I'm looking at that. Oh, hold on. I'm looking. There we go. Look at the computer screen behind me. I haven't heard anything about any of this. I haven't heard anything about a new blue. I mean, like I said, I've been kind of oblivious about all this stuff lately. So maybe you guys need to send me a link to an article or something so I can read up on it. So I really like the way these look together. I have to tell you. I think I like the way they look together better than I do individually. Now, our nude man has already been covered with deco page and then whack, cream wax and dried. I did sign him on the edge that it was repainted in September of 2016. And I put my art signature on here. I will be doing the same thing with the female nude. And the original signatures from the original times they were painted are on the back. This one, of course, was painted twice. Oh, thank you. So they will be for sale. And if you are interested in buying them, let me know. You can email me my addresses in the description below. I'm going to figure out how to get the images on Etsy without annoying somebody because they're nude. I don't know how to do that. So I love to find out. I might have to just list them in the Facebook group and let it go. I don't know. $25 each. Plus shipping. All right. Thank you so much. I have no room for them. I don't know what I'm going to do with them. My house is being overrun with paintings. And I do like how she seems to be picking out from the curtains. We've got similar colors in both paintings. So they coordinate nicely with each other. I really like them. And I like this sort of suggestive style or painting. Now, I will tell you, it's not any easier than doing a realistic portrait. It's just different. It makes me happier. Despite the issues I had with her hair, I love the way she turned out, which surprises me because I was not in the mood to do a nude today. And I kind of was feeling like poop about it. I told you guys already. So the fact that she turned out well surprises me. I do tend to more often than not use the trick of making the background around the figure dark. So that if my proportions are not exactly off, are not exactly right, that they blend into the background. Oh yeah, my dining room. Those of you who have seen my old, some of my older videos, my dining room is Florida stealing paintings almost. I will try to take some new video and post it maybe directly in the Facebook group. Yeah, and I'm always changing the paintings out there. But I have too many. So some of them have got to be sold. You're welcome. So if you're interested in these or any other paintings you have seen me do on YouTube or you've seen me post on Facebook somewhere, message me there. If it's not nailed down there for sale and none of them are nailed down. So you guys let me know and have some fun painting and creating something interesting. Don't be afraid about. Oh, there you go. Don't be afraid about the fact that you don't think you can do a figure. Just try it. Just try it. And it is so much fun. I have to tell you what's the worst that could happen? It turns out like poop. Well, we all have, I mean, I look at all the canvases I'm painting over. You know, you don't have to show anybody the ones turn out like poop. That's all right. So just have fun with it and play and experiment. And you know, if painting figures with realistic colors, you know, kind of frustrates you like it does me and doesn't make you happy and just kind of find it tedious, then switch it up to warm and cool colors and do the figures in some of these colors and see what happens. You don't have to have fancy paint. This was done with a decor artist traditions paint. This one was done with decor Americana craft paint. You don't have to have fancy paint to play like this. All right, but I would recommend with these paints more than artist paints that when they're dry, you seal them with a varnish or something. I always put a coat of wax on there, too. And let that dry and that way during shipping, I don't have to worry about it getting hot and sticking to whatever it's wrapped in. So there you go. That's it for today. Don't forget the most important thing. Go out and have a great day. Do something nice for yourself because you deserve it. And I'm going to have to look up this new blue paint because I don't know what you're talking about. As per usual, I have no idea. I'm always clueless. Those that know me would just shake their heads and you can just do that. I don't know how to do it virtually. All right, that's it you guys. So male nude and a female nude. Give it a shot. The links for Mike Deakin, Aaron from Improving Impulses and Paul Browning's original videos that sparked this whole thing with me are in the description below. If you haven't yet gone over to their channels and watched their videos and shown them some love, please do so now. And anybody else who has the guts to come on a public venue like YouTube and do something artistic with a nude, show them some love. It's just art people. Pull up your big girl panties. We all have these body parts. So, you know. All right, that's it everybody. I will see you Wednesday for Watercolor Wednesday. I don't have any idea what we're painting except that I want to try to finish up my Watercolor Journal in the next few weeks. So, if you guys have suggestions for what you would like to see on Wednesday, then message me over in Facebook and let me know. All right, that's it everybody. Bye guys.