 Just a little view of what the piece looks like currently through our DNA fun. Can you see me now Clara? I'm hoping. I'm looking. Okay, we're good. Cool. So let me hook you guys up into my handy dandy this and we'll get going. So how are you guys doing today? Hope you had an awesome one. So I'm running late, so I'm still mixing resin. So me three minutes before I start the excitement. Hello everyone. Clara, Megan, Nancy, Cam, Shane, Christie, Carrie, Denise, Joe. How's everyone? I hope you all had an awesome day. Our day was fairly busy. Jeff's working on some new clothing merch for the shop. And I worked on trademarks all day, exciting stuff. Today I'm going to be doing a flood coat and some wispy design work in the resin for this piece. And we may make it a multi-part adventure by inking on it after the resin is cured. But we're going to have to wait until after the resin is cured and see how we like the design to make that call. If you're new here, welcome. Hi, Sup. I'm Erica with Artist Till Death. Bo is barking at me because he's not in his director's chair slash throne. You cannot get up on the table. Jeff is working on signage and we're Artist Till Death. We go live everyday teaching art to all of y'all for free. And it's usually resin, but it's always art. Sometimes it's acrylic, sometimes airbrush, sometimes alcohol ink, sometimes crystal, sometimes glitter. It's always art. And it's usually at 6 p.m. central, except for on Tuesdays it's at 2 p.m. central. So I hope you guys come in and check us out every day. Subscribe if you haven't. If you are, check and make sure you still are because reasons. And don't forget to hit the bell so that you can get notifications. What's up, Marcy? Thank you so much. A little bit of hype because Marcy tipped the channel. Everything that comes through the channel goes right back into the channel and allows us to go live for you guys every day. I really appreciate that, Marcy. How are you doing? Aren't you coming to Texas soon? I feel like that's a thing. If you guys haven't checked out Marcy over at Mix Media Girls Channel, she does all kinds of awesome artwork. She definitely check her out. Sometimes she has me guest spot on her channel. And she's pretty awesome. So highly recommend. Hi, Catherine. She is awesome. Marcy. Oh, the 18th of this month. Yeah. Hello, Jessica. Sue, Pamela. I appreciate all of you guys coming in. Yep, she is awesome and fun to watch. Her whole family is talented. So I'm almost done with the boring part, which is mixing resin. And then we're going to mix a couple colors. I think I want to mix just a pinch of abalone into the clear. And I'm going to mix a white. And then also I have a floating copper that I might add on the surface to see how we like that. So you guys, we are on our way to 50,000 subs, which I'm blown away by. Thank you to everyone who has subscribed to the channel. If you'd like to help us continue to grow, it'd be awesome. If you could interact with the channel, leave your thumbs up, leave a comment, share a video. And don't forget to subscribe. It really helps. I'm going to get more of Marci's Mix Media Girls acrylic paints to do another bunch of stuff that I'm very inspired to do. As you guys know, I am an epic fail at acrylic pores, but with Marci's premix formula, I get pretty rad results every time. So if you haven't checked out her products, do it. Thank you, Christy. I'm a fan too. All right, it's been three minutes. I always mix for a couple seconds a minute after I get the all clear from Clara because I'm definitely afraid of under mixing because I did that once. And I never cured. It was my first one. Scarred for life. I'm triggered. Marci, if you have to call in sick for that, let me know and I will stand in. Let's have Johnny. That is Marci's ultra-talented husband. You guys need a jingle or a recipe and anything in between. He can probably help you out. We'll Marci next time around then if you need a substitute, I'm here for you. So I'm going to pour out just a little bit of clear into this other little cup. So I can add some white to it using a white paste because that gives me all the awesome things. I may actually do two cups of white so that I can do like a faded white and then also an opaque because why not? What I'm going to do is just mix this up and then take what's left over on my stir stick and put it in the transparent white so that it's just a soft version of my opaque. Really kind of a ghosty, milky color. And the other one is opaque so I can't see through it, which is the idea. Cool, cool. All right, now I'm going to take resin arts, not bling it red. Nope. I'm going to take Abalone. It's a bling it. It's super sparkly. It sparkles in every color of ever. I don't even know if you guys can see how awesome that is, but you'll see later in the show. I'm not going to put a lot. I don't want it to get taken over. I just want it to be like, oh, hey, is there sparkle in that? And then you look closer and you're like, oh, yeah, there's sparkle on that. What's up, George Ray? You got to love Abalone. Well, Marcy, if they need future people, hit me up. I'm here. I'm here for it. Okay, so we got just barely sparkle in our resin. Beautiful. I don't even know if you guys can really see the sparkle. It's so faint, but you'll be able to see it once everything's down. So I went ahead and sprayed it with our UV archival spray. Very important to do that before you add resin over your alcoholings. Make sure it is in matte. It's the Krylon UV archival varnish in matte. It has to be matte or it will mess up your inks. Just put that in your brain and expect. So for this 24 by 36 alcohol ink piece on our alcohol ink board, I mixed 20 ounces because math is hard, hoping that that's enough. But we'll find out. Definitely better to overestimate than underestimate how much resin you're going to need. Particularly if you're working with a resin that has a short working time. I'm working with stone coat. Art coat has two hour working time if you're working in ideal condition. So it's really awesome. That's awesome. Marcy will definitely be tuning into that. This is not a commission piece. It is available for purchase. I just got inspired to do a large alcohol ink. And this is what came out of my brain. All over the canvas. Not canvas. Cradle board. It's actually a lot nicer in person. You guys know inks, resin, sometimes acrylic pours. They just don't look as good on camera as they do in person. They certainly don't look as good in photos as they do in person. I just love it. And I think that amount of abalone that we added was just the right amount. Resin definitely has a way of brightening colors, making them more vibrant, deepening your dark colors, highlighting your light colors. Especially if you're working on a white background or a piece that you have predominantly white, you need to use stone coats. You don't want to use a black coat because it has the best UV resistance of ever. I think 20 ounces was the perfect amount of resin. You really don't want to make some more, let me rephrase, you don't want to put down too much more than an eighth inch because that's where resin self-levels to. And anything beyond that, you risk breaking your surface tension and it flowing off the piece. I think everything's nice and covered. Awesome. I would be honored Marcy. Claire, she's going to be here on the 18th, I believe. Okay, let's heat this bad boy up and then I'm going to create some whispies out of some floating copper and two depths of white. I'm using heat right now because I want to make sure I don't have anything floating in my surface that might interrupt the flow of the whispies, like a hair, if I'm accidentally shedding. Sorry about it not being really in focus. I'm going to bring camera guy in and I start doing the art. Doing this one. So I do ship everywhere around the world. Okay. So now that my surface is free and clear and fully coated, I need to figure out where I'm going to add these whispies. And now that it's coated, I'm not even sure if I want to add the whispies, but if I don't like it, I'll just scrape it off and fill it in with more resin. But you can borrow your face. Can I borrow your face? I'm going to take you guys down and give you a close-up of where we're at right now. I put abalone in it and I'm like, it looks so fun like this. But it doesn't look as fun on camera. It would be a nice piece. White whispies. Highly recommend having a person you can bounce ideas on though. I wouldn't mind it because it's just, there's so much here. And then this is, it's hard to tell because it's a great piece. It looks great with resin on it. All right. Both Jeff and myself are not sure. So what we're going to do is a little test area. See if we like it. And if we do, I'm just going to kind of follow the flow that I already have. I'm going to, I'm going to just add some of this translucent white and I'll just trail these. Light or something? Well, I have, this is my, probably only really seeing the shadow. So it is hard to see currently. I'm going to now add the opaque white. See if we like that. It's so difficult because I'm having to start from the center and in my artwork. There's big no-no to start anything other than off the piece. So I'm just softening and smoothing out my wispies just with my finger. It's another reason why it's great to have a resin that has a long working time. Because sometimes you want to do a whole bunch of stuff like this. And that's not really possible if you have a working time, that's very short. Now your working time can change depending on what your ambient temperature is. The flow of this piece reminds me of those few that I did and our friend Sue in Australia owned that I actually used yellow. Subtutor, don't jump Bowie. So when you're doing embellishments like this and it is largely dependent on the under design, it's important to make sure that wherever it is that you are, it's important that you... Okay, it's important that you have a surface that's very level because if all of this shifts, it's not going to really make much sense after it shifts. Yes, tutors in the house. So I'm just going through and softening everything. This is definitely creating a lot of depth for sure. Hello everyone, that's just now coming in. I'm so happy you guys are here. Looking forward to know what you guys think. I think that's the way to get around that initial blob is to have it coming in in two different ways. What do you think, Tutor? Abalone? Oh, that's alcohol. Initially, I was going to blow out the wisps but now I'm thinking I kind of like them being just smoothed over. So I'm going to bring all of you guys down for a close-up. Y'all let me know what you think. Actually, I'm going to pop some bubbles first. Grab hairs. That was a whole plump of hair. I think I'm pretty sure. Anytime you manipulate your teeth, your resin, like I was doing and seeing like your resin could have gotten folded over a little bit, you risk trapping the air cracker and that can get your teeth a bad complexion. The last thing you do should always be to get your teeth not a lot of heat, especially if your piece is going to be a little bit reliant upon not moving like this one. Also, if you torch bubbles and they don't pop, then they're not bubbles. I'm going to give you guys a close-up. Today it's Titanium by Megan. You should have gotten it by now, actually. They have very soft little wisps. The specs are alcohol inks that I've licked onto the piece. If you guys didn't see how the first part of this was done, just check out yesterday's video. I really wanted soft, smoky, ethereal wisps. I'm going to learn how to say that word one day. You can also see the abalone sparkling. I did not use any Milky Way in this, so all the sparkle that's in there is the abalone. Just that little bit that we added added all of that awesome sparkle. All right, now the question is do we want to add floating copper? With everything that you put on a piece you have to evaluate if it's going to detract from what your vision is. It's going to add to it in a positive way because if the answer is no, that it's not going to add to whatever it is that you like on the piece, then best to just not add what you're thinking of adding. I'm already saying that I'm going to have to add a flood coat. There's just more hair than I have time to pick out of it. I'm going to go ahead and add some lines. Yes, yes. Hey, Carol. Okay. So let me get some copper. So have some right here. Let me see. Let me see. All right. I really love this piece. You guys need to stock the boards. Jala, I'm going to open one tonight. I'm going to open a code tonight to be on the lookout for code. I'll add that into the system as soon as I'm done on the live feed. All right. Let's do a roadside test. It appears that I need to let the dispersion ingredient in here find its way into this piece of paper. So I always I always do this when I want a controlled line. When you use a spray paint based paint there's a propellant in it so that it stays liquid. Makes sense. But that also makes your lines bloom. So if you want to have the most control, you need to put your spray paint based paint on a piece of paper and let that propellant soak into the paper. I always do what I call a roadside test. The resin that's just falling off. I'll put a line and see how much it grows and it's still blooming quite a bit. I'll just keep working this paint around on this little piece of paper until enough soaks in that it's not it doesn't do that anymore. It usually doesn't take that long. However, it's very important to me that it is soaked up so that I have more control. It's still not ready. You have to put just a little bit of resin in it. You just fold it in. Yeah, you just fold it in. Yes, the resin is already down. The ampoule may be right that the copper has extra because it's taking way longer than normal. I'm just putting more epoxy on my paper and it is still blooming. I'll work more resin into it. Hopefully counteract that propellant a little bit without taking the shine. I would just mix this color into a bunch of resin but that tends to be the shine of these floating pigments in my opinion anyway. That may be good enough. We're going to do one this is the same. Let me bring you guys down to where I'm going to run a copper line. I have some on this little pedal stick. Just follow that all the way out. You can see how it's floating on the top. There's something with this side. I'm just going to pull it into the piece. That way you don't have a hard stop. Alrighty. Let's add a few more of those. I like how it looks. These are going to create excellent shadows. Since it's a floating color it's going to catch the light way different than everything else on the piece. It'll be even more visually interesting. I think I love it you guys. We have a dot. I may leave it. I'm going to finish these last little lines here. You guys let me know if you think I should leave that little dot of color. Let's do a close up one more time. You guys can see what goes on. That's the floating copper. Of course it's a onesie. I live in the winter in a onesie. Even some tea tiny little ones. I have this dot of copper. I can make that a wisp or I can have a couple more of those dots incorporated. What do you guys think? More dots or make it into a line? More big dots look like the splatters. I agree. Agreed. Tutors in the house. So let's just I'm going to use the end of a paintbrush to add a few more dots so they're not all the same size. I would just splatter them like I did the other ones. But I mixed a little bit of resin in this and it's just not going to splatter like that. I don't want to just do like raw floating copper because I haven't worked all the dispersion out of it. It will bloom and it will really not look right. It will look like a flower for a minute and then it will not be fun. These little dots are blending in really well but when you're looking at it from different angles you'll be able to tell that they're floating on the surface. I'm going to do a couple more of these give you guys a final flyover and you can let me know what you think. One moment, one moment. Right. Let's get you guys down for close up. So because the piece is shifting and that makes just a little bit of resin into it it's taking some of the copper down and what's floating is just shifting. It's moving. So that's what's making this look right here as opposed to it just being more solid like these. So we got the dots more floating dots focus. So they're real small that's a floating dot but when it hits a different kind of light source it lights up. So this is how the piece finished. I really love the additions we did to it. It doesn't look quite so pinched in the center as long as it doesn't shift will be good to go. So I have to definitely babysit it. I'll be watching it. I'll check on it every hour make sure it doesn't need to be rotated something put under the piece to shift it back on this table right here you can see already that everything's moving this way because there's a gap right here and this right here is overlapping. We have better behave right. So really excited about how this piece turned out. Let me know in the comments if you would like to see more alcohol ink integrated artwork what colors you would like to see and if you ever are interested in a commission piece from me hit me up on the website shoot me a text wherever and let's discuss anyways thank you guys so much for watching seeing what we're up to today and you guys are amazing we appreciate each and every one of you please take a moment to subscribe share videos tell your friends if you didn't like the video share it with someone you don't like ruin their day a little bit okay also billy wants to say hi you saying hi boop-o I know it thank you to all the fabulous mods for always being in and having my back you guys are the best and I couldn't do it without you boi agrees and be kind to one another you never know what someone's going through but you don't have to I don't know if you guys could hear him but he said we do the test and I said so you don't have to and we will see you guys manana bye okay now I just have a sticky hand can you end the speed for me can you end the speed for me in the top right X