 Welcome to Monet Cafe. I'm artist Susan Jenkins and I am really happy you've joined me for this Sunset Marsh painting tutorial in soft pastel. You're gonna learn so much in this lesson. I even give a little preliminary lesson, breaking down how to paint marshes with lots of tips and techniques for you to paint your own beautiful marsh scenes along with a final painting on a more professional surface that is full of gorgeous mood and color. So Jackson and I say come on join the fun. Oh and I'm babysitting my grand dog Lola. Isn't she cute? I hope you will like this video. Also if you haven't yet subscribed I hope you will and click the bell icon to get notified of future videos that I create. Always free here on Monet Cafe and also to support this channel in the free videos which you consider becoming a patron of mine on my Patreon page. It's only five dollars a month and you get extra goodies. Hello and welcome to Monet Cafe subscribers and newcomers. I'm artist Susan Jenkins and we are still in Water Month. We're painting anything that's like a water theme and I've already had some tutorials and some exercises over on my Patreon page. So my patrons you guys have done some great work. But today we're gonna be working on painting a marsh scene. And prior to that I'm gonna give you just a few little tips on painting marshes and it should give you a little bit of a core education before tackling marshes. And they're really fortunately some simple rules and instructions that I'm giving. Alright guys here we go let's paint a marsh scene. The reference image is a lovely marsh scene from PMP-ART.com. Here's more about that. This is from an album of mine from Paint My Photo. Paint My Photo, well it used to be PaintMyPhoto.com and it changed its name to PMP for Paint My Photo dash art.com. Yes that's it. And over the years I have saved a whole lot of albums. It's kind of like Facebook. You can have a profile. You can follow people. But if you'd like to find some of my marsh reference images I've saved feel free to. And that's the photo album that I'll be working from right now. These are copyright free reference images. And I love to use my own photos. But sometimes I can't find what I'm looking for and my life has been all over the place. I love taking pictures but I don't get the time to go out and take photos all over the world. So this is a great way to do that. And for these little sketches I'm just using newsprint paper. You can get a big pad of it and it's great for just sketching things out. It's inexpensive and it actually receives pastels pretty well. I'm also going to be using Prismacolor New Pastels. Now my box looks pretty messy right now. I just loosely organized them. This was the box of 96 Prismacolor New Pastels. They're harder. They're good for sketching. They're actually good for a lot of things. I have an Amazon shop and I just did a little product review for the Prismacolor New Pastels. And I'll try to put a link to that in the description of this video. So this is what I'm using. And basically all I'm going to do first is just get in the basic, and I kind of pulled my rotator cuff. So I'm going to try to be real careful while doing this. I did a total of three of these March scenes. Kind of giving you the dos and don'ts. And these first two, if you're a patron of mine, I'm probably going to have a separate lesson for you guys. But this last one that I did is really all you're going to need to get some real good foundational principles for painting Marchie scenes. Okay, so I'm going to really exaggerate this. It's in levels and things are kind of in banks. Alright, so if you think of it as stair stepping like that. Now it's not going to look quite that stair step. There's a nice reflection over here. I'll just kind of put that in. This is a different pastel. That's why it's not working. It's not my normal. Yeah, that's better. So we've got a bank here of grasses. Think of it as a bank, okay? Alright, and we can get some differentiation in that as we paint. But you see how it's kind of flat, flat, and then we've got more growing up here. And then we start to get some other real far away. There's another little bank like right here. See how I'm just kind of keeping it up and down, up and down. And then this is where the other side starts to come out. Another little bank. Think of it that way here. So when you change levels, think of keeping it horizontal. Hopefully that will help. It helps me. Alright, so that comes kind of like this. Keep your sides of your bank a little bit more horizontal. Horizontal and vertical, okay? So it's more like here. There's one. Here's one. Here's one. Okay, and then over here. This is all grasses kind of growing over. Okay, and then we've got a bank here. And then a bank right here. And then a bank here. You see how the lines just kind of come out rather than this. Okay, so that's kind of how I would probably approach this. And then of course, if you want to keep it real impressionistic, your grasses and everything is just going to kind of all blend together. But now we've got a more believable meandering waterway. I loved this because it had this pretty tree growing here. It's kind of dark, of course. And here too. We're going to have those reflections pulling down here, pulling down here, here, here. Of course, they get shorter as they go back here. And then, of course, this bank actually comes down a little further, but I'm not going to worry about that now. And then we've got this tree reflection coming. And it's just a mirror image. That's all it is. Things in the water usually you can just pull down to give the idea that something is reflected. And sometimes, even though I say mirror image, sometimes the reflection can be a little longer. It's not always exactly a mirror image. Sometimes you're seeing what's underneath the object. If something's very close to the water, like a duck sitting on the water, that's a terrible duck. Let's get his little tail feathers up here. Okay, you're not going to see a mirror image. A mirror image would be like this. Okay, that is not going to make a very believable duck image. It's not a mirror image. Okay, it's going to be more of a... Let me do a little bit better duck. I haven't done enough ducks lately, obviously. Okay, so let's say we've got a duck sitting on the water here. You're going to kind of see what's under his body. In other words, you're going to see under his chin here. It's going to be an underneath view more than a mirror. That'd be like under his face there, more than a mirror, because that's going to look very fake. All right, let's finish with this. Okay, so we've got some more trees back in here. They are really light. I liked this scene because it felt foggy. And then another thing I love about this composition is it has that feeling of depth. We've got some trees back here that are really far away. They're going to be light. And then we've got our bank, kind of our land, I should say, kind of here. And then we've got this nice bank of trees right here. Mine's not exactly like the photo image, but it feels very foggy, very neat, right? And notice here I'm adding a little bit more darker values to the banks of these foreground marshy grasses. But I'm softening that edge. I over exaggerated it on purpose to hopefully help to see how we don't want a curvy line. We want a little bit more of that geometric banks and edges rather than curvy, snake-like lines. Same thing with roads. Roads are way more interesting when we give them more of a geometric angles to them. And my point here, though, is you don't have to keep them so stair-stepped like I did at the beginning. You can soften them as you blend and add grasses to them. But that'll help you maybe to break that habit of not creating, you know, curvy rivers or marshes or roads. Now I'm adding some color, but I want to take this opportunity before we get to the more serious painting. By the way, it's always a good idea to do a preliminary painting like this. It doesn't have to be this big, but it definitely helps create a better final piece. But I want to give you some tips of some things to keep in mind. When you're laying water down, notice I've already given some reflections. I pulled them down. That was in my last tutorial on water. But water is flat. Okay, water doesn't curve or have angled lines. No matter where you put water, it's going to flatten out. Also, too, there's those little ripples that sometimes you see at the edges of where the water meets the bank. You don't want to overdo those things, but just to add a few here and there, it gives it a little bit more realism. Now, when things are in the foreground, grasses, marsh grasses, they're obviously going to be taller. You're going to see more of that darker edge, the side of the bank. And they're going to gradually get shorter and eventually more just totally horizontal as they get into the distance. This is a point of whatever is above the water, you're going to see it below. That's why I pulled down some of those green reflections as well. Reflections you will pull down into the water. When you layer the glaze of the water over top, that will be flat. Now, I'm just giving darker values to that tree bank. Things with value will get lighter as they recede into the distance. So that little teeny bank of trees in the back is going to be super, super light. I'm even going to cool it off a little bit with a cooler color. There we go. And that gives the illusion of it being far away. Now, with these tall grasses in the front, they're going to be dark on the bank side, but the tops of them are going to be catching the light. So they will, you'll actually see some individual grasses when they're up close, the little tips of the grasses. But then as you move into the distance, they're going to flatten out. They're just going to become like a blanket over the top. And so your lines become more horizontal. Also, you can even see in the reference photo, there is often in the distance, a lighter area of grasses that are horizontal bands going back further into the painting. Now, I'm using my finger a lot to blend with this because it works pretty well on the newsprint actually. Now, you want to actually finally get to where you're adding a little bit of detail. I'm adding a little bit more color, making sure to pull it down, adding a few more individual grasses, some of them peeking out, make sure you get that reflection. I even saw in the image it had some grasses coming out into the water, they were kind of reaching up and above the surface, the flat surface of the water. So this little preliminary painting hopefully helped you guys. Also, you can have little lines in the water, almost like where the water is moving a little bit. And that gives a little bit more flatness to the water. Now you're going to see me in the final painting sneaking in areas like I'm doing here where the water, this is how I'm breaking up that geometric pattern a little bit and giving it some, I don't know, character to it as well. So that's my quick little beginning painting. And now we're going to move on to the more serious piece. Let's first talk about my products. First, I wanted to share with you, I love to use a mat like you would frame a picture with to mark off my dimensions for my painting, the outside edge of this eight by 10 mat happens to be 11 by 14. So that's the size that I want for my painting. And this is on a piece of pastel mat. This is a pad of different colors, it comes in four different colors. And I'm using the one dark blue, I think it's called, it's kind of a gray blue. Now this surface is so awesome, we often talk about sanded surfaces receiving more layers. Well, this one acts just like that, but it doesn't feel very sanded to the touch. And now they also have it in a white pad. I'm totally out. So I need to buy more of that. I love this in white because this surface does take water and I love to do a watercolor underpainting on the white surface. Now this is what I'm going to use for my sketch. It's some willow charcoal, they come in kind of big sticks as well. I'll be using a large stick. This is the main set of pastels I'll be I will be using I will be using others as well. This is the Schminke 120 half stick set. I got these from Dakota pastels. Look how much color they are so soft. See, I just put that on my hand. Now you couldn't do that with chalk. People say all the time are soft pastels like chalk. No, they're almost all color pure pigment literally. So this set unfortunately isn't available anymore on the Dakota Pastel site. That's a great site for finding things with soft pastels. But this brand Schminke pastels, they are so beautiful. I can rip that off. They just lay on to this pastel matte. Oh my gosh, just so smoothly, you're going to see that soon. Now I'm speeding up the sketch portion. But I want you to notice that I am still making my marshy sketch very geometric. Like I said, no curvy lines in this we want it to be have the banks like I talked about in the initial part of this preliminary part of the video. And I'm just getting in some darker values. I'm using some of my Terry Ludwig darks Terry Ludwig is another excellent soft pastel manufacturer here in the United States. But you see how I just made the banks, you know, bands really like bands of banks think about you're seeing the front edge of those grasses and just working my darks and there's going to be darker values in the foreground like I just did. And in those trees, especially the foreground trees, I'm going to lighten up those trees in the background in a minute there. There I go right there. See how I cooled them off and that made them feel further away. So now I'm just I just laid in that one distant color there. But I'm going to work on the sky. I spent teeny bit up here, but I'm going to go back to real time. Again, you can see how beautifully the Schminke pastels lay down on this pastel matte. What I'm doing here, you can see the reference photo, which is also in my Marsh album in PMP dash art.com. I will provide a link in the description of this video to this particular photo. But keep in mind, I have cropped it. If you're a patron of mine, I will provide you the cropped version. My patrons get extra goodies because they pay $5 a month for supporting this to support this channel. And that allows me to keep these free videos coming. So my patrons get extra content. We have some neat things that we do in my Patreon page. Now I just did that on that little sketchbook pad. Because sometimes these pastels will have an edge to them. They're not totally flat. The little ends of the pastel will stick out too far. So I just kind of rub them down on a piece of sketch paper to knock off that edge. Now I realized the Schminke's have a lot of high chroma. They're very intense in color. And I wanted something a little more neutral for that cloud. You can kind of see in the reference photo. It looks real light there, but it was actually darker. And I realized, man, the color of the paper was almost what I needed. So I abandoned that for the moment and decided to go ahead and determine where my son was going to be. Now I don't like normally doing a exact circular shape. This one did come out pretty circular for the son. It's okay if it's just kind of a shape. But I'm going to really keep these edges of the sun very soft. Also too, there's another neat strategy for doing sons and lights and things that I shared on my Patreon page in one of the critique sessions we had. That's another thing my patrons love. They love when I give a little critique session for anybody who wants me to give some suggestions for their artwork. So I gave one little suggestion or tip of how to do sons and lights. And basically you can put your darker values down first, gradually working to the lighter value. But I wanted to get my son is I want to know where it was. So that's why I went ahead and got my not necessarily my brightest bright. I think I even add some brighter colors towards the end. But this is still the working stage. Okay. I'm not going to get too hung up on any one part. I kind of work from the sky down a little bit. But I find that your piece is going to feel so much more painterly and harmonious and accurate when you don't get tied up in any one area of your painting and you work the whole rather than getting so fussy. Plus you're going to have a lot more fun when you get too fussy in any one area. Oh my gosh, you can just lose your mojo for sure. So now I'm just kind of working some of the the sun's going to be the brightest and then the values around the sun are going to be a little bit lighter. But also this sky was pretty intense. And I'm definitely punching up the intensity to the sky. And that was definitely the focal point of this painting. While there was some interest in the marsh grasses and those things, the focal point was that honing right in on that upper left third quadrant of the painting where the sun was and I embellished the photo. It wasn't exactly how I wanted it. So I used my artistic license to put things where I wanted it. So the sun and where it catches the reflection in the marsh water in the water down below is going to really be what sets this and the focal point. So now this may look like it's a little bit too dark for the cloud. You can kind of see a little bit of the cloud to the right in the reference image. It's a little dark, but things are going to be a little darker when they're getting away from the sun. And I'm going to use the wonderful layering aspect or quality of pastels to layer over this and lighten it up a bit. It creates some contrast. Now this is a little lighter, I believe. Let me see. I can't tell till until I get the pastel out of the way. So basically, I'm going to lighten this cloud up after getting in some of the darker values and you'll see me gradually do that. And now because this was in my mind a sunset scene, I guess it could be a sunrise, but it just felt dark and moody like a sunset, I wanted to use some of these cooler colors. And so I'm using this color that is a similar value. It's pretty close in value to the clouds that purpley cloud I just put in. So I'm basically doing something, sometimes we call it a fractured sky. You use colors of the same value and just kind of scumble them in together and it creates such neat color interest. And now I am going to lighten it up a bit in areas that make sense. Consider where your source of light is. And this is another one of those colors from the Mount Vision set that I held up earlier. It's called Thunderstorm Gray. So yeah, like the name says, it's perfect for doing clouds. I love the set. And it this one has a decent amount of color to it. But most of them are pretty neutral. They're really great for clouds. And I find whenever I need something of a neutral palette, I grab that set quite often. So you see how I've worked the color and the value to create a cloud that's way more interesting than if I had just layered what I thought that one color would be. It's, you know, it has more dimension and more depth to it. And that was me rubbing off that little edge on the ends of the Schminke. I'm back to the Schminke set now. Now this is kind of a nice neutral blue gray, kind of a blue gray color. And I am gradually getting a little cooler as I go into the heavens, even though the sky is primarily warm with lots of mostly in the reference image, it looked mostly just orange up top. But I know that in reality in life, typically the colors get cooler as you go up high in the sky and they get a little tad darker in value. Your brightest values are of course going to be around your source of light, your sun, and then they will just ever so slightly gradually get a little tad darker in value as you go up. But I want to keep the sky really energetic and fun. Like I said, it was my focal point, even though this is a marsh painting demonstration. I mean, I will get to the marsh part. But the sky was just, man, to me, just the the icing on the cake for this particular painting. And speaking of the marsh, let's get to it. Like I said, I like to work the whole painting. I basically got in my general values and colors and my sky. I really could have left this incredibly loose. I was really happy with just some of the initial stages of the painting when I was about, you know, halfway to three quarters of the way done. But I was happy with the final two, even working a little more. Now, I'm using this Terry Ludwig pastel. I'm kind of exaggerating the height of the the banks I was talking about where you see the tall grasses. And remember what I said before, they're going to get shorter as they go back into the distance. Those little bands in the back are the at the sides of those grasses further away. So I'm still kind of working my meandering water in my banks, trying not to make any curvy lines. And I'm also just getting in where I see the masses of grasses. Now I did not mean to rhyme that right then. So you can see in the reference image, there's a big bank of grass at the beginning, the foreground, then there's a middle ground of grasses and the water cuts through in the back to another third layer of land, I should say. So I'm just kind of still working where my compositional elements are with the water and the land. But I'm keeping a super light touch. That's something that has taken me years to develop. And now sometimes I wonder if I'm painting too lightly because I dropped my pastels quite a bit. I wanted my foreground trees, that grouping I'm working on there to the right, to feel more like they were in the foreground and the shapes were a little bit wonky there for when I first worked them. So I'm making them taller and I'm bringing them down. I believe here I do it at one point I do I bring them down a little further. That's going to give you that feeling of something being closer. The line of the tree will be lower, the baseline of the tree will be lower in the composition than the trees that gradually go into the distance. And as you can see here I'm just using this dark pastel to kind of refine a little bit. I still want it to be loose and painterly but I'm looking at those edges of that how the water meanders through there. I really liked the shape of this water without altering it very much. So I did kind of follow it pretty much as it was in the reference image. So that's all I'm doing now is just going in and making sure I have my sides of my marsh grasses a bit accurate. And I'm also getting in a bit of those reflections. You can see where I've put some of the pastel down a little bit lower than where that edge of the grass, that horizontal kind of line of the grass, you want a reflection coming down below it. And I do blend it a little more later. I found that this pastel matte it was a little harder to blend my reflections. Typically when I use UART or Fisher sanded paper, oh man it just blends so wonderfully with a piece of pipe foam insulation. And now I'm going to start carving some of that waterway in there. I'm using horizontal strokes, keeping it flat. Water's not going downhill or uphill. And I'm just kind of keeping my strokes in that horizontal fashion and working it in and about and throughout the meandering water. I do kind of work with that little area that almost looks like a letter I. If you look at the very top part of that water to the top left, and I think I kind of tweak that a little bit. But I'm just working with getting the right value in now. And then I'm going to gradually start adding different colors into this water that will be believable for what it's reflecting. Now what would that water be reflecting? It's too far away to be reflecting those trees, all right? If the trees, if the water was right in front of the trees, the trees would get reflected. But what this water is going to reflect is the sky. In my last video I showed a little bit how to measure with your fingers. You go up to the horizon line. You kind of measure how high the sky is and down to the water. And you can see where it would land. It's pretty much mirrored to the horizon line. So I'll try to talk about that a little bit more in a minute too. Now I'm just here's where I'm showing you how I'm just glazing. These are some of the sky colors into the water. And I'm keeping a super light touch. And I think here I kind of lost my concept of where my edge of my grass was, where it met the reflection. So I actually should have just glazed right over that section. I fix it later. But in just a minute I actually am going to show that little measuring technique that I use to figure out where the sun is going to reflect. I wanted to strategically place the sun where it would reflect in the water, believably, you know, measurably. And if I had had the sun up a little higher than it is, the reflection would have landed on that mass of grasses. There's that rhyme again in the middle section of the painting. So I wanted to place it where I would see it in the water. Because you can sort of see it in the reference image. There's a little glimmer, but it looks really off. And usually it will be sort of underneath it vertically. But this one was a little off. So I decided to keep it more directly underneath where the sun was. So now I'm just continuing to glaze little bits of layers and values. And I noticed that to the far edge of that mass of water in the front, to the right side, it was a little darker. So that's why I added that. Now here's the measuring. I'm taking where the sun is to the horizon line. And I keep that same distance and bring it down below the horizon line. And that's where the reflection will be so that it matches. You know, it's accurate. And so first I'm doing, now this is the strategy I talked about before. You put in your darker value first, then you gradually keep getting lighter. This is one way to do a sun or a bright object. Lights, street lights, Christmas lights, things like that. So you put down your darker value. I did that almost reddish pink. Then I put down that pink that's similar to what I used in the sky. And I decided I did want to go ahead and get in some of the other sky colors in the water before I added that lightest light, which were some of the oranges and some of those deeper pinks that are there. And that way I would have my values in before actually getting to the lightest light. I want that kind of to be the pizzazz. I'm even saving it myself for a dramatic effect, I guess. So I am going to continue to work with some of this water before I add the brightest highlight of the sun. And I am still just doing my little measuring techniques to kind of see where these colors will land, these sky colors. And you don't have to be so exact with this, but just get it kind of general. I knew there was a lot of pink behind those trees and so I wanted to go ahead and sneak in some of that in that little distant band of water once again a horizontal stroke there. Now that was a lot of real time, so I'm just speeding this up slightly in this little section where I'm doing the water and then I'm going to go back to real time when I get to doing some of the grasses. So same strategy, I'm just lightly glazing horizontal, keeping my my strokes going horizontal for the flatness of the water. And in some places I'm sneaking it into some of the marsh grasses. I do a little bit more of that at the end. I kind of break up that big bank of grasses. There you just saw me measure again and that's just making sure I get the sky colors in a basically accurate place. All right back to real time. Now I'm glazing some of these grasses. I know when they're far away they're going to still have those horizontal bands. I'm not going to see those vertical strokes of grasses. That's just too far away. It becomes like a blanket. And I use this kind of medium value green. I don't know. I just thought it made a neat mood. It is a night or a late evening scene so the general color palette is going to be a little darker than it would in daylight. But I still wanted the grass to have a little bit of interest and lighter values to it. So I think that was close to one of the lighter values I use. I think I do do a little bit of a green that's a little bit lighter than that. And now because I had put my distant trees or my two different banks of trees down pretty dark in value I'm using some cooler lighter values to glaze over the darker values and give them that sense of being a little bit further away. And while I have it I really like that color blue. I'm going to use it also in some of the areas of the grasses where it's just a little bit darker. Usually when there are elements that are buried or there's clusters of things your value is going to get a tad darker and this was not a whole lot darker than that first green that I had but it gave a little color interest as well. So I'm just sneaking it in little places where it'll pull the painting together and typically I talk about this all the time with respect to color color gets warmer in the foreground and cooler in the distance. But if you have elements in the foreground that are in shadow some of these grasses the sun is obviously in the back and the grasses that are the banks of the grasses in the foreground that are facing us they're on the shadow side so I'll keep those colors cooler. And here I wanted to show where I got a little indication of maybe a little puddle or pool of water somewhere in the midst of those grasses and I knock it down. I don't want it to get too much attention so I just knock it down a bit and I do gently layer some grasses over that as well. Alright so that was about 34 minutes of commentary. I am going to slightly speed this up a little bit and pay attention to some of the things I've already mentioned. You're going to see me using the techniques that I initially introduced at the beginning of this video and that I've been trying to reinforce as I've been painting here. So just pay attention to those strategies and I will be back by the way a little little more towards the end of this. But I wanted to mention that if you if you're a patron of mine my patrons will get those color notes you see at the very bottom of this painting that I'm working on and I've started I'm getting better at this. I've started really getting specific with my color notes and saying what the brand of pastel is as well. So patrons if you're watching this you will get those color notes. Also too my patrons get to share their recreations of my lessons in what I've created called a homework album. So I can go in and see what they've created and it's really awesome. I love to see what you do and create from my tutorials. Also as a patron I have a drawing at the end of each month or actually at the beginning of each month and it's based on homework album submission. So if you submit more homework work you have a better chance of winning art supplies. So yay. So that's a lot of fun as well. But that was long-winded to say thank you to my patrons and I'm excited to see what you do. But if you are not a patron of mine you have other options as well. We have a Monet Cafe Art Group on Facebook. A lot of people will share it's free to join of course but you do have to ask to join and answer a couple of questions but you can share your recreations in that group. But also if you're on Instagram I'm trying to build my Instagram following by the way. I'll be honest that's why I'm mentioning it a lot. I know that once I get to 10,000 followers on Instagram, I'm getting close to 7,000 right now, that I can, it allows you to share links to your YouTube videos right there on a post and you can't do that until you get to 10,000. So I'd love it if you guys would follow me and my Instagram title is at Susan Jenkins Artist of course on Instagram. It's all one word at Susan Jenkins Artist. But on top of that if you create from my tutorials on your own Instagram also tag me. I get notified and I can see what you've created. So that's always a lot of fun for me. All right enjoy this to some music and know that I'll be back and I really enjoyed this painting. I hope you are too. I wanted to share some close-up footage here. This is a chamois cloth. It's spelt chamois cloth and it is what people use often for drying cars. It dries things very easily and while I loved that textural look of the sky, I was tempted to leave it like that. I wanted to go ahead and blend some of the sky so that it wasn't stealing the attention from the sun. I want the sun and the reflection of the sun in the water to really be the thing that the viewer just hones in on. And I do think by softening the upper clouds in the upper heavens and a little bit of the the bluish purple cloud. I mean I didn't just blend blend like crazy but I just softened some edges and I thought it kept the viewer's eye a little bit more focused on the the sunset. Which, man, I have seen images like this living in Florida for a lot of my life most of my life. We have the blessing of having so many beautiful scenes like this. I did work on this painting a little bit longer than you're going to see here but this is actually the stage that I I really liked. I liked the looseness of the foreground if I had just developed it a little bit more but like I said I was I was happy with the final painting. Do you ever find as artist it's hard to stop? That's a common comment that I get often and although I give the advice all the time. Walk away give yourself a time limit. It's hard to do right? So you guys I love reading your comments please leave me a comment. Let me know if you learn something from this video and I can't wait to see what you do whether you're a patron or you just share it on Instagram and here's a zoomed in of the final and it really is moody and just feels like a Florida Marsh scene. And this painting is now available in my Etsy shop so check it out. I hope you enjoyed that and by the way I am so incredibly grateful for all of you subscribers. Whether you're a patron or a subscriber here or you're part of our Facebook group thank you so much I can't tell you the joy that you bring to me along with being able to share art lessons with you. Happy painting!