 Lost Edges, what are they and why do they seem to be a secret for achieving painterly effects? So welcome to Monet Cafe. I'm artist Susan Jenkins and in this lesson you'll be learning just that and more. This is a full pastel painting tutorial, so I hope you learn lots and have lots of fun. Also, if you would go ahead and like this video, I'd really appreciate it. Subscribe to this channel if you haven't already and click that bell icon to be notified of future videos. If you're a patron of mine on my Patreon page, you will be getting extra content and if you would like to become a patron of mine, it's only five dollars a month. You help to support this channel, keep the free videos coming, plus you join my Patreon family. The reference image, oh my goodness, this is such a lovely image from Unsplash.com. It's a great site for copyright free reference images and I will have a clickable link in the description of this video to be able to access this reference image. If you're a patron of mine on my Patreon page, you will be getting some extra goodies, a traceable image that'll be great for beginners, also a downloadable copy of my color notes, which will be helpful. Now let's go ahead and talk about the products used in this lesson. I think it'll be helpful. I'll also have clickable links in the description of this video. The surface I'm using is called Sennelier La Carte Pastel Card. That's a long name, but it's one of my favorite surfaces and I love that it lends itself already to those lost edges, those painterly edges. And I'm going to be talking a lot about the surface as I paint. You can buy individual sheets of this surface, but I like to buy it in a pad. The surface color I'll be using is kind of like a grayish blue. I can't remember the exact name of it, but I already have my sketch in and here is a glimpse at the pastels I have pre-chosen. You can see I have a varied palette. The rectangular pastels are Terry Ludwig pastels, and I even have some Sennelier pastels in there as well, which is the same company that makes the surface. Now I've got a couple of blenders here, and the one that I actually used for this painting was the lighter colored one, and it is a blender made by Pan Pastels. They're called soft sponge bars or art sponges, and you can get mine was the round, but these little pointy ones work really great too. These smaller packs are quite affordable. You can actually wash them and reuse them, but they do make other styles, and they work great with the actual Pan Pastels themselves, but I find they also work great with regular pastels, and they work really good on this Sennelier paper. It's a very textured paper, so you'll see me using that blender later in the video just to soften some things. You'll see me using a mix of real-time and a little bit of speed video as well, because this painting, it took me, it was around three hours long. I find that when I do still life images, especially something with this complexity, I would say it looks simple like a coffee cup, but you've got to make sure you get that ellipse, that circular shape correct with the saucer. So those things are something that will make your painting look amateur very quickly if you don't get them right. I'm a little bit fastidious with those things. You know, a leaf or a cloud, it's okay if you get things a little bit, not where they are in the image, but with something like this, you definitely want to get things right. You will also get some really good close-up footage, especially when I do the strawberries. I'm going to talk a lot about lost edges when I paint those strawberries, and so I'm going to try to give you the best footage possible. But what I'm doing here is using a combination of some cool colors with different values. They're very neutral and they're very cool, and I'm just emulating the values that I see in that tablecloth, and I will gradually layer the values. Now I'm going to speed up a little section coming up here because, again, the painting was about three hours long, so I'm going to make it to where I have teaching points that I'm making in this. But what I wanted to share here, I think it helps to speed it up. You can see how the pastels start to blend themselves, and later I realized, you know what, I was getting a little bit too detailed for the early stages of the tablecloth. We often like to do what's called blocking in big shapes and values to begin with, and here's where you can see me using the Blender. This is the Pan Pastel Blender. Again, the one that I used has a more of a rounded edge instead of a pointy edge. They both, either one, would work fine. But I really just kind of wipe mine off on a paper towel when I change colors, and that seems to work great. And it's just kind of softening some of the pastels that I've already put down. And my strategy with the tablecloth is basically to get in the basic values and color temperatures. There are some cooler areas in the tablecloth where there are some shadows, and I'm keeping it very neutral in this area. One of the reasons for that is because it does look kind of neutral, and I don't want this background section, the part that's behind the coffee cup, to be much of a focal point. What would you say the focal point is in this composition? Well, the strawberries lead you in, definitely, but obvious, the coffee cup. So things in nature typically are more detailed in the foreground and gradually get less detailed in the background. But we can push those facts about nature as artists. We have artistic license, and I really wanted to keep the roses and the background very out of focus. And it kind of was in the photo anyway. They used that photography trick where you can change the aperture to make that fuzzy background. And it's really a neat effect, and it's very artistic as well. And now you'll see me grabbing a blue, and what I'm going to do with the blue is use it where there are a little bit more shadow. It's a little bit darker in values than some of those lighter tones I had put down. And if I squint my eyes, here's a great trick for if you are a beginner artist. If you want to see values and general color temperatures more clearly, squint your eyes. I mean really squint them a lot, and look at your reference image. And all of a sudden you will see, oh my goodness, underneath some of those roses, it's pretty cool. I'm almost seeing a little bit of blue. I get the question all the time is, how did you know to use that color when you didn't see it in the photo? Well, there are little subtleties that you can see. Like right now I'm using this purple. If you look behind that coffee cup where I just put that purple, I really see it. And you probably would in this photo too, if you could see it more clearly. You can pull it up on unsplash.com from the link in the description of this video. And you can see it here. I tried to keep the printout that I used beside me, but occasionally I might throw the image up here too, so you can see what I'm painting while I'm painting it. All right, now here I am going to speed up this background section. I'll still talk through with some commentary, but I'm still just working on the basic values. And I'm adding in a little bit of warmth. I noticed that some areas had a little bit of influence of the items that were around it. Often if you have red flowers on a white tablecloth, you'll get a little bit of that red color filtering down onto the white tablecloth. And even though this tablecloth you would say, oh that's just a white, what would that be, a linen tablecloth? There are so many different subtleties of color in this. And also there's quite a bit of folding in the tablecloth. And you start to notice those little nuances of value changes and color temperature changes. When things are in a crevice or the light is behind a fold, you're going to get more shadows in the valley areas. And also too, a great thing to do at the beginning of a painting is to identify where your light source is. And I could identify the light source in this. Well you can see it on the strawberries. There is a highlight on the strawberries and also in the coffee, in the coffee cup, can you see where the light, well you could, where the light area was in that cup. So you can tell the light source is kind of coming almost, if you were looking at it, kind of from up and behind your head a little bit. And so that's really going to help you a lot with knowing where to add those shadows and those folds and areas in that tablecloth. Also too, you see here where the little teeny image is that I put up in the left corner. If you shrink your image down really small, create a little thumbnail, that also is a really neat way to quickly identify where your big shapes and values are. It sounds so silly to say, make your image smaller to see more clearly, but you really are, can more easily identify values in a thumbnail image. Just like I said before, squint so you can see more clearly. But by squinting, you're actually filtering out the light thus more easily able to identify values. Now I'm still playing around with this, adding some of those cooler tones that I'm just sensing would be cooler in those shadowy areas. And you can see too, I've added some of those greens around the roses, where the leaves will be. Notice I did not add, there are some warmer tones in those leaves, warmer colors in those leaves. But with pastel painting, with a lot of painting actually, acrylic and oil as well, we typically work dark to light. We lay down our darker values. And because the medium is opaque, we're able to lay light over dark. And so you see I got the strawberry little leaves on top as well. And you'll gradually see me layering lighter and warmer values on tops. Now I'm getting in some of the folds now in this tablecloth. Again, like I said, I almost over detailed work too much on that tablecloth in the background. And I later, you know, even when you've been painting a long time, sometimes you have to remind yourself of the basic rules, which is the big shapes and the blocking in. So I really could have been a little faster with this painting if I remembered that, which is what I start to do now with the tablecloth. You'll see as I work, I do more of that blocking in. So I am trying. Now let's talk a little bit about the point of this video, which is lost edges. And a lost edge is creating an edge where there's a division, there's a change of subject matter without using a line. I had a Patreon lesson one time that was on line versus edge. Lines are typically, think of that more like drawing. You have, and there's nothing wrong with lines. I mean, sometimes you'll use a line in a painting, but if you want that painterly look, we focus more on these edges. It means one value next to another value. It's more of a, think of a big block of light next to a big block of dark. You're going to have that illusion of a line. Basically, often I'll break my pastels like I did there. I just needed it to be a little smaller, but you're going to have that illusion of a separation and it feels like a line. You can see how it's happened here where some of the lighter areas are next to some of those darker areas that I've put down. You get that optical illusion of a line and it's really just two values juxtaposed to each other. So that is something you want to focus on if you want that painterly look. Avoid a lot of linear strokes and if you do have them, have them in strategic areas and have them very gestural, which you'll see me do later with some of the coffee cup highlights. I have a few little linear strokes on those. So really, this is still just the blocking in stage, but you see it starts to come together and you have to learn to be patient with these things because when I was first starting with soft pastel painting, I thought that it needed to look like that thing that I was painting right away. And it's going to look a little odd for a while, which is actually a good thing. Embrace that what many artists call the adolescent phase because if you go in and you start getting overly detailed on one thing particularly and then you move to the next thing, you are going to lose that harmony, that painterly feel, that feeling of impressionism rather than if you work the whole, the blocking in stage, getting these values in, like I was saying, the big basic shapes. And also another reason that it kind of looks a little odd for a while is especially if you're working on a really sanded surface like this, I'm going to talk a little bit more about the surface right now, the Sennelier Pastel Carte card. It's very textured and there are some artists who have said they have a little bit of a hard time working on it, maybe because it is very textured, but I find that it layers so beautifully. But because it's so textured, it takes a while for those layers to start to actually look like something. It's going to look a little broken or textural for a while until you get enough pastels down for them to start to actually blend themselves. But definitely resist that urge to get too detailed in any one area. Okay, so now you see I've gotten in some of the greens for the leaves and the roses, some of the greens that are in the strawberries. And now, again, like I said, a lot of times with pastels, we work dark to light. I got in a pretty rich burgundy. I'm just squinting my eyes and looking at where the darkest darks are for these strawberries. And it was definitely on those underneath sides. I've zoomed in here a bit more so you can watch me work. This is a Terry Ludwig. I think it's from the Terry Ludwig Darks set. They have a Terry Ludwig Darks 1 and 2. Terry Ludwig is a U.S. company. They are wonderful people. I just love their company and I love their pastels. And they perform beautifully on this Sennelier LaCarte pastel card. It's like they're so nice and soft and smooth that they just fill that tooth just very beautifully, smoothly. And they just feel like butter when you apply them. Again, I've used a combination of different pastels. And now you'll see me move on from the strawberries. Often what I do is if I have a pastel in my hand before grabbing another color to work on the strawberries, I'll see where I can use that color somewhere else in the painting. And not only is it efficient because, you know, you already got it in your hand. You might as well use it. It also will cause your painting to become more harmonious. I will sometimes use a color even if I don't really see it in the reference image. If I can fudge a little bit and say, oh, there might be a little bit of that dark red or a pretty blue somewhere else. I might add a little pop of it in that place, as long as it's not too odd just to keep the painting feeling connected. Now this is another really pretty, almost like a cranberry reddish color. And again, working that dark to light strategy, it's a little bit lighter in value than the first one I put down. I think this is also a Terry Ludwig pastel. The other one had a little more brown in it. I think this one might have a little bit more magenta to it. But look at how my marks, they're just kind of scumbling. And this is also going to help with those lost edges. There's no lines here. These are just colors in blocked out fashion. And I think it's kind of fascinating. I actually love rewatching my videos and doing a voiceover like I'm doing now because I get to watch as an observer rather than just painting it. And I get to be mesmerized by the process of how it really does start to come together. Okay, you can see this is a, it's a warm red. But it's a lighter value. And why am I putting a lighter value here? Well, that is my source of light is in that general area. You're also going to see me later adding some of these colors to the areas where shadows are. Just a little bit of a hint of that red where the light, light bounces, light and color bounces off of each other. And when you can sort of just learn a little bit of the rules of how light behaves, it's just going to enhance your ability as an artist. And look at that gorgeous red. That's another Terry Ludwig. I used a lot of Terry Ludwigs in this painting. They're just so luscious. Again, they work great with the Sennelier paper. And what I'm doing, you can't see my face here, thank goodness, because I never fix up. And, but I'm squinting my eyes really hard. And I'm looking at the strawberry and I'm seeing not just the values, but I'm seeing the form of the strawberry. And sometimes I will, I use my fingers sometimes just to knock things off and blend. I don't like to over blend, but I will see the form and how the shape is of the strawberry and I'll make my strokes in a way to enhance that three-dimensional feel of the strawberry. Give that illusion of three dimensions, even though I'm working on a two-dimensional surface. So just scumbling in colors and values. And it's like I've said so many times now. I think I know I never heard anybody else say this. So I think it's my expression. Painting is easy once you know the rules. And I made it so hard when I first started painting because I didn't know any rules. I was using my own rules. So when I started finally learning some things, I love to share the story. That's how Monet Café started. I started making a little video and telling people, hey, this is how I used to do it. Now this is how I do it. And so that was kind of the birth of Monet Café. But you can see now, just by a few values and colors, it's starting to take form. That strawberry is gradually starting to feel like it's sticking out from the paper. And this also is still using the strategy of edge versus line. I'm just putting in little marks. I'm not making any lines. And they really will help your painting feel impressionistic and have that painterly style that I know so many strive for. Those are some of the comments that I get most often on my channel is I really want a more painterly style. And you may find it hard to believe I keep leaning more and more painterly. I actually am doing things that are a bit more abstract and I'm loving it. But when I first started, I was really detailed and very realistic. Now I do admire photo realism, people who can do that. But everybody's got their own thing. And I just love that painterly look. I think it's just beautiful. It's romantic looking to me and and passionate looking. And I'm like, you know what? We're artists. We can make the world through our eyes and create something that isn't exactly like what you see in the photo or the image. So it's a lot of fun. Now I found when I was adding some of these colors, I found that there were, I didn't purposely plan some of these spaces. You know where the little strawberry seeds are? But the paper, because it's so textured, I started to see where there were some little parts of the paper peeking through. And I decided to kind of let it be my guide. You'll see me kind of develop that as I go. Look at that. It's already starting to look like a strawberry. So as I move and progress through the painting, you'll see me get to the phase of where I'm adding those final little glistening highlights. A little bit darker areas where some of the seeds are. But you will notice later as I'm painting the strawberries that I resist the urge to really even measure and get all those strawberry seeds exactly where they need to go. You want to get it botanically, suggestively accurate, but you don't have to put every seed in there. Put a few and, because if you do put every seed in there, all of a sudden you have taken that viewer and gotten them to focus on the strawberries and it will become a barrier to going into the painting. So suggest a few that you think would be just the most appropriate to suggest. Sometimes it's just a gut feeling. And then move on. As I've done here. And now I, a couple of things I need to continue to block in are the coffee cup and the roses in the background. And then I'll gradually start working the whole. But I am going to have to speed up a few things here or this video. I'm 22 minutes into it right now. So I'm going to speed up a few things. I'll talk through it and probably add some music. But I'm going to focus a lot on the roses and the strawberries as those progress. Because I think those are some great teaching opportunities for lost edges. Often I like to establish my darkest dark and lightest light. And then the coffee cup situation here. I know my darkest dark is that interior part of the cup where there is actual coffee. And again, the top part it looks almost like an upside down crescent moon is going to be where I see the highlight. But I got in some of the light elements on the the handle of the coffee cup. And a little bit on some of the rim. And you'll see me develop some of these shadows that are not only on the cup but also on the saucer. Now they may look a little bit dark at first. But I know that as I gradually start adding other colors and values that things will lighten up. Now I am going to be speeding things up a bit. This lesson on lost edges is best taught I think by the strawberries and the roses. I will have hopefully a future video on things like ellipses and more detail drawing on still life objects. But I got it. I got to just be honest with you guys. This is editing post Hurricane Ian. And if you've followed my channel for a while you know that my husband and I went through Hurricane Irma in 2017 with some really devastating losses. We lost our home due to a flood. We ended up end up renovating it and selling it. But it was we were living out of a travel trailer for a while with my two college age boys. And so but you know what? Everything is ends up Romans 828. God works all things for good. Some people end it right there. But there's more to them who are the called according to his purpose. Okay. It's not always our purpose. What we think is great for our lives because God really did take that storm and create a rainbow out of it. And so you know we just went through Hurricane Ian. We did not have the devastating loss that we had before. But we have a we have some damage and we have family members, friends, neighbors that were helping. And so that's why Monet Cafe had a little pause in some content. But so I'm a little bit tired right now. So I'm speeding this section up. But at about I think it's about 26 minutes into this. I'm going to slow it up. And I'm going to talk to you a little bit more about some of the colors and values that I'm using inside the coffee cup to give that illusion of three dimension and reflection. And then I'm also going to have slower content during the final creation of the strawberries and a little bit more with those roses. Again, this video, I mean this painting was about three hours long, longer than my normal painting. So and that was recorded prior to Hurricane Ian. And so I was just left with the footage when we had to prep and try to save a lot of things before the storm. So as I typically do, I'm just blabbing on. I really feel like I'm like in y'all's living room or little cubby where you have your art studio. And I just feel a sense of intimacy often when I talk during a voiceover. And so I guess I'm just going to keep talking during this sped up section. And yet at that point I needed some coffee myself. So I added a little bit of warmth now. Notice everything felt very cool. And I know that there was some light shining on this coffee cup. And the light was catching inside that inner part that I'm working on right there. It was catching on a little bit of the saucer. My saucer is a little wonky right now. I have to kind of reshape that. But fortunately pastel surfaces like the Sennelier pastel, the card, you have quite a decent amount of layering you can do. So not that you want to be haphazard with correcting things but you do have some leeway there. All right now see that dark dark I added. Okay contrast creates focal interest. And that dark dark next to the light of the cup is the obvious focal point. So even though the strawberries are pretty interesting, that's going to be a focal point. Now here's the part I was talking about. The light because that sunlight, what does sunlight do? It warms you up, right? So it warms up colors. It warmed up that coffee in that coffee cup. So at that little rim where the coffee meets the cup, there are some warmer values. There's another luscious Terry Ludwig right there. And some, I didn't want to go too light. You got to watch your values. You want to, if you get your values right, everything's just going to sing and going to work in your painting. And so I want to make sure I didn't get them too light. So I'm adding a little bit of that pretty kind of burgundy rich brick color there. And a little bit more. Look at that beautiful dark there. Just analyzing the reference image and making sure my darks are where they need to be. And now I decide, okay, I've kind of got that in. The coffee cup looks good other than fixing the ellipse of the saucer. And then I'm going to move on. I lightened up a little bit. There is light shining on that top part of the coffee sitting in the cup. And now let's start working on these roses. Now, if you remember, if you're still hanging in there for this long, for this video, if you remember, I said that I wanted these roses to be painterly, impressionistic, and not get too much focal attention. Oh, but pause that thought for a minute because I realized I needed a little bit of punch. Look at that beautiful orange Terry Ludwig. And this one's a little bit darker. And that just gave that little hint of light hitting coffee. You know coffee in sunlight, it does have a little bit of warmth to it, the color of the actual coffee. So that is going to really help develop the focal point strategy too. The contrast, when you have light next to dark, your eye goes to that. So that's a focal strategy. And that little difference of color is a color contrast element for focal point. So now I'm gonna work on these roses and I want you to notice how loose and painterly I'm doing this. Now, years ago, I would have felt like I had to try to get every rose petal correct. And now I've learned over the years that I don't want the viewer to focus too much on these roses. They're an exit point, okay? You're gonna come in. I think I love this reference photo so much. It had kind of a nice S-shaped curve to it. You come in at the strawberries, you curve around to the coffee cup, then you curve back around going out to those flowers. And it had a natural focal point strength to it. The strawberries were a bit in focus. The cup is in the center, which I usually don't like things in the center, like with a landscape, but it worked well for this reference image. And then the roses are just a suggestion at the end of the painting. So now I am going to add some music for your listening pleasure as you watch this, but I'll be back at around 34 minutes into the video to share more on the topic of lost edges when I work more on the strawberries. But continue to watch as I develop these roses, noticing that I'm really just working on values, colors, and keeping it nice and painterly and loose. All right, enjoy this music. I'll be back. Nice deep burgundy in my hand. I'm adding a little bit to some of the creases and centers of the roses, but I'm also going to use this color as a dark underneath some of the shadowy areas of these strawberries. That's going to really make them feel grounded and three dimensional. I thought I would also go ahead and zoom in on a little glimmer of light. I noticed that the little highlight inside the lighter area of the coffee cup was kind of a little bluish tint. I just soften the edges a little bit with my finger and it really gives that little reflection. Also adding some purples. I love deep purples and shadows. Here I'm still developing some of the reds. I use a combination of darker reds and burgundies and lighter reds and burgundies, but also cooler and warmer reds in both the strawberries and the roses. Now you can see, remember how I said I worked dark to light? Now I'm adding this really nice cool green. It's just a little bit lighter in value than the dark green I had put down. And I'm popping a little bit of that in with the roses as well. Keep in mind dark to light. I put my darker values down first, laying those lighter values and keeping color temperature in mind because often when things are in shadow, your greens are even going to be cooler. They're not so warm and like that sunlight green, like the one I have in my hand now, which I have reserved to final marks at the end. Just where the sun is glinting on some of those leaves of the strawberries. What are those things called at the tops of strawberries? I don't know. You guys are always so great at commenting and letting me know these things. I'm learning so much from you guys. That's awesome. So now I'm adding, notice this is warmer. Can you tell this is warmer? Some of the warmth from the sun or whatever the light source is that's hitting this coffee cup. I'm allowing it to highlight just those little edges and rims. Again, lost edges. Notice I don't have any lines. And now I'm using that little burgundy to kind of carve in some of those dark areas. Again, those have little seeds in there in the strawberries, but I'm resisting the urge to paint every seed. And I'm just letting, I don't know, I'm being a little intuitive with this and looking at the reference image, but also feeling where the strawberries would be. Now, why would I be layering this kind of cool color? That neutral grayish blue and now this purpley color. I'm seeing the highlights are a little bit cool. So that really gave some color interest, made this more painterly and fun. We want our paintings to be fun, a visual treat for the viewer. Now I'm using this little red again, just tapping in little areas that would be around where some of those seeds would be. I've noticed, I haven't done a lot of strawberries, but I've noticed it's like there's a little divot. The seed is pressed in. So you get a little bit of a shadow around where the seed is and then a little bit of a highlight because the seeds are kind of light. The actual seed is really small, kind of light. So that's my, that's how my strategy is. And I think it came off as believable, but also back to the focus of this video, painterly, impressionistic and loose. I don't have to paint every seed in this. Now I'm giving a hint. I think I changed my mind with that. I was like, that was too much contrast and value. So I decided to grab a little bit of warm oranges. Can you see that? It's a lighter value, but it's not as light as that first one that I put on there. That would have looked very artificial and fake. These are more believable. I think that happens often. We see something as, oh, that's white or that's really light. When really the value is a little bit darker than you think. So I think you can tell that from the, the oranges that I put down versus that creamy color that I started with. Now I'm using this little bit of a brownish to go in and add where maybe some of those little shadows are where some of the seeds are. Again, not everywhere. If it's everywhere, it's nowhere. The first person I, artist I heard say that was Marla Baguetta. I don't know who originally said it, but I give her the credit for that. So now look at this nice neutral, kind of a greenish, neutral golden green. Is that a good description of that color? But it's really given that feeling. I knocked down with my finger that first light color I put down there. And it's starting to feel like strawberries, right? I mean, it does to me. Let me know if you think it does. Give me a comment. And oh, this is a really pretty Terry Ludwig. Look at that coral pink color. This is going to be where some of my lighter values are of the glints of light that's hitting some of these areas of the strawberries. And I thought that this color was great because it was a little bit different than some of the reds that I had. It's like I said, it's a little bit more coral color. And I thought they came out really fun. I liked these strawberries. I thought this painting and the reference image had a lot of neat focal points. But again, you don't want to overemphasize everything. Pick the things. Usually the thing you want to emphasize is what drew you to that reference image in the first place. And I think it was just the beautiful composition. Of course, the coffee cup, but that lead in of the strawberries as well. The roses are a little bit more of a supporting character and an afterthought. And I'm still developing these strawberries, but also notice that this Sennelier La Carte pastel card has allowed for a decent amount of layering. I don't want to overdo it because if I keep layering and layering, what's going to happen is my color is going to get muddy. And I'm going to lose the beautiful quality about soft pastels to begin with. They're one of the most vibrant colors of any medium. It's because they're almost all pure pigment. There's very little binder in soft pastels. So I think that they ended up looking painterly. Again, let me know what you think. I felt like they looked three dimensional. It's a final point because this video is already 41 minutes long. I took a blue and remember what I said about a highlight? Sometimes it's not white. And I took this blue and I did these little swirls, almost oval shaped swirls, around where I thought some of those seeds were. Remember the seeds are pressed in, so it's a little darker in the center. And the outer part is going to catch the highlight. So I just suggested that, and I thought it made that feel a little bit more strawberry-ish, if that's a word. So here's a little bit more of those final little highlights of warmth on some of the greenery of the strawberries. Trying to keep in mind that the warmest colors and the lightest values are only going to be where the light is hitting them. And now I'm adding just a little bit more, like I said, of that blue. This time I'm just glazing it a little bit on some areas and just enhancing that highlight of the strawberries a little bit more. Now I did want to lighten some things up. I'm looking now at where some of the cloth is lighter, where the light is catching it. And just literally just giving it a little glaze, turning the pastel on its side. And you've probably noticed the majority of my strokes are not linear. They're using pastels on their sides or just maybe a slight little edge of the pastel. That, again, is going to help you to create those painterly edges, lost edges they're called. Lost edges really, and let me let me just wrap it up with this video. They're not defined. It's just a suggestion of an edge. And again, those soft and easy edges are going to help your painting. I want to personally thank all of my patrons on my Patreon page. My husband and I, thank you so much. Your support has helped me keep these videos coming to many all over the world and help us just keep going personally as well. So God bless you all. Thank you so much. Comment, like this video. And as always, God bless and happy painting.