 Welcome to Monet Café and another real-time lesson of some lovely little floral paintings. In today's lesson we'll actually be painting two of these paintings that are a series of nine so be sure to go back and check out the previous videos. Oh and if you haven't subscribed I hope you will for more artistic learning and fun. All of the nine small two and a half by two and a half inch paintings were done on a piece of pastel matte, a white piece of pastel matte, an excellent surface to receive watercolor and pastel. The watercolors I use for all nine paintings is the Arteza watercolor set but you can use whatever you have. The reference images are from the paint my photo website and I share a lot more about that in the first video. You can also find in the first video of the series my technique for laying out my surface for the nine paintings. Now you don't have to do it this way but it was kind of fun. Here is the reference image for painting number three of these lovely lavender flowers with a little bee. I'm just using a pencil to get in a general sketch and I'm speeding up the sketch portion but if you see the video right before this one with this series in lesson number two I actually give a little mini tutorial on some simple tips for rendering flowers so be sure to check that one out as well. Once the sketch is complete I'm ready for the watercolor. Now all of these paintings have the same general strategy watercolor first and then pastel. I'm also zooming in closely here so you can actually see my watercolor selections in this particular Arteza set. This color is called deep ocean blue. Sorry my watercolor part of my palette is so dirty. I definitely use the heck out of this set and it's just a lovely blue that I'm going to use to do an under painting. That's what this is called when we do watercolor as a base prior to pastel. I love doing under paintings if you've seen my channel much. I have many different strategies and techniques and in this case I'm just putting down some pretty blue, a cool under painting and I'm letting the water do the work. By the way I have a new series on watercolor tutorials coming because so many times I use watercolor to begin a painting and I thought it would be neat to give some basic watercolor instruction. Now I'm using another blue here. This blue is, I'm looking on it right now, it's Oxford blue and see how that's just a deeper blue a little bit more of a cool purplish leaning towards purple blue and I'm going to use this color to get in the basic little flowers. Now because I added water first I forgot to mention that you might have seen me adding some water to the pastel paper before I even added this light blue and purpley blue color and the reason for that is it creates a subtle impressionistic feel. Do you see how the color is just bleeding and blending and is so subdued and that is just one of the purposes or advantages of doing an underpainting. It's probably one of the most common questions I get is why do you do an underpainting? You're just going to cover it up. I hear that all the time. First of all I don't cover it all up and it actually makes a base that gives an impressionistic beginning and as you can most likely see here. Now what I'm using here for this underpainting strategy is more of a local color but definitely leaning towards cool colors. What do I mean by local color? That just means the color that's natural to the scene. Now I know we have a lot of greens in the scenes but I'm using that blue as a background but the local color of the flowers they're purple okay they're kind of a bluish purple and so I'm using the color that's already there. Now I do have a lot of different underpainting strategies that I use that I will be describing. Each one of these I use a little bit of a different underpainting concept or technique and I will be describing each one as I paint. Another question I get often is about the rules of underpainting as if there are hard and fast rules. There are some general guidelines but really you can get creative and the underpainting typically just sets the mood so I'll definitely talk about that with each painting. Oh here's a behind-the-scenes setup. I decided to ignore these to put on my raspberry beret I recently bought and you know one of the advantages of working from your home studio is you can just get up and put on whatever you want or not put on whatever you want working your pajamas. Oh my goodness I know I'm such a nut. I have found there's freedom though and not worrying so much about what you look like. It's really a blessing. Alright so I'm adding some pastels. Notice how neutral this pastel is. This is a Terry Ludwig pastel. I believe it's part of the umber, no no umber shadows and shades or shades of nature set. One of those and this is another neutral I think from that set. I wanted to get in some nice neutrals in those background grasses. Things in the distance get lighter and less punchy in color. They're not as bold so that's why I just set that stage right there with some neutrality back there. Also too in the second in this video, the second little painting, I'm gonna show you all of the pastels that I choose. Now one of the reasons I'm showing two paintings now in this particular video is because this one just like the one before I had some missed footage. You still can paint along my patrons on my Patreon page. By the way you guys are submitting some beautiful work to the homework album. Many of my patrons on my Patreon page are participating in this series and turning their homework in and they're doing such a great job and they were able to create the last painting even though there was some missed footage like this one. But the the second one in this video you're gonna see the full painting in real time. And for this painting you really see most of the footage. You can absolutely recreate this painting with what I'm providing. Now I've turned the pastel on its side. Also too there's different mark making possibilities that we have with soft pastels. I do have a video on, I think it's 12 different ways to do mark making with pastels, something like that. That was a pretty popular little video because I think often we don't think about the different marks we can make to give different gesture and energy and coverage. And obviously when you turn your pastel on the side like this you cover more area. And now I'm switching to a cooler green. Can you tell this is cooler? Now what would make a color or a green cooler versus a warmer green? It's further away from yellow. Okay it has more blue in it. So and cooler colors typically are in the shadowy areas. I always say think of it like this. If you get in the shade of a treat don't you get cooler? So colors get cooler as well. Alright I'm adding a little bit of this dark. I'm not sure if this is just a dark blue or maybe it's not that Terry Ludwig dark. I don't think it's not quite that dark. I mean it looks super dark here because values relative. It's because it's the darkest thing on here. I could I could put something else down that's dark and it would all of a sudden change that value. So now I'm getting a little bit of that warmer green. What I'm doing, again you can access this reference photo. I'm not putting it up here because it's not my photo but it's on a free copyright free photo reference site pnp-art.com. Now I am blending with a chamois cloth. I'm speeding this up because you can kind of get the idea. A lot of people talk about how pastel matte. They have a hard time with it. The surface that I'm working on. Now you see that dark? Isn't that darker than the first one I put down? I'm working on the flowers now. I'll come back to the discussion about pastel matte and working on it. But what I'm doing right now, this is another Terry Ludwig. Some of my favorite brands by the way are Terry Ludwig, Sennelier pastel and Unison. I love Unison and also Mount Vision. They are some of the better soft pastels and they you know I like them all for their own reasons. I don't I think I'd have a hard time picking out my number one brand but getting good quality pastels is definitely a must. I mean I couldn't afford to start with them. I started with a set of Rembrandt's and Rembrandt's are a medium to harder pastel but they are less expensive. They're still artist grade. They're professional grade but you don't get that bold fresh color the way you do with the more expensive brands. So all right back to the pastel matte paper. I've had some comments from artists saying they have a hard time with coverage or with you know it just takes a while for it to look like it's not the white of the paper or whatever color pastel matte you're working on. It does come in other colors but my advice is to do a blending strategy like I just did either with a chamois cloth. Chamois cloth works great on pastel matte. It doesn't work on UART paper so much. UART's too gritty. It catches the cloth but a piece of pipe foam insulation works well like like you can get from a hardware store. Some people have said those little packing peanuts work well. Some people have said pool noodles like if you live in a climate where you know kids are swimming all the time you can cut off a piece of their pool noodle. I don't think they'll mind and you can use it to blend with paper towels work well too. So there's multiple ways you can blend but I don't recommend over blending. Just kind of like what I've done here. You use it at the initial stages to get that coverage. Do you notice how much softer it looks now that I blended? So maybe that'll help some of you guys who say you're having a hard time with the coverage on the pastel matte. Just go ahead and get in an underpainting of sorts and and blend. Be careful like I did. I know I'm kind of going backwards with what I did already but I don't just take one shami cloth and blend all over it. If you went back and looked at it you can see I turn it and I use new sections to blend areas so that I'm not contaminating the color. I'm getting mostly the green in but I'm being careful not to cover all the purple and vice versa. So use it strategically. Now notice this purple I'm adding now. It's a lighter value right? And I'm putting it on top of the darker value purple. Now why would I do that? Why wouldn't I just put this lighter value down first? If I did it would be very flat. It would have nothing to rest upon. The darker value gives it contrast, some color, vibration, and energy and it helps the lighter value to actually show up more. Light values show up better in contrast to dark values. So it's really going to make your colors pop if you learn to use the strategy of kind of laying down a darker value and gradually working up to your lighter values. And I'm even going to get lighter than this. Right now I'm just working on the purples but you'll see in a little while I'll add some blues. Often to, well I'm on this note about the flowers, often we see flowers that have that purplish really vibrant pretty purple like these and sometimes our brain just says these are purple flowers. This is lavender or this is a you know just a flower that's kind of like lavender and it's purple. And we forget to really analyze it and look at it and see that there's actually some blue, like a vibrant gorgeous blue that if you add that to it it's going to create so much more interest and actually I think more realistic to what some of these flowers really look like. So and you know like I said about shadows to colors cool off in the shadows. So in this flower there's going to be cooler tones. Purple's kind of a cooler tone already but blue is even cooler. So you know definitely some of those blues are going to make it really stand out. Now in the background flowers I'm using three strategies to make them appear further away. One is size. I'm making them smaller. Two is less detail and three is a lighter value. Notice I didn't put that dark purple down back there. Now you're going to see where I missed the footage but I'm going to explain to you what I've done. I've added a few more cooler, I'll talk about the bee in a minute, I've added a few more cooler grasses in the background you see that and kind of work them in and amongst the other grasses in the foreground. Now with the bee, sorry I missed applying the bee. In the last video in this series I showed you how to make the little teeny weeny bees. Now this bee is a little bigger because he's like right here on this flower and he's more of the focal point. So I put down my dark first just like I said with the flowers and then I gradually started working my lighter values. And with bees typically I will do a dark value, kind of a reddish orange value and then a golden color. And now I think I'm going to use a new pastel spelled in you pastel made by Prismacolor and this is just to kind of reestablish the shape of the pastel. I've been doing pretty good with the big chunky pastels on such little subject matter but sometimes I need something more precise like this. So just working the bee but also notice too on the flowers remember how I mentioned the blues and I used some deeper blues and some lighter blues. Now what am I doing here? I'm getting his wings in. You'd think I would just put in a light color for a wing but I'm first putting down just like the same concept with the flowers not as dark but a darker color than the shimmery white wing for the same reason. To give the white something to rest upon and it really does help give that feeling of reality you know when we do this. It's more representative of what they really look like. So I'm just giving, notice I'm not doing this hard. I'm giving a really really light touch and I'm trying not to make my marks linear. It's better to make more of a stroke and gestural is always better if you can make a gesture mark. There's just a knack to that that really just comes with practice and experience and I'm still working at getting better at having some nice gestural energy. Now I'm adding a little bit more of the lavenders in different areas of the flowers establishing them a little bit more. I don't want to give too much detail everywhere because the expression I've been loving lately. I can't remember which artist I heard it from was if it's everywhere it's nowhere. Alright and think of that with focal point. If you have you're doing a field of flowers and you have flowers first of all everywhere or maybe they're all going in the same direction and they're all the same color. They're everywhere. So really they're nowhere. There's no focal point. There's nothing that has any interest because it's everywhere. So it's the same idea with things like this. Obviously in this painting the focal area is the B and that flower in the foreground. I also I'm not sure if I got rid of that one flower I was working on on the bottom left there. Another focal strategy is keeping your viewer's eye within the painting. Don't give them an exit like a flower leading out of the painting or too much detail on the perimeters. Aha I was right. I decided that even though the flower was in the reference image it was not a good compositional element. So what am I doing here? This is a stiff bristle brush. I don't even think I use it for painting. It came in a cheap set of brushes but it's so stiff it's easy to use it. All I'm doing is brushing off some of the layers of pastel. This is an excellent way to reestablish some of your grip. It also kind of blends things. So I kind of blended in that flower so that it's not creating an exit point for the viewer's eye. Again you want soft edges around the perimeter of your painting to keep the viewer's eye where you want it to go. And I'm using this to my advantage now because I'm going to go ahead and make the stems and talk about gestural marks. That's a good place to do this is with stems is to vary your pressure and make your stroke energetic. Now what I'm doing here is adding a little bit of a highlight. This is really hard on a little two and a half by two and a half inch painting with these big chunky pastels. But it's like I've been saying in the previous videos. You learn to feel your way often when you're painting with pastels. Not just when you're painting on small pastels paintings like this. You're feeling where the pastel is as much as you are seeing it. Sometimes you can't even see it as in my case. But I usually do a little test mark. It sounds laborious maybe but the more you do it the easier it gets. You know it's kind of like I like to think of it like riding a bike. At first you had to think about balancing. You had to think about the pedals. You had to think about the steering wheel. And you're just like scared and it's a lot to think of. And then later you get on a bike and you're just fine. So this all comes with practice determination and having fun. Alright here's the little bee. I thought this little guy was so cute. And Patrons too please remember to submit your homework if you decide to follow along with this painting. Alright now we are moving on to the fourth painting. I'm back on pmp-art.com. Once again I'll have the links to these photos in the description of this video. All you have to do is pull it up click the link on another device and you can paint from it. You know real easy. And what's the first thing we begin with in these nine paintings anyway with watercolor and also to remember how I mentioned I would use some different under painting strategies. If you remember from seeing the photo in that little portion of the video just a minute ago it was some white flowers green grasses and really the sky was very white. So with this painting I'm doing more of what's called a warm under painting. The local colors were more like whites and greens and really not a lot of color variety. I liked the values in the painting though. So I'm going to kind of make it my own change the colors up a bit but I'm beginning with a warm under painting. So I'll be using a lot of colors that are not really on the cooler side of the color wheel perhaps with exception to this purple is probably the coolest in the colors that I use for the under painting but the rest are going to be very warm. I'm not using any blues or greens in other words. Okay. Well maybe that's a little bluish purple but the reason for this it's typically called a complimentary under painting and compliment is not like you compliment your friend with the COMPLI it's COMPLE Entery and the reason it's called complimentary is because a complementary color is a color that's opposite on the color wheel to the color that you're trying to paint or looking at. And so what are the colors in the local color of the reference image? They're greens they're kind of greens and blues and and you know the whites obviously. So the color opposite on the color wheel to greens and blues is more oranges and reds. So I'm using the pink the purple is like the distant trees and the reds are and the oranges are the foreground which works well because foreground colors typically get warmer in value anyway and it's also a great idea to put down warm colors because I like the way artist Karen Margulis puts it she calls it putting down the dirt you know before you have grasses you're going to have dirt and dirt usually kind of orange or you know a warmer color. So it's a good idea and it makes for a nice underpainting but you don't always have to do a complementary underpainting. Alright this set I'm using is the Sennelier 120 half stick I always recommend buying half sticks when you can because you get double the color for your money and it is called the Paris 120 half stick set makes me want to do a painting of something in Paris. I haven't done that yet but I've been using this set since I purchased it just prior to leaving to go pretty much rescue my mother-in-law I've been mentioning this in the past few videos. She is living with us now. We went to get her in Mississippi where she lived and she's on hospice care with terminal cancer and I got this set before going and I took it with me and we got snowed in and so with the being snowed in I actually got a decent amount of painting time you know of course had taken care of her as well so I got to kind of break this set in and I love it it's really awesome I recommend this one if you can spare the extra money or the Unison 120 half stick set I just love it now let's talk about these colors here to the right I have my darker values a combination of some dark greens and really dark kind of bluish green and some cooler dark greens on the left I've got more of my blues with a little more color the lighter colors in that band in the middle are going to be my flowers notice they're not all white I'm actually going to give a little more variety and then my warm greens for the grasses and a little neutral up there to the top right and I think I do add a few other pastels I grab a few as I work but that was a good start now same as before I'm just kind of sometimes I work with my right hand and oh look at all those age spots dang why do we have to see ourselves get old like this I'm fine with it as long as I don't see myself but um anyway so I'm working in the um darker colors in the trees I talk all the time about the fact that things that are vertical in a landscape are darker in value because the sun's coming from the top and it has like shadows on the sides of the trees so this is called like scumbling a super light touch often we are so heavy-handed and I'm um talking to myself because I've had that habit um in the past too I still try to get better at it now once again using this little shammy cloth it's going to push those trees back it's going to cover some of that blank space of the paper I want you to notice something else too again back to the question some people have about why do you put an underpainting down the pink of the paper even though I just blended these trees really does influence the color of the trees now I'm grabbing sometimes I use the shammy cloth or pipe foam insulation to use almost like a paintbrush I get some of that dark that I have on it and I use it to create a darker value in the foreground because I know the grasses are going to be deeper grasses and things in the foreground are typically darker anyway all right so I'm playing around with some of these blues this is actually one of the lighter blues from the ones that I said were the sky the three sky colors now here's an interesting thing about sky holes those are the little holes like I'm starting to do there that kind of make the spaces in the branches and the holes of the trees and this is called negative painting instead of painting the branches we're making kind of a big shape with the trees and we're carving in the branches so oh actually that was a darker blue now I've got a little bit of the light blue that I'm just putting in a couple of areas I would say more towards the horizon but kind of at the tips of the trees to create a focal point with the lighter value but I'm going to add some darker blue after I add this green up in the top part of the sky there you'll see me do that in a minute now to give some interest here I know these trees are green and not that dark color that I had down I got the dark down just to get the basic value and I'm scumbling once again I think I said that word and it described what it is it's kind of just making random marks very lightly in not haphazard places kind of strategic places I'm always imagining where the light is coming from as I'm painting and quite often the outer almost always the outer leaves and things on the tree are going to get a little bit of a lighter value and a warmer value because the sun's getting it more the things that are deeper in the trees are going to be a little darker and a little cooler so now I'm just getting an idea of maybe like some branches down in there and again this is a really really little painting and I've mentioned before I like little painting because it forces you to be loose you can't really get too fussy and detailed so blending the dark in again I did want some deeper dark values down at the roots or the base of those trees there you see how that just gave it some substance and some three-dimensional feel to it so now this is a cooler green those were all the dark greens you saw at the beginning that were kind of on the right hand side I'm getting some of these cooler greens down deeper not covering up all of the dark I put in but that's what's going to happen to these greens with some of the leaves that are you know behind the ones that are in sunlight now I'm using that neutral color you see how it's a little bit of a teal color but it's not a bright punchy teal it's neutral what this is going to do I'm creating a band of trees I loved great depth in my paintings even if I don't see it in the photograph I'll push the viewer's eye back by two strategies cooling off the color and lightening the value and also too even though sometimes I use punchy colors things in the distance usually get a little more neutral in color so often it's a good idea or strategy to neutralize the color in the distance so you see how now it looks like a couple of different banks of trees once further away using the same Paris 120 half stick set kind of a deep greenish blue I love this color just for some of these deeper grasses and you see already how it's starting to take shape with just these few colors that I've used we're getting the feeling of a field and those trees have some energy and once again blending again I don't blend a lot in the later stages but it really does set the mood when you do it early on now here finally adding some warmth here these are the warmer grasses I'm not drawing blades of grasses yet I'm just giving suggestions of some maybe some taller grasses and almost like a just doing a big kind of shape where I can later add in some more individual grasses I did add a little bit of a focal point there with one of those tall grasses reaching up there so again still not a lot of detail yet notice that and actually with this painting like I say in a lot of my videos when I do a voiceover like I'm doing now I get the advantage of seeing the different stages of my painting and quite often I'm like man I really liked it when it was halfway done sometimes you know three quarters of the way but all right now some little highlights of grasses just like with grasses you see in real life usually the highlights are going to be on the top parts of the grasses they're not going to be down deep and they're not going to be as warm in color down deep in the grasses and you know even though this is just a little painting I love to give a lot of commentary because I think you can just learn a lot from listening watching of course but listening to the commentary and even though I know there's a lot of artists who just provide the video footage and then they'll provide the commentary maybe on their Patreon page I like to still provide the free commentary here on Monet Cafe because I know there are a lot of people with limited means that are trying to learn this and I always remember how hard it was for me I was a single mom unexpectedly with three boys I was trying to raise starting a new job and things were challenging and art was my sanctuary it was just what I was trying to figure out again and reclaim for myself to keep my sanity and back then in a good old days things were not as easy to find as they are now I mean I'm not that old but I'm how old am I I am 56 right now I'll be 57 in June but um anyway it was just harder YouTube didn't it was around but what and what it is now and so I had a hard time finding things and that is the beginning that's the backstory to Monet Cafe I was like I'm going to start sharing my journey and the things that I learned so that's how it came about all right look at these purples this is kind of a magenta deep magenta purple added some of those grasses added a little bit in the trees because once again we have some pretty purple sometimes going on in the shadows now I was a little hesitant about this color uh see yeah I was it was too bright it just demanded too much attention so even though I like punchy color um that's my I don't know if that's my word I always use that word somebody said something one time about not being the right word but whatever but um bright color bold color but sometimes a mood or a setting requires something more neutral now also see how I put that a little further back where that tree is the smaller tree that is giving the indication of a field that's further away you're not going to see much of it because the grasses are tall but you get a little glimpse of it and once again that pushes the perspective back you're you're creating I always love to say this you're creating a three-dimensional world on a two-dimensional surface it's like magic and it's just some rules some tricks I don't usually like the word tricks but it's an illusion and I think that's what fascinates me about art first time a color freak I just go to color like a what are those birds is it a magpie or a bird that goes to like bright shiny things and oh my gosh I just love it now here's where I said back a while ago I was going to add some darker blues now also too with sky holes when you get down and you're adding those negative spaces in the trees don't use the lightest light always go a little bit of a they look kind of weird right now but they always look too much like popcorn if you put it deeper in the trees and the reason is because the tree branches act like a filter if you ever notice the screen on a porch they have little holes in them too but if the sun is shining behind them they don't look as bright as if there was no screen it's it's a filter so it's going to make values a little darker I did add a little bit of a a brighter value green I apologize I think I forgot to turn my light on in this part but I think you can still get the same idea okay now in my reference image all the flowers were white even if and I don't keep them all super white but even if I did I would still go a shade darker in value for the deeper flowers the reason is because again they're in shadow they're going to be buried I'm going to bury these with some grasses if I made them all white it would two things would happen it wouldn't look realistic because that's not what all flowers white flowers do and see how I added some variety with that blue and also it would detract from your focal point my focal point is going to be some of the white flowers that are on the tops so these are the supporting actors and actresses and they're just pulling the viewer saying hey look at the star that's going to be up there in the in the upper grasses so if that's a little visual picture that helps you remember that all right let's get some of these flowers in now here is a lesson I'm always trying to learn is what makes a lyrical beautiful gestural floral arrangement in a field and I always try to think of the way flowers look when they're like blowing in the wind they're random and musical at the same time if anybody's a musician have you ever heard of the term dissonance it's like a note that's a little bit off but for some reason it makes the song so much more interesting I think that's one of the reasons one of my favorite songs is moonlight sonata it's just got a some sections in it that I'm just like I just get overwhelmed it's so beautiful and there's something that is just a little bit call it a focal point but it's a little off and what I mean by off is not like way off but if we have all of our flowers just super patterned and mine are a little patterned right now too it's not as interesting as if there's one that's just kind of wee sticking up somewhere and it's way more interesting so I'm always kind of trying to work on that and get better at that now these little dark areas I'm thinking they're going to be like the seed pods someone recently corrected me I called them something of buds of a flower and actually in the reference image they were the seed pods where the flower actually dies and it creates the seed pod so and they're usually darker now I'm just working the sky in a little bit here but also those little dark marks too if you saw the last video I showed you how to make those cute little bees I decided in all of these I was going to add some bees I don't know why I just got on a bee kick so the little black marks are probably going to be a combination of seed pods and bees I need a little more dark in that sky and a little more color so it wasn't that hard to do it you know you just kind of put some in there and I just lightly blended in and I got a little bit of darker up there in the sky create a little bit of a halo effect an ellipse effect to keep the viewer's eye once again in your painting we don't want to give the viewer some easy excuse to exit the painting like a flower pointing right out of the painting or a line of a building going straight up or a branch of a tree just pointing right out of the painting so we want to just beautifully arrange things in a way where the viewer just stays right where you want them to stay all right I've added a few more little sky holes trying to make things interesting see how that dark was needed for Scott not dark but you know it's not the whitest white back there in the back once again the little filter effect so I'm getting close to done now here comes the lights this I decided to make a little warmth to it all right it's at the top part it's going to get a little more warmth so this is a of course one of the same seneliers seneliers are like butter even after you've applied a few layers you can just really still get that color that sticks and that's bright and beautiful I'm being careful trying to be careful not to give too much again if it's everywhere it's nowhere so it's getting close I'm getting close and I think at this point I add maybe a few more warm grasses a few more little random flowers yeah here's a little bit more warmth and I'm also learning I've learned over the years to limit my grasses and vary my grasses you don't want them all just reaching up in the same direction and you can use vocal strategies with grasses too to keep your viewer's eye where you want it all right a few more little random flowers and then we're going to get to the bees now I've zoomed in hopefully so you can see this and I will admit some of these bees and these paintings were so teeny they were hard but take a look at the video right before this one it's painting number two in this series and I will have a link to painting number one and number two in this nine painting series in the description of the video and all the videos you'll have the previous links to see the other ones I'll put them all in a playlist how about that that's a good idea so in the previous video I show you close up a little bit more what we're going to do with the bees is we're going to make two little marks you can make two or three marks but I find when they're this little you see this pastel had some little random sides to it they're still fairly new but we're going to put a little golden kind of a mark or or an orange kind of a mark on the back to the section behind the head and then we're going to add some little wings like I did you know in the first painting a darker value blue and then a lighter value white or lighter value light blue like this one it's so hard with these little wings but um just on the wings I admit they're kind of hard this one I think one of them came out a little better than the other ones but so I hope you guys enjoyed this here's the final painting also too if you decide to paint from this and you're not a patron of mine and you share it on instagram make sure you tag me at susan jinkins artist I love to see what you do patrons this is your homework assignment and have fun all right guys please subscribe if you haven't and as always happy painting