 There's no keycats out there. There's no keycats out there. All right, go ahead. So are we live? What's up, you guys? Hello. We're early. It's Sunday. I tried to give you guys a heads up, but no. So we're down at Rondes at RK3 in Zagine, Texas, which is, y'all have no idea what that is. It is south of Austin, or east of San Antonio, right off of I-10. Right next to nowhere. That's where we're at. There's a Bucky's, though. We have a Bucky's. Today, I'm with Ronda, obviously, because she's right here. And also Bowie. He's going to go to the cat, probably. Bowie the country dog now. He's a country lion. So Ronda's going to teach me how to do some things that I'm never good at, these things. She's so silly. So what we're going to do is, I said, let's go live. And I was like, okay. She goes, show my family, fam, something that I do that may interest you. So I thought, hmm, let me think. I'm going to show you one of our most popular finishes as far as the countertops. But I've used it in some art pieces. I'm not an artist. She's the artist. I'm a countertop person. So, but with this background, you can kind of take the techniques or the idea of what I'm doing and you can apply it to so many other things. I've done these on Lazy Susan's. I've done these on like little trays that you get from Hobby Lobby, all kind of fun stuff, because it creates a super background if you decide to go to the next step and actually put some detail work in it. Or you could leave it like I'm going to show you the first step and then that's a finished all on its own. It should be a t-shirt. I swear it should be. You knew I was going to say that, right? Okay. All right. So what we started off with, this is a white finish. So art coat, because it's white. And here we go. All right. So I've mixed up three ounces per square foot. So I've got about 12 ounces in here. And the reason we have this on like a little long skinny sample board is to kind of mimic a countertop, which is what I do a lot, because visually we need to see what it looks like linear instead of just in a little square. So what we're going to do, we're going to start off with five different versions of a white. We're going to start off, well, I'm just going to, I'm going to do equal parts. You don't have to. If you wanted one color to maybe be more pronounced than another, then you definitely don't need to do equal amounts. You know, this is about how I cook. Is I just... Is that earthquake? Yeah. Hang on a second. Sorry about that. We're in the middle of earthquake here. We're gimbling. We're gimbling. So Kenny's behind the camera, my other half. My, some would say better half. He would say my better half. But he's trying to get the gimbal working. All right. So what we've done, we're going to have one cup of clear. We're not going to touch it anymore. We're going to have a little Milky Way. We're going to have a titanium white that is very opaque. Then we're going to do a titanium white that is very transparent. Then we're going to do a pearl shimmer. Any of these you can eliminate if you don't want to create depth. The reason we're doing so many at different opaqueness is because we're going to create depth. So let's get started. You want to do the Milky Way. And I don't want it super, super opaque. I've got titanium white here. Don't load it up. Don't load it up. It always looks like fish food flakes to me. Yeah. So you just want the sparkle, not the color. Yes. Let me look at it. Yeah. Pull it out a little bit. Yeah. I think that's good. Do you want me to mix it in? No. Mix it in. But let me see. That's probably going to be all I want in there. Maybe just a little more. Yeah. All right. So that was, this is the titanium. Now I'm going to take for the titanium transparent white. I'm going to literally just take my stick out and that's what I'm going to put in the transparent. Did you want more than this? No, that's good. Perfect. All right. So my transparent white, this is my opaque, okay? So it's obviously very opaque. Then my transparent white, you can definitely see through. Looks like skim milk. Compared to whole milk. All right. And then what is this one? This is our pearl shimmer. Oh, it's not even open yet. Our pearl shimmer. And this is the color obsession. That one is color passion. That's what I said. Okay, so hold on. We can use a torch to melt it. It's up to you. You can use a torch. I will catch it on fire. You will not catch it on fire. All right. Do you want me to have a heat gun? Yeah, we have a heat gun right there. So we're going to heat this up to get it to get liquefied again. Because size. I guess I just heated it up. That'll work. Who to thunk? You should only have to do that one time. Where you looking for Erica? I'm just missing a fluffy ball of meatball and I heard him yelling for me. All right, so I'm just kind of getting this to liquefy up. Do I need to do the whole thing? Okay. Sometimes really pigmented paste will solidify, but this is essentially like the hot water bath. Yeah, but I don't have to do the whole thing in order to get it all one color. All right, so we are good there. For a second, I thought you melted. For a second, I thought. Me too. It would happen on a live. Yes. All right, so we've got that. And like I said before, color passion. That's what she said. Yeah. All right. Okay. So we have got it all down. Hand me a stick. I'm just going to rub this out. All right, so had a little bit of epoxy left for my cup. So I'm just going to grease the board real quick. Shoot up the super thin skim coat. Very, very thin skim coat. Just kind of helps me get everything to kind of move where I want it to go. You've done that before. Once I did it. I did it. All right, so now we're going to just randomly lay them down. And you don't want to create a pattern. You want it to be very random. How random? This random. That random. That was the white opaque. Let's do here. Why don't you do the pearl? Shimmer. I learned from Rhonda's class to start from the other end. That's right. One time you start at one end. One time you start the other end. Yeah, I listen. You listen. Contrary to many beliefs. Popular beliefs. All right. Very popular. So now we're going to come in with the transparent white. And I'm just filling in the gaps. Okie way. Same thing. Just filling it in. Rhonda's so talented you guys. She can make a real looking marble in like 12 seconds. Now the clear. Why am I adding clear? Clear is going to give me a window all the way down through to the substrate. So again, we're creating depth. You're fine. Do you want me to make some? I'm just going to. So what I'm going to do is I'm going to come back in here. I wanted I should have left. I'm just going to leave get a little bit of a just a tiny bit. That's all. Like literally that's all I need. All right. So once you have it on the board, it's a little cool in here. So now I take my hand. Very expensive, very, very expensive piece of equipment. And I like to do more of a striation instead of doing a marble. And the reason I'm doing that now is because I kind of have an idea where we're going to take this. If I wanted just a really pretty marble, all I would do is take this and very softly, I would meld it together and you're going to end up with a marble. And it's very important that you don't over meld because if you do, then all you're doing is taking all those great colors and you're making one big color. So you don't want to do that. But I'm going to actually kind of come into almost like a striation type of a form. So you're just skimming the top. I'm just skimming. No, no, no. I'm just kind of skimming the top. I'm making sure that all of the board is covered. I don't have any kind of surface tension. You want this opaque? Yes, just a white. We're going to, we'll save that for later. All right. So this finish is actually the finish that I did in my daughter's hair salon. We ended up adding a lot of the glitter. But the base was almost this exact recipe. All right, Kenny, I don't know if you can. And guys, the lighting is terrible in here when you try to look at white. So I don't know if you're going to be able to see the level of depth in this. They're used to horrible lighting for my studio. The fam understand how hard it is to video epoxy. It's so pretty so far. This could be a finish all on its own. But we're going to go to the next step. All right. So ultimately you don't add that much heat to this. No, you don't want to add a lot of heat. I'm basically just getting the bubbles out. Now there's so many different variety of variations that you can do with this. A lot of times what I'll do should have done it this time, but I didn't before I come on here with my epoxy. I may come on the substrate and I may fog it a little bit with different colors. Maybe a long vein of silver or something metallic so that it's going to very lightly peek a boo from underneath this finish and almost build another layer of depth is basically what it's doing. But that's really popular. I do that as well. They want to know if you can blow the epoxy. Can I blow? Somebody's seen me blow. Clara? No, I cannot because I have Botox. There was wine involved. She would give it a shot. That's right. Yeah, if there was some adult beverages, I could possibly try to blow. She said snort. Okay. So now we have a really pretty base to build upon. And what I'm going to show you guys is a couple of ways to maybe do some veining if you want to do some veining. This is, I'm not a huge fan of putting a lot of veins, but it is super popular. So let's go. You want to put like one big vein? Sure. Like we did in the class? Okay. All right. So what we're going to do, like this one? Kind of like that. Yeah. What we're going to do is just kind of bring down a focal point vein. I'm not a huge fan of doing veins throughout a kitchen, like what I'm fixing to do, a big vein. But I am a fan of doing it maybe on the island and then having it maybe jump across and hit another couple of pieces in the kitchen. What are you doing, Kenny? So just because I don't like a real busy, busy kitchen. All right. So what we're going to do is we're going to take just a stick first, nothing on it, and we're going to kind of visually draw where we think we want this. So when I do veins, I never start from the corner and go corner to corner. So I'll either kind of maybe start here. I could even start here and move it across. I think we're going to start here. Now mind, I don't have anything on my stick. I'm going about at a 40, not even quite a 45 degree angle. What do you say, like 38 and a half? 38 and a half maybe. So what I don't want to do is come straight across and build a hard angle between my vein and the striation that I already have down. So I'm going to kind of let this flow with it. So I'm going to start here and I'm just kind of getting a visual. Y'all may not even be able to see this. And I'm going to have that vein run up here. And then I think I'm going to have it split off and maybe run up here. All right. So y'all probably can't see that, but I just visually look at it and see if I like it. If I don't, I can just take my hand again and redraw it. What do you think? I think it flows with the piece well. Okay. All right. So now we're going to start adding some color then. All right. So I like to come in with a, you know what, let's show them that first. Okay. So I'm going to, I'm going to back up a little bit because there's a technique. Let's pretend I just didn't draw this. All right. Let's, in fact, let's, let's erase it. All right. So we've erased it starting with a clean slate. Here we go. What color? Let's do the pearl. Micah, it's going to be, I think in the very. Right there to your right. No, that's a violet pearl. Or you could even do violet pearl if you wanted to. Hold on guys. We're looking for a blue pearl. Right. Oh, there's not pearl in white. Pearl in white. That'll work. All right. So grab me a heirloom white. So what we're going to do is this is really a marble. All right. A marble finish. Well, I had a customer that wanted this same finish, but she wanted some elements that kind of look like a granite. So what you can do, and I'm going to do it in an heirloom white because if I do in bright white, you guys won't be able to see it. Here, right here. Navajo will work. So actually I'm going to use a Navajo white, not an heirloom white. Basically the same thing. But you can definitely do it in a regular white gloss. You could do it in a gray. You could do it in any color you want to. But I want very subtle, subtle fracturing, very subtle granite. And if I just do the white, you guys can't see it. So I'm going to do it in off white, which is Navajo. This is Rustoleum brand. And this is the gloss. The gloss actually fractures better than any of the other colors. Or the sheens, I'm sorry, black actually works the best. Light colors fracture differently than dark colors. So if you're going to do this, just make sure that you practice with different colors. All right. So very, very lightly. Can I know if I can get this? It's going to be such a light finish that you guys probably... No, I don't want to do it darker. You guys probably really can't even tell. Unless you were right here, you would see a little bit of an off white look. Okay, now I'm going to come in with white mica powder. And it's been mixed with isopropyl alcohol. And I'm actually going to spritz it first. Okay, so watch as I very, very lightly spritz over the top. You're going to get a gratification. Can you see that? Now, what I like to do if I'm doing this finish for a kitchen is I actually like my epoxy to be about 30 minutes old before we do this process so that that gratification is going to stay. So if I were doing this for a job, I would do the marble like we just did and then I would walk away for about 30 minutes. Then I would come back, I would fog it like we did and then I would hit it with the alcohol. But very lightly, you can see some gratification. I can do a white. Let's see what the white looks like. White actually looks really pretty. I just don't know if you guys will be able to see it. So when you spray, spray paint on, they're going to hit it with alcohol. There's a window, right? Yep. So as soon as you spray that alcohol on your surface, you need to have your alcohol. I mean, as soon as you spray your spray paint, you need to have your alcohol ready. Because if I spray paint and then I say, oh heck, let me go find my alcohol. Let me go do this. Let me go do that. What happens is the spray paint will dry on the surface and create like a layer. And then when I do hit it with the alcohol, it's not able to penetrate that spray paint and cause that fracturing. Now this is what I love about it and I know you guys can't see that. But I can look down through that gratification and it looks 3D. You can see that Milky Way through there. Not today. Let me see. Does this help? No. Put your finger back on the hole right there. Okay. There you go. Just assisting the focus, assisting the focus. So sometimes when you use alcohol back up so they can see this, you'll get these little divots and that's okay. It's just the alcohol is causing surface tension and you can just tap those out with your finger. The high-end technique is not on Mike Quist commercial. Yes. It's a very, very high-end technique that you definitely need training in. You have to be certified in dot poking. Yeah. Certified in finger poking. All right. So this again could be a finish on its own. So... I can't even imagine how many that's what she said they're going to pop up during this. Yes. I know. Well, you know what. Okay. So very cool. We can walk away. This could be a finish. But wait, there's more. All right. So now let's start building a vein. Shall we? We shall. You're going to put it in the same spot then? Sure. So I'm going to come back through here. Oh, wait. Oh, wait. Okay. Y'all, she's so jumpy. Not on there. No, you draw it. No, you draw it. I hate it. Okay. So I saw this happen in your class yesterday where people are like, I want a vein, but this is my favorite part and this is my favorite part and this is my favorite part and this is my favorite part. So can I like... You can do whatever. No, you can't do that. You can't do that. Now that's not a natural vein. That was a question I was posed yesterday. Oh, wait. Yeah. So we're not going to do a crazy vein. We're going to do something that looks a little more natural. But you draw them and I will complete them. That sounds like an awesome challenge. I'm not going to wreck this board and give you like that big of a challenge though. Because that would have been too fun. Will it bother you if I opposite it? I am here at your master. I know you're the master. So you... But I don't want to wreck this part. Okay, that's fine. So I'm going to do it like the same way, but over there. You're fine. Are you sure? Yes. Are you sure? Go. Okay. No, not there. I hate you. No. I should have squiggled it because how did you do that one? You went off first. There you go. Just go. There you go. Just pull it down. Just pull it down to you. All right. And you can V off up there. Or go straight back down. Yeah. And I'll also tell people in my class, don't overthink. Yeah. She messes with me when she does that. There we go. Okay. I hope I can see that. Yes, I can. All right. So now what I'll do is... That was stressful. That was stressful. On the spot, the acoustics in the room are right. And rehearsal and practice before. I mean, that's almost a vein right there. Yeah. Actually, I'm going to come in with the heirloom. Yeah. All right. So I'm going to come in with the heirloom white. Now, this is super important, guys. When you're doing a vein, don't pick up so much paint that it drips off your stick. Okay. Also, make sure when you're using the spray paint to really make sure it's... you shake the can well. All right. Here we go. We're just going to start dragging some colors so I can start seeing this vein. Is that right? No, you missed it. I missed it? No. Oh, did not. Be nice. All right. So when we start adding the veins, the paint to the vein, you need to really work that spray paint down into the epoxy. Because doing that, the paint and the epoxy are going to start their own little reactions. And I mean, they're reactions that you physically can't make it do. It's embrace that look. We're about to embrace a whole kind of look because I just went exactly opposite the grain that you put in. I know, but I wasn't going to say anything. It's okay. It's okay. So here's what we're doing. That's all right. This piece of marble was in an earthquake. So it reacted and had a vein crack through it. All right. So see how I'm continually pushing that paint down into the surface? Let me show you what happens if you get too much paint. You're going to get too much gray. So y'all can see. So that was an heirloom. I'm going to come in here with dark gray. Same thing. Now your colors don't have to run the same opatness through your vein. So there can be some areas where your colors dark. There can be some areas where that gray is just barely in there. That is your choice. Okay. So you're working it into the resin. What would it be counterproductive for this design if you just poured clear over? Or would it just split it? You mean poured clear? Well, if you're working it in, can you just put more clear on it? You could, but it's going to cause it to separate. Okay. Yeah. So if you just came in here and poured clear over the top, you would widen that vein because the epoxy's going to try to self-level. So it's going to cause this to widen. And that might be a really cool look. You may really like that. It's going to give a appearance of your vein being very transparent. But remember, we're going to use the heat gun and we're going to cause this to open up anyway. All right. So I like how it's kind of bold right there. So being bold there, I think I'm going to have a little bit more color here as well. Now what you don't want to do is bring in color. And I'm going to do it real quick just so you know not what to do. Don't bring color in. Well, or drip it. And just don't work it in. See how I just put that on the surface and I didn't work it in and how it's just kind of sitting there? You need to work that color in because that's when the reaction starts with your spring paint. What would happen if I just bloom? Yeah. It would just, well, yeah, it would just kind of bloom out. I have some mixture of all of them if you need it. Yeah. Put it in here. I mean, we could scrape that whole thing off. We want to, or we can just let it be a fun little place in the rock. We'll let this be fun. Okay. We'll figure out something to do with that later. All right. So let's add a couple other colors. Let's do stone gray. Stone gray is a great color. It's a real neutral color. I'm going to add a little bit of stone in here. It's the batteries out. There's two batteries. How do you go about picking your color palette for these? Do you study natural stone and then go from there? Yes. If you study some natural stone, also be honest with you, I've had customers that want certain colors in a vein and you may tell them, look, you're not really going to see that in nature but they don't care. That's what they want and you know what? That's what they get. No, none of that. Yeah, they did. No, they didn't. No. They said they asked. There'll be no turquoise? Yes. Did they say that? And no gold. Yes. Lies. Is it Clara? No. Right there. I can show you. Someone said no turquoise? Yes, please. No turquoise. All right. Well, then we won't do turquoise. What color y'all want then? Yeah, throw some of that in there. Purple? How about a little bit of black? I like to do black. A little bit of depth in your vein. So I'm going to add a tiny bit. What color you want to put? Erica, you pick the colors and I'll stick them in there. All right. So I'm going to add a little bit of black here. Just a little bit. Just a tiny bit. Just to give that vein a little bit of depth. A little bit of character. Teal what it looks so great. The mint. The mint. It's purple. We'll just do purple because... Reasons. All right. We'll just do purple. How about that? All right. So now we have built in a little bit of depth. And it's... I'm going to say maybe some white. I'm going to do white after I do my color. I like to do white last because if you put too much white in your finish and then you have to continue working it, it will change the color of that white. All right. So this is French... French lilac. Now I'm going to be very light with this. Just going to get a tiny bit. It's just going to be a hint. Is that other one? Yeah. And then this is going to be Rape. Rape. If you do two colors of your accent color that are very near the same shade, you will build depth with that. So I like to try to add at least two colors of the accent color. So that... There we go. So Jason, we have not installed the bar top yet. Jason, we have not installed the bar top yet. I'm assuming he's talking about the Austin bar. Yeah. Nope. Not yet. Waiting on permits. Yep. Waiting on permits. Okay. All right. So that's kind of cool. I like that. I like this. But see how the spray paint is already reacting on its own with the epoxy. And I mean, it's almost causing some cool effects all by itself. What is this one? Oh, silver. Silver instead of gold. Yeah, we'll do silver after we... Yeah. All right. So I'm going to even come back in here. I have a little bit of white left over. So I'm going to run a vein of white through it. And remember, any time you add epoxy to a vein, it's going to cause it to open up just a little bit more. And you can run all kind of colors. We had in this little pearl left over. A little bit of that pearl white. I can run that in there as well. What I also like to do and you could have done this before your vein is if you look at real slabs of marble. You're going to see little micro fractures. And since this piece is still moving, these little tiny veins that I'm going to put are going to get very, very soft. And they'll almost disappear. But if you're hanging out at a countertop and you go to looking, you're going to see some really cool veins. Now this, like I said, these white veins, in about an hour, they're going to be so soft and so transparent that you'll barely see them. I'm going to add a little bit of heat. Now if you have the ability to tilt your piece, I do like to tilt a little bit just to give everything a little bit of organic movement and see how it makes those little white, tiny veins that I just poured develop like a little shadow. You can do that. All right. So now let's go ahead and open up the vein. Now if you like a very tight vein, a very tight contrast-colored vein, you can definitely leave that vein as it is. But if you want to open it up and cause that vein to almost look like you can look down through it, then when you come in with your heat gun, you're going to come straight over the top. I'm trying to move it left or right. So that's why I'm going to stay on top. And as it starts to open, I just start moving my heat gun and cause it to get to the width and the opacity that I want. Here's how high she's holding her heat gun. That's going to give you more control. Yeah, if I come straight in really close with my heat gun, it's going to move my vein too much. See how I'm just kind of causing that vein to open up? Almost makes it look like it's been cut out of a slab. Just a really cool cross-member of that stone. Now when you do this, you want to make sure that you're not getting your resin too hot. Because the minute I get my resin too hot, I'm going to lose the ability to move it. So I'm going to let it cool down. If there's any other place I want to move it, it's pretty warm. So I'm going to let all that cool down. I'm going to mess with this over here a little bit. I'm going to soften this out and then we're going to fracture it a little bit. This is where I dropped. There. I'll let that cool off and then we're going to hit that with a little bit of paint. All right, so already look at these veins, what they're doing. I love it when the white sinks and shifts. Yep, exactly. That's what's happening. So also the epoxy that we put, that was tinted white that we came in and put in the vein. Looks really cool. Now this shift right here, you can see that little shift, that was caused because we tilted and that makes that look so realistic to me. So what do you think? You like that? Digging it with the purple. Yeah, that does look good. What foggy color are you thinking? Are we going to fog it again? You said you were going to... Oh, that, yeah. Maybe. Let's do white. Maybe that way we'll... You do it. Yes? Oh, you're serious. You're... I'm about to mess up this whole piece. Okay. How opaque do I want to... I would get it. You don't want it super opaque, so you're just going to kind of do it nice and high. Yeah. We're not keeping it a secret from you guys. We're just trying to do a little more. Yeah. Just trying to not hit the vein. There you go. Good. All right, so she came with that spray paint and I'm going to come in here and very lightly hit... Hit it. Hit it. Hit it. Hit it. All right. It was a little bit warm. That's why we're really getting that fracturing look because my resin was still a little bit warm. That cauliflower-y. Cauliflower look, yeah. If you... If you spritz... If you spritz over hot resin and then hit it with alcohol, you really get your... You get your spray paint to really move a lot. Well, that just goes to show why you want to wait like 30 minutes. Yep. You want to wait only 30 minutes with art coat? No, you could wait even longer with art coat. You wouldn't even... Sorry, I'm just playing, guys. I'm trying to get some visual over this area right here. She's just showing how you can fix it. Yeah, you can kind of just play with it. But you're going to see imperfections like this in any stone that you buy. You're going to see pockets of that right there. You're going to see that. And that's what you... You have to embrace in this. So this to me would be a really cool countertop because it's not in your face. Boom. That vein is not overpowering. I do like the fact that it's kind of on the back. So if you did have a backsplash, you could even run that vein up your backsplash. If you were doing epoxy backsplashes, all you would do is take your backsplash. You would lay it down and you would be... You would pour this at the same time. It looks like it. What is it? Which one is it? It's silver metallic, but it looks like a hammer. That silver is going to sink. So... So we're going to... I guess we're going to add some silver in here and see what happens. It needs some... Here, look. It's not too bad. Look. Yes. Yes. You got one? All right. So, nope. That's yours. You want to do it here. You don't know what I'm doing. All right. So she's coming in with silver. Silver. Metallic silver from Rust-Oleum. Two times larger of paint primer. All right. So there's every single metallic paint that you use and the Rust-Oleum line is going to react different. All right. Some floats on top. Some will sink. This is going to float in volume. That's going to float. Would I want to do this before or after? Before. Because you really... a lot of the Rust-Oleum paints. And that's, again, you would want to do a sample board to make sure a lot of the silver paint that floats on top, when you go to heat it with a heat gun and try to manipulate it, it actually breaks off into little bitty chunks. Kind of like your little gold. Yeah. It does look like gold leaf or silver leaf. Mm-hmm. There you go. So let me show you how you can. Now, this might be one that does move a little bit. I'm going to heat up. It's still a little warm, but we're going to try to heat it up. So we're going to come back over to the top. And you can see how that, the silver just floats and it really doesn't... it doesn't do much. It's just going to kind of sit there. It doesn't split up. But you see, I can really get this vein to be very transparent. I'm going to do it right here. I'm going to open this up right here. And I'm going to get it really wide right there and really transparent. So by continually kind of going back over that one area with the heat gun, still I'm quite a bit away. See how I'm opening up that vein? She's like a foot high. If she was really in there close doing this, she would have made a gully. Right. She would have parted the waters. Yeah, so I don't want to do that. I've taken my focal point from over here in this corner to right there. When my eye looks at this vein now, my eye goes here and it kind of goes over here. So it's a little more balanced. Anything like that? Sure it would have. So ask Susan if it's an under mount. We cut it before or if it's... they're asking about cutting out the sink. Okay, so if you're cutting out a sink, if it's a under mount sink, then this is going to have to be pre-cut because now your inside edges are going to have to be addressed. You're going to have to come in here and bondo your edges. When you pour, just like you would address your outside edges. If it is a top mount sink, we pour and then once the countertop is done, then we will come in, cut on location. We do ours on location and then we drop the sink in there on location. So that just seems to work better for us in our business. I'm listening. Oh, that was the question. Okay. Any more questions, guys? Look at this. I am loving this. I'm loving this shift. You like the purple? Good. Good. Wet? How are you feeling wet? When are you going to come see me? Look at this. See, I love this. I love how the little micro fracture veins that we came over with are kind of converging. Converging. Converging. Okay. It's been a long, long weekend. That's a fun word. Words are hard. Right here where everything else is. So it's kind of like my eyes wanting to go there as well. All right. What y'all think, guys? I think this could be a finish. This could be a finish? Should we walk away, Rhonda? Or walk away, Rhonda? Or... How many people would like to see Erica do the Italian drip? No one. Yes. I think Erica needs to do the Italian drip. I can't do it on here. I think she does. So we're going to let her do the Italian drip. Perfect. All right. So the Italian drip has been fondly named by Erica. And what it is, is instead of using the spray bottle to lay the alcohol down once we spray paint and call that fracturing, she's going to use her hand. All right. So what we're going to do since you guys have already seen this, we're going to start playing on the left end. Are we going to do a big Italian drip, like the big circles? Like this one? Yes. Right here. All right. So what I'm going to do, give me the clear and I'll come in behind you with clear. You're going to fix it? I'll fix it. Do you have to use two different kinds? Nope. No, you can do it with just one. All right. So I'm going to come in here and lay down some white paint. I'm so nervous. Now I'm doing this a lot more opaque than I would normally. All right. So put it in your hand. Then you're going to open your fingers and just drop it. I'm catching a cramp already. Why is it so hard to do? There. You're good. Now flip it out. I'm good with the flick. I'm good with the flick. It's the, like, spacing your fingers. So the, You just let it drip out of the corner of your pinky. Why? I don't know. No one knows. Because she never goes like this. No. I do it like this. I open my fingers. I did open my fingers. All right. So, let's talk about this a little bit. Don't make no sense. All right. So when you do white, you are going to use more paint on the surface than if I were to spray black spray paint. Because black spray paint gives more of an actual gratification. White tends to get really lacy and it takes longer for that paint and that alcohol to react. I love what it looks like when you do the white. It just takes a lot longer for it to get to the point where you're like, okay, yeah, I like that. You want to do a little black down here? I'm going to show them what the black looks like. Okay. All right. So here we're going to show you the black part. Now on black, especially if I'm wanting it to be very soft, maybe just an accent, I'm not going to go near got the alcohol? I'm not going to, oh, you're going to do purple? I'm not going to go near as opaque. That's about it. There a reason why you don't want to go as opaque? I don't want to. Sure. Well, I was going to say on this piece it. Well, it doesn't matter. There you go. There you go. See, it goes too far. Color. Now if you come over with clear, you're going to kind of dilute that purple. There you go. Now flip your fingers. Now with this guys, you have to be super careful not to get too much alcohol. Because if you get too much alcohol, it's going to look really cool for a little bit. And then it is going to all run off and look very blurry. Could I too much alcohol it? A little bit. But that's all right. Yeah, but it's going to take a while. All of this has to take a while. And I'm going to do a little half a squirt. Well, I was going to just saw in these little areas right here. I want to kind of get just helping it dissipate without moving too much. Because when alcohol is warmer, it evaporates. Yeah. It never looks like this. It never looks like yours. It will never. If my Italian drip is broken, my Italian drip is like CC's pizza instead of like this. Okay. So I'm going to show you our trick here. Did you see how this big drip that I had? How it really looks cool now? So don't freak out if you drop something. Because you can make it look very realistic. All right. So I'm going to come back up. I'm going to make it look I'm going to come back in here a little bit more opaque. Well, we still got we still have a little bit of yeah. We don't want to put alcohol spray paint over the alcohol. Because it it won't fracture the same. Are we still on? Yeah. Okay. All right. So I'm going to go a little more opaque and I'm going to show you guys a trick. So let's say that you are spraying this and you went way too opaque and way too dark. Extra hard to see. And you just don't like it and you spray it and it closes back up because there's so much paint on there. See how these little spots are closing back up. Okay. Sorry. Sorry. I don't know what happened. All right. So what happened here is we sprayed the surface and let's say that you don't like it. It's way too opaque. You put the alcohol in all because there's so much paint on the surface all my little fractures and all my little cells closed up again. So what you can do is come in with the paper towel, a shop towel and tap that and remove that paint. But when you remove it, every time you tap it you need to change your paper towel so that you're not just making mud. You're actually pulling off the material. But you can't do this too much because if you do, you're actually pulling off too much of the epoxy and you won't get much of a reaction. I was thinking you were changing direction of your rag so that it alters the design. That too. But would not have occurred to me that it will just make it mud because you're transferring blood to everywhere. There. All right. Pulled off some of that. We're going to hit it again with the alcohol and it's going to refracture. Now it does give a little bit different look. But it looks kind of cool. I've actually done a whole finish where I purposely came over the top with a lot of paint and when I pulled it off I wanted that harder fracture look. So that's that's just kind of a fun fact. You can even come back over here with the purple. Get yourself a little bit of purple look in there. Yeah. So see look your stuff came out good for the record that was your stuff. You came back in and fixed it. Remember. So this is what I was talking about about how your white is going to make webbing a little more that it's going to make fracturing as if you were using black. But I really like that. It's a great accent for a piece. I really like that. That's awesome. In countertop world what is the difference in webbing and fracturing? So fracturing is going to be a tighter more uniformed look. Okay. Look at this right here. That one. Okay. So if y'all can see this this is more of a fracture. It looks like a gratification that you'd see in granite. It's little tight cells. Okay. Yeah. That's more of a granite type of a gratification. Also this piece over here same thing. This one? Yeah. So it's a little more it just looks more like granite. Yeah. It's bagged on the bottom. This looks more like webbing. You've got thicker lines. Bigger areas and that's what white does as opposed to the black. This is also done. Okay. So let me explain to you guys about granification. I have to have this refresher every time I acknowledge it. Do you want to see what it says? All right. I guess you can't. I can't. So we just got to wrap it. All right. So we're fixing to end it up. So this is another fracturing. Do you see these little tiny, when I spray paint in my black I did it very light. I did not use a lot of opaqueness. They're wondering why it was buffering. Sorry you guys. I got a phone call. We're filming on my cell phone. I got a phone call. Sorry. Sorry about that. So this is done. It's just fogged lighter. There's not as much paint on the surface. And when you do your Italian drip it's bigger drops. The hard part for me. Got it. I'm going to check. All right guys. Well, I hope that was okay. It was like a last minute live. That was awesome. I hope you guys 57 minutes in it. Yeah. Thank you for letting me hijack your channel. I love it. If you guys are into finishes this is definitely something I'm going to pull in for my geode work because it's a rock. Why wouldn't you use a rock expert to do it? So I always use what I learned down here. Even though I've seen the class 20 times I always learn something new. And I'm the same way when I come up there. So she got me turned on to alcohol inks y'all. Holy cow. Yes. I think I'm in love. So yeah. We play. We work well together. So thank you for letting me be a part of your Sunday today. And you can look up rk3designs.com and check out products I have work that we do. Also I have a YouTube channel rk3designs. rk3designs on YouTube. Sorry. Long day. Long weekend. I should say. Yeah. Anyway. So if you need anything let me know. See ya. All right. I'm going to give them a fly over. All right. So now this is not a whole finish guys. We did a lot of playing. It's a full sample of four things. It's a smorgasbord. It's a buffet of samples. That's right. So you guys make sure you subscribe to Rhonda's channel rk3designs. Check her out also on Facebook. She has rk3designs and if you attend one of her classes which I super recommend you can join her insiders group for even more awesome insight. Yeah. I think we're going to try to put together a hybrid art and countertop class. Yeah. So the 2022 schedule is not out quite yet. We started a new website so it's a new platform and we're still tweaking some stuff. So bear with this. I will have my schedule for next year posted here pretty quick and she will be on it as well. It's true. All right. You guys are watching be kind to one another. You never know what something's going through and we'll see you guys next time.