 Hi there, I'm Sandy Olnok, artist and paper crafter here on YouTube, and today we're going to color some beautiful window light on the puppy and kitty in the buddy's stamp from Impression Obsession. Really cute little stamp set. There's no sentiments or anything to go with it. It's just a red rubber stamp set on cling, and I'm going to color the puppy and the kitty with a certain kind of lighting in mind. I've done a bunch of these on Instagram and stuff, just kind of my playtime when I experiment with lighting stuff, and I thought I'll finally do one here on YouTube and show you kind of how I work through it at least. A lot of it is practice, I mean I've practiced so that when I mentally go through practice on this now, I can almost see it without actually having to see it, if that makes any sense. So the light is going to be coming in from the right hand side, and it's a window shining on the kitty and the puppy. They're sleeping in the sunshine, which is what kitties and puppies do, and makes me jealous. I want to be a kitty or puppy and sleep in the sunshine, all snuggled up and happy. So all of my shadows are going to be on the left side of all the parts of the image, and then the light is actually going to cascade right over top of that ear, and I'm going to have just little parts of the animals sticking out. It's going to show up more on the kitty than it will on the puppy, because the puppy is closer to the light, so it's going to have a little less of that effect. I didn't want to bring too much of the light or the shadow right across too much of the puppy's face, or else it might look really strange. So it's just kind of over that one eye and ear, and you'll see what I mean by that when I get to it. With the kitty, I took an E4-4, so it was kind of a shadowy, kind of a dim, desaturated kind of brown-ish. You could go with a gray here too, and I'm just putting shadows in the places where I know there will be shadows, and picking a few spots that are going to stick up into the sunlight, like the tips of those paws, the top of the head, the top of the back. I'm leaving a little tiny tip of the tail, but then a lot of this is going to drop into shadow, all this stuff on the face, but I want to have a little piece of the nose sit out in the sunlight, and you can take more away later if you need to, but I'm leaving just that little tiny bit of the nose while I'm working on this just to see how far I want to go with it, because I might decide to remove more of that white highlight. I'm going to go around the kitty now with a gray color. When I go with the gray over top of that brown, it almost makes it a warm gray, but gives me the difference in color between the two. So it's kind of helpful sometimes to use both of those rather than just going with a warm gray, which would feel a little bit flat. And then just kind of putting in a little bit of the stripe detail of the cat along the way and then use a number four to start blending some of those things together so we don't get too many hard edges. And then I'm kind of working toward how far I want to go with taking away some of those highlights, because the more of those little white highlights I have, the more special the lighting is going to be as I go. So first I'm going to start off with just a huge coat of the BG15. This is the carpet in the scene and just going to fill the whole thing in. Not worry too much about being perfect with the blending right now, because I've got other layers to go. And now I'm going to start adding the window or actually the anti-window. So this is the shadow part where the window is not cascading across everything. Well, why am I doing it in red? Because red is going to be a great shadow color to create a really dark blue-green because BG18 and BG09 are only so dark. They're not super dark, but if you put a little red underneath of them, they suddenly go really dark and you get nice rich shadows. So I'm going to put a little bit of that as well under the kitty. So this is the shapes from the animals. Try to just generally figure out where those shadows might end up at. And then continue the other side of the shadow where the window is not shining on the other side of the two critters. And now look how nice and dark that BG18 gets on top of the red. Really nice and starts to create that that rich dark color. You may need to go over it a little bit, depending on what red you use. An R24 has enough to make that blue-green darker. If you go too much lighter, you won't have much effect. But if you go much darker than the R24, then it's going to be really hard to pull it back into being a blue-green. So that R24 is a pretty good, pretty good mix with the blue-green color. So I'll continue working through covering up more of those shadow areas with that blue-green color, just kind of knocking that color back. So now hopefully you can start seeing that the light is really coming through that window the way it is. And I need to add the bottom of the window over on that right-hand side. So it's realizing it looks more like a hallway. So let's add that and make it more of a an actual rectangle of window shape. And then I can add a cross beam into the window. So it's going to come down the other end in the same direction. And I'll make the the piece that goes horizontally across the window down here. If you make it across the animals, it might be a little bit weird. But I did add, sorry, I didn't film it, the brown stripe across the dog. So that's kind of where that shadow would continue right across the animals and go up and around them. Now the background here is debating what to do. So I was kind of playing around with maybe making a brown baseboard, you know, like the trim at the base of the carpet, you know, going up the wall and then color on the wall. And I was trying to decide what color for the wall because I really wanted to keep the focus on these two guys and not really stress out too much about putting details in that background. So I didn't want to use the same red underneath of that blue green, but I wanted to use the blue green again because unifying all that color in the background is going to make it all kind of disappear. So I'm just going to go over it with a BG09 instead of the 18 because that'll give me a little difference as well. And then I thought, wait a minute, why am I even having this kind of brownish color out here? So I went over it as well with the BG09 because I want all that to be kind of nonchalant back there. And look how cute it came out. I just mounted it on a white card base and called it done. Put any kind of sentiment on the inside of a card like this. So hopefully that was helpful in how to create some dramatic lighting with a window cascading in on a scene. Supplies are all listed in the description down below as well as over in the blog. And I'll see you guys next time.