 I'm hoping that you can hear me now. If I just put my headphone in, y'all let me know. Can you guys hear me? Let's Stephanie, can you hear me? I just wanna be sure. Cool, cool, cool. So it's a really chilly, cruddy day weather-wise here in Dallas. And I just got these pretty awesome, I'm gonna call them alcohol-length cradles, but in reality they are, I'm setting up Bowie, they are melamine boards, melamine, melamine, mm-mm. Y'all know it, words are hard. Hello everyone. So this is actually a melamine board and it's not actually cradle, but it is routed to be hung in any kind of direction. And my regular cradle board builder set me up with these. Hey guys, Stephanie George, welcome Renee Nancy Petra. So sorry about that. Someone didn't know that today is early life feed day. My bad. I think that is actually PayPal. It's Whomper, I think that's PayPal trying to get in touch with me. Pretty sure I told them, 330. But anyways, so let me start from now I'm all flustered because I got a phone call in the middle of my life feed. Anyways, so I'm artist till death. Jeff is out getting spray paint as he's doing a few pieces. Bowie, my co-pilot and assistant is in his director's chair where artist till death we go live every day. Usually at six p.m. central except for on Tuesdays it is two p.m. central, which is right now. And it's always art, it's usually resin. Today it's alcohol ink and I'm gonna do a large wispy style piece in theory. I'm not the best with alcohol inks. So we're gonna find out together if I can figure out how to do this. I'm just opening up my inks here on the side. I'll tell you guys each color as I go. I am gonna be using 91% alcohol. And I might use a blending solution. I typically don't, but who knows? Well, I'm using, well, I've pulled out a bunch of different blues, aquas, and other colors along that spectrum. I don't wanna stand up so everything's falling over. Awesome. We missed you too, Renee. How have you been? Awesome, I hope. Okay, I got all of my does situated. I have my camera situated ish, but we look situated so we're good to go. So I don't know if you guys heard about what I'm using, but it's what I'm gonna refer to here forward as an alcoholic board. So typically I start with putting a whole bunch of inks down, so it just started raining for much. Typically I start with putting a whole bunch of alcohol down and then I'll dot some ink in and manipulate it from there. But on this one, I'm going to do kind of the opposite of that in order to do this wispy technique that I feel like doing today. You have to kind of let the alcohol inks dry in an area and then you work outward. So that's what we're gonna do in theory. So I'm gonna use first a Blick Studio Refill color in steel blue. I'm using this pale steel blue color to kind of figure out how I want this piece to flow. For me, typically my, how should I say this? My application typically goes from left to right and bottom to top. So if I'm working this way, then I'll end in upward and I'll begin lower. But I'm not gonna start all the way on the corners because it's going to be wispy out that way. What is this? I don't want it too dark. Why are these light colors? Okay, there we go. This is gonna be a blue palette if you hadn't noticed. So that second one I just put down was Zig Light Blue number 303. This one is gonna be BT-8 from Spectrum Noir. I don't know how well these inks are gonna play on this board, but I feel like it'll be all right. So we're gonna roll with it. Then let's put on some pool from Ranger JK. Gotta snip the tip real quick. I apparently left that open for too long and it is kind of closed up. That's fine. I'm gonna put a little bit more steel in the center and I'm gonna use Ranger Copper for my metallic. I always have a metallic in my pieces. Anytime you use a metallic alcohol ink, you really have to mix it up a lot. Just trust me, it's a thing. Okay, so now we need to dry this, not all the way dry, but to where it's kind of just tacky on the surface. Trying to break all the surface area that's in the center bit or just touching it. And I haven't put any alcohol down yet, so I'm just essentially drying these inks where they are. I typically use an embossing gun to do this, but I don't know where mine is. So I'm using my regular resin heat gun, but on high heat, but low airflow so that the air just stays where I put it. I don't want anything really moving quite yet. I mean, it's not gonna hurt anything if I turn it up. I'll just have to keep my heat gun further back or else it'll start shooting off color. We don't really want that. All we want is to dry these inks where they currently are. I've seen a lot of people do this technique, though with, you know what I mean. But none really on larger surfaces, so that's why I kind of wanted to do this piece. I swear, you'd think that if you reject a phone call once that they would just wait for a minute for a call back. Morning, Terry, Valerie, Lynn. Yes, alcohol inks today. So we're essentially where I want it. And basically that is where, I just dropped my heat gun, but it's fine. Where if I tilt it, it doesn't move, but if you look at it from the side, it's still glossy because it's tacky. It's taco Tuesday. I love tacos. Okay, so here's where things happen. So I'm sorry I'm ritter-hopping this. That will happen a few times. I put my 91% alcohol in this. Hi, Evelyn. What is this? A ketchup bottle, a squirt bottle. It's a bottle. And it has my alcohol in it. I'm also going to use a little fine tip bottle that also has alcohol in it. I actually have one that has a binder and alcohol and the other one just has alcohol in it. I sue you suck at the wisp and alcohol inks. I've tried and failed many times. From what I can tell, the key is to dry your inks where your center dark area is and then drop your alcohol on the edges and let them trail out. It's gonna be harder on a larger surface because reasons. So we're going to, we just put some alcohol down. I'm gonna rock this kind of back and forth just a little bit so we can pick up a lot of color and then I'm blowing out the wisp from the center outward and letting it dry all the way down that way. We should have had some paper towels ready because I don't want to get a whole bunch of pools of ink down here. So I'm gonna try to wipe those off every chance I get because I just want my wisp to go straight down and then stop. All right. Wisp number one. Hope that's in camera. Hi Diana, how are you doing? All right, and then we're gonna do that kind of all the way around and then we'll evaluate how things are from there. Whoop, that one has a blender solution in it. So I guess we're gonna see if we like the look of also having blending solution. I think I kind of wanna have them overlap slightly. They don't want it to look like a flower. I just want it to be like linear folds of color and then tilt it slightly so that everything flows nicely. Yeah, so all that I'm getting on this one is that steel blue and that's a bit too soft. So we're gonna end up doing that one over again. But for now, we're just gonna go all the way around because you never know. It may work out to have a few light ones through the piece. Thank you, George, for reminding people to leave me your thumbs. I'm just gonna bring you guys in closer for a little while because it's kind of far out for a minute. All right, so let's come back around this way because I'm gonna have to do more color that way anyways. Color, I'm gonna let it just soak up some love there for a minute. Trail it down where I want it to go. I don't know why I'm not using this bigger one. Okay, I'm just gonna rock it back into the piece just a little bit, pick up some more color. It's okay if it goes outside of our whisk right now because we're going to still need to do that side. So these are linear wisps as far as I can tell from my search. And if we want to, we can fade those back in towards the center, but let's just see how the piece looks as a whole before we go that route. It's getting super light down this way and that is perfectly fine because you don't wanna have too much dark in your composition or too much light. You wanna have a good balance so that your eye doesn't get overwhelmed. Kind of bones that I don't have a lot of that copper traveling, but Judy, we will just add more copper necessary that looks like droplets of water. And I am okay with that. Trying to make it so you guys can see everything that I'm doing. Maybe I'll drop a little bit more that copper in right now so that it doesn't have time to sink. Could have been a horrible idea. We'll find out together. I think it's good having it come out a little bit. Okay, so now we're going to stretch this one all the way over there. And if you find that things just aren't waking up enough, manually wake them up. I think I'm definitely gonna try to soften all of these with, as soon as I get some direction going into piece. Once I have a good handle on how I want the piece to flow as a whole, then I'll go back in and add where necessary. I knew someone was gonna get me. That's what she said. As far as I can tell, the key to really elegant soft whisks is to use a lot of alcohol and kind of just run it until it evaporates. Because when you use a heat gun or an embossing gun, you're going to inevitably be making your inks dry in different areas. And that's when you get the little line, little infinity line, which are still fun to have. That's where we're at right now. Come back down to this side. So, this is the edge that I put that blending solution. Me and blending solution have very love-hate relationship. It never really blends like I want it to. I just always end up with kind of bubbles, maybe I could call them. I don't know how to say it. But it just never worked for me. So, I usually don't use a blending solution. I think it's got some kind of oil in it and it just never really does what I want it to do. Things never send a blend for me with a blending solution. I'm pretty sure that's operator error though. Awesome Joe, thanks Denise. Okay, so now we're gonna complete the loop around this way. And so, I'm gonna continue to run the alcohol out that way towards the outside edge. And I'm gonna put a couple more drops of the steel blue in because I have a lot of it being represented on the other side. Trying to tilt this so that it goes in the direction that I want it to go in, which is a very uncomfortable angle. When you have a board that's big, that is okay. But I think it's gonna look gorgeous in the end. But all that alcohol flow a little too far. We got these edges, but that's okay because it's okay. Which I could just soak up some of the alcohol that comes down to these ends and put it back in the bottle. That steel blue is not a bad looking gray if I do say so myself. So we're just gonna rotate this around. The side that I was just working on is getting a little bit warm and this side is cooled down. You don't wanna work on a hot surface because it's gonna make your alcohol links evaporate way fast. So I'm just, every time I'm trailing the alcohol where I want this line of color to go. I'm gonna wake up these colors right here and drop a little bit more of the Spectre Noir into it. I'm glad I'm not the only one that has issues with blending solution because it just never, never ever did what I needed it to do or wanted it to do or thought it should be doing. So I kind of fired it. So I'm trying to pick up these inks on the ends as they, as they, as each color comes down to the edge of the board. I'm trying to pick up the overflow so it doesn't reactivate the other inks that I have down at the end. When you're working on a UFO or something like that, you can just cut the ends off. But when it's a board, that task is a little bit more difficult. At loss in what I was doing and wasn't tilting my board properly. So I got this extra little trail of colorant. But that's okay. We'll still make it work. A lot of people use indirect airflow or indirect heat to move their inks around. That is an awesome policy. I just always forget that that's an option. So my inks tend to just go wherever they want to and then I clean it up later. I'm just gonna start here in the middle because it's getting tired of working on the corners. You guys ever have that issue where, yeah, all right, well, that's cool. We're gonna have a little bit of that color. But we will work that out in a minute. You have that issue where you're working on something and you get really bored with the area that you're working on. It could be a spreadsheet or for me it's inventory. So I ended up jumping around. I did that in school a lot. I know I can't be the only one. In fact, I refuse to believe I'm the only one. Thank you, Melissa. Thank you, George. So essentially what I'm doing is just applying alcohol inks and drying them. So I guess I need to go ahead and clean that up. Maybe I'll just try to do this whole corner at one time. We'll see how that goes. Kind of like with resin, there's no real, there's nothing really you can do with alcohol inks that you can't fix if something doesn't go how you want it to. So there's never really a reason to stress out with alcohol inks or get frustrated because it's not doing what you thought you wanted it to do. Sometimes alcohol inks have a better idea than your original idea. Also if all else fails, you can just throw a whole bunch of alcohol at it and let it self fade. And I've never had one of those not turn out really mean. Well, thank you, Mary Beth. I'm so honored that I could have helped teach you anything. So I'm just dabbing up these corners that I don't have too much alcohol pooling down here. Nice, nice. All right, let's check it out as a whole. Question, please. Can you put thinned gesso in an airbrush? Why would you want to? I'd have to ask Jeff, but to my knowledge, it's a little bit too thick. If you want an aerosol gesso, then just use a spray gesso. Cleaning gesso out of an airbrush would probably take quite a few minutes. Renee, I hope you do. It's not, I think a lot of times with artwork, the main issue people run into is overthinking. Jeff has that issue. I have that issue from time to time. I think it's a common for artists to do, to overthink, to over-research. And then you get kind of overwhelmed with all the thoughts you have in your head and your ideas kind of get lost or convoluted or just mixed up somehow. And so your piece doesn't have a chance to come out like you want it to. It's kind of doomed before you start because you have so much going on in your head. And so I think if you just stay calm, and it even helps to have a reference in front of you so that you don't kind of trail off from your original idea, the original thing that you wanted to create. Because a lot of times I'll start doing a piece, have an idea and completely deviate from the thing I wanted to originally make or paint. The ADD and you, the thing is in all artists. In fact, I can't remember what the original question was that you asked. I was going to try with, it wasn't even a question and I got lost in the answer. So yeah, just have a reference up of what it is that you're trying to make. But the very least have like a reference of the colors that you're gonna use. And then do your darnedest to stick to the plan. Like I thought when I was doing this that I was gonna do aquas and browns. And then I ended up doing majority blues. And I almost ended up putting a blush into the piece. I don't know why, but almost happened. You have a plan and then the project has a plan and then you never know who's gonna win. I've been there, I think I lived there. I live in that battle between the piece and the artist. Because you know what, resin's gonna resin and I'm learning today that alcohol inks are gonna alcohol ink. Like for me, these inks wipe right off this melanin board really easily. Thank you George for reminding people to lend me your thumbs. Let's just try to do this whole corner in theory. It's always a great idea in theory, isn't it? Yeah, I will be flood coding this one. That will be a resin video that may be what I do tomorrow. That is not flowing all the way down like you need it to. Typically this is how wisps go. You drench your center with alcohol and let everything fade and wash to the outside edge. And that's what gives you your softer lines. And then you dry them as you're tilting your board or your paper and the way down. Actually, I'm really digging how that one works. So I might just go back through our little sections or quadrants, if you will. And lighten them up. It doesn't take long at all. Because this, while I like it, it's a little bit erratic because there's so much going on. Or I can whisper back inwards. I guess I could give you guys a choice. So let me fill up my little squirty bottle with alcohol. Now, you guys know what these soft wisps look like. I'm gonna reverse a wisp back into this bit so you guys can see what that option looks like. Evelyn, definitely feel you. Okay, so what we're gonna do here is put some alcohol on this outside edge. We're going to soft fade all this alcohol back inwards. While you're fading everything back inwards, keep an eye on where your front line is so that you don't go past your original center. That gunnet, this is the side that I had that blending solution. So everything's beating up on me here. So that's okay. It will still soften. Trying not to go too crazy with, this is not gonna work with this blending solution, I don't think. We have to just demo this on another side. Listen, if I wanna call it wisps, because it's plural, then I'm gonna do that, okay? Okay, also words are hard. So, damp, stop judging me. While I'm struggling with this blending solution, I don't even know why I brought it over here. So here's what we're gonna do. Here's what we're gonna do. This area obviously doesn't have blending solutions, so I'm gonna fade this part in. Gotta watch where your end is. Now, if you're working on a very porous surface, this technique is not gonna work for you. It's just gonna dry, dry up, and soak into your substrate. So make sure you're working on something that allows for this much manipulation. I don't even think I like how this is looking. So we're just gonna do the whole thing as a soft fade. Cool, cool. Thank you, Carrie. So here's what we're gonna do. Since I already have all of this right here, I actually can't do that, because, well, yeah, that's a little bit warm, but it'll be fine. Gonna do this just like we did that other corner. Just have a lot of alcohol running that way. You gotta make sure you put alcohol on every inch of what you want your color on. Otherwise, it could break or split. And you'll end up with, y'all, how many times have you rejected a call to have the person call back again and again and again and again? Hopefully not many times, because it's not fun. So instead of doing what I was doing by putting the board down and soaking up everything that's collecting down at the end, I'm just gonna push it all the way off. Because I can't let the side down, because then all of the ink that's collecting down this side will start to pull back towards the center. And we don't want that. Oh my goodness. Can you guys hear it every time I drop that thing? Thanks, you guys. All right, so now this bit, well, can't tell with the shadow. So now this bit matches that bit, and we're gonna make everything in the center and on this other side match up with it as well. So I'm gonna put you guys right here. And we're gonna do this. Trying my very best to keep it at the angle that I have it consistently so that things aren't rocking back and forth too much, because every time it does, it's gonna create a line. Unless you want the lines, love the lines, just not what I'm going for in this particular piece. So I'm going for as continual and as soft as possible. However, I just created a line. That's okay. Gonna soak some of that up. You digging it. I like the softer look way better. What do you guys think? I think that's gonna be way soft in comparison. So I'm gonna let this alcohol come back towards the center. I'm gonna add some drops of color or else it would look very much like how it does right here. That's a little bit too faint for me. If you guys like it and it's your piece, go with it. Go with what feels good to your eyes, you know? The key for these is to dry your inks all the way down the piece. Also have a teammate with you if you can to dab up this collection that inevitably happens. We'll just have to recommend whoever ends up buying this to put in a picture frame. Or I'm sure I can figure something out when I add the resin so that it's not quite as evident. In fact, I'll probably make this a multi-layer piece with some resin. Okay, now we gotta do this bit and then the other side and then we'll be done with this piece. All right, here's what I'm gonna do for this. Let me see if this will work. I'm just going to set up a rag right here to collect my runoff. Hopefully that'll work. We'll add some Posca pen design elements. It's been like it worked okay. Also, when working with resin, I always recommend working towards, but in this design, I recommend working away from you so you're not pulling alcohol fumes into your face. Safety first. What side did we just do? We just did this one. So I'm going to come back to this side over here because the other side of my board is really warm right now. This spectrum noir color is very rich. So it doesn't take much. Just a heads up to myself, from myself. All right, yeah, it's a little bit too structured. Those two dots that I put in, I'm gonna bring the ink and all the alcohol back. I'm gonna add a bit of copper and a retilt. It's almost too many hard lines. It'll probably be okay. Thank you, George Ray, for that shout out. Spectrum noir is one of the lines of inks that I'm using. Working in big sections, it makes it more difficult to control the direction that your inks are flowing. So just keep that in mind when you're doing something like this. You have to try to have everything flowing in a cohesive direction. That's kind of difficult when you're working over a large section of real estate. Definitely like this super tilt version of this piece better than just working the inks outward with forced air. But what do you guys think? Let's come over to this side for a minute because we have the other side getting kind of warm and I need some more alcohol. Not sippy-sippy, but a 91% kind. So I'm gonna bring this rag that we're using to collect back over this way. Yeah, best way to get soft, wispy, not bitty lines is to just drench with alcohol. But alcohol's not rare here anymore. That was not fun. So digging how this piece is coming out. You just have to make these area in the middle make sense with the rest of it, which now that we've got a concept that is working should be too difficult. I say that, but we all know. As soon as you think you've got it figured out, sometimes your resume's like, mm-mm-mm, not so fast. I had an idea of my own. And then things get crazy. Okay, I think we have like two more wispies to do. Does anybody have any questions? I'm glad this is starting to make more sense. Sometimes it just takes someone doing a technique over and over to really make it make sense. At least in my opinion for my studies, that one got kind of busy on me right here. I may redo it. May just redo that one. But we're not gonna redo it right now because it's a bit warm. We're gonna do this bit first. You can try not to let your heat gun decide the directional flow of your ink. Use a tilt to do that. It will create less lines like these because where you put the heat in the air is what's gonna dry your ink the fastest. Okay, it needs something, but I don't know what. I'm just gonna put some more of the steel blue. No, awesome, all right, well. Got some flecks of color down there. Thank you guys for coming in and seeing what I'm up to today. I hope you guys are having an awesome Tuesday. I feel like that bit is just not trying to work with me here. It may be something I fixed later because I think it's important to know when to not overdo it in an area. Sorry, I was just cleaning the camera off. So that's what the center looks like. It's busier in some parts than others. Well, we're always glad to have you here, Lynn. So I'm thinking I'm going to do more to this, but I'm not sure what that is. I know I'm gonna do some, I'm gonna do some something. Looks like I'm forced to do some splatters because they decided that they wanted to be a part of this, which is kind of okay because it's kind of my style anyways. Remember, if you don't like anything that I'm doing, then just don't put it on yours, you know? I like those directional splats. You guys think about those. Okay, now I'm even more feeling it. Ooh, just call me Picasso. Definitely don't want too much, but I also want it to be artistically balanced. I can do splatters like that with the metallics. I don't even know. I really like directional splatters that have this kind of movement. So it's not just dots kind of like that, even though that one still has movement, but that jetted look, very into that. I can, I'm good with wrinkled up sheets. Dexter splatter like that. I like the contrast of the well, and I wish it read on camera the way it does in person. It's got a lot more, I feel like it has a lot more character in person than it was showing on camera, but I'll have Jeff do, I'll have him do a true color video for me with his camera and cause the camera always looks good. Just doing a few copper flex to make it make sense. Not a lot. I don't want it to be a piece only of splatters. That being said, I could go on, I wonder if I could do an entire piece of just splatters, but like make it look like something. Maybe I'll have Jeff draw something, and then I'll color it in just by doing this. We'll see. Well, I hope you had a great day at work so far. Digging it, digging it so much more. Sometimes it just takes adding a little pop of something else to get things going more the way you had envisioned. I don't feel like I'm done with the piece, but I don't think I'm far from it either. This is one of the points in my artistic process personally, where I don't want to keep going too far and kind of destroy the piece with, you know, you should have quit at X point, but I know it needs something else. And if you need any help with your countertop, you know my number. Thank you, Zamp. Hello, Maria in Australia. So for this piece I used, the gray looking color was steel blue from Blick Studio marker refills. It's number 089. I also used a little bit of cobalt blue from Zigg. The spectrum noir, this darker teal color is BT8. I also used some light blue from Zigg. I used none of this one or that one. I think I used a couple drops of Mermaid by Ranger. And I used some, I have no idea what color this actually is because the name's coming off, but the number is 015. I wanted to say that fluorescent blue, but I don't think it glows, but that's the name of the color. And then I used Ranger copper and then 91% isopropyl alcohol. So I'm gonna set this up right. And get a little better gander. I think if I had to do it over again right now, I would make the center blob of color that I initially started out with larger to fill the space better. I may do paint pen lines. Ooh, I love England. I wanna go there one day. So I may add some paint pen lines. I may not. I am thinking that in my flood coat, I'm gonna add white wisps and probably some floating copper, but I'm not sure. I'm not sure. We'll see. Anytime, Debbie. Looks like a dragonfly. I've done a dragonfly before in alcohol. I think it's a lot of fun. Hello, Dolores. So yeah, I'm thinking that that'll probably be tomorrow's video is the second half of this one. If I decide later on to go in and start drawing some Posca lines, I'll either record it or I'll do a secondary live, but I have to moderate for a round at RK3 for a live feed tonight. So we'll carry, we go live every Tuesday at 2 p.m. central, which for me was an hour and a half ago. So set your clocks, ring the little bell for sometimes YouTube notifying you of when we go live or post a video. Just love that deep red color. That's a hair, but I'm not gonna move it because then I'll have a white S there. So I'm gonna say that whoever buys this piece plus some of my DNA, you're welcome. Don't frame me for anything. If I had to tear it apart and pick all the things I don't like about it, I would make this center area larger and this area needs more blue, but it kind of balances right here a little bit. But if I were to have this part balance with this part, I bring this blue up more. But it is what it is. And I'm not done with it. I'm loving how it's looking. I think this melamine alcohol ink board did awesome. If you guys want me to sell these on the website, let me know in the comments. Should be an email or a text or a website message. That's what she said Evelyn. Also, I'm sorry, I hope your feline isn't too upset with me. Also, Jeff's been working on some art. I'm gonna show you guys that's a background of the gloves. Sorry, for something, I have no idea. He started this one, he prepped this one and there's two more that he prepped. I don't know what, I don't know. I don't know what, but oh, here's the reference. I don't know how he does it, y'all, but he's awesome. Now when he did this piece, I don't even know where she is. You guys recognize her? People watch Squid games, would. But I don't know where she is, no idea. Anyways, do you guys have any questions before I dismiss you guys for the day? I'm trying to quietly take these gloves off. I tried and apparently he's using that girl as a reference. Oh, she's in the hall, let's go check her out. Now I'm paying attention to my messy house. Oh, here's how our dragon turned out. P.S. I'm now back-ordered on these, but I'll have more in really soon. Look at that, no pink. Yep, tonight I will be live with Rhonda at RK3 on her YouTube channel. Also, I got in three cases of just resin I'll be putting away. Oh, there she is. I like that one blue. The one that's over in the studio area? Or this one? This one is a little to Tabitha. It has that amazing oak lawn rainbow glitter, like all the sorcery. Also, Sue Ashworth has purchased this one. Debbie, is she purchased for sale? Is she purchased for sale? Is she available for sale? Or one of the other ones? Did you guys see the video of this one? That shows the glow. Carrie, if you have any questions, don't hesitate to reach out to me. I'm happy, happy to help. So, yes, she's available. This is where Bowie hangs out in Baby Moodle's spot. Hi, bubbo. Right there. What are you doing? Did I wake you up? Oh, I know it. We had this made so he could see out. Hi, Bee. Everyone says hello. I suppose he'll be selling prints of this piece as well. Nice bright pink colors. Everyone says hi, Jeff. And George Ray says you're super talented. All right, you guys. I got inventory to do. I'll be on the lookout for a sale code for the shipment we just got in. Can you do a second layer of AI on top of a flood-coded AI piece? You sure can. Just make sure your resin is cured for a little bit of time so that it doesn't get tacky when you put heat on it when you're trying to manipulate your inks. Here you walker, it's my pleasure. We love to help. You guys ever seen Fat Girl Cat? FGC, her government name is Wednesday. But she got real round, like the day after she got fixed. Boycat is lean and mean. Thank you. It's time to have them redone. All right, Debbie, you just shoot me a message and I'll ask Jeff. And so yeah, thank you guys for watching. If you like the video, please subscribe. If you don't like it, then share it with people who you don't like. And because you're pretty. And so yeah, you all are amazing. Be kind to one another. You never know what someone's going through. Aw, Bo, you said it. So you don't have to, and we'll see you guys tomorrow 6 p.m. Bye. I said bye. Aw, baby Bo Bo. Shoot me a message, George. I'll post, if he completes any of the paintings, I will post them. Bye.