 Welcome to Monet Cafe. I'm artist Susan Jenkins and I'm calling this lesson Finding Hope. That's what I named this painting and I'm going to be giving you a tutorial with lots of information and this is just kind of a crazy time in our world right now and I happen to see these beautiful little daisy wildflowers growing when my husband and I were outside and I just admired how awesome it is that nature is so unaffected by everything that's going on in our world right now and the fact that we can still get outside and appreciate that is such a beautiful thing. So join me in this lesson where I will be giving a tutorial on creating this painting again with lots of instruction. For my pastels I'll be using an assortment and also another new set that I have. That's a dark pastel. I think it's the Terry Ludwig dark. That one there is the I think it's the 305 new pastel. Any dark will do. You just need a couple of darks. I had a purple and kind of a bluish dark. Those other three pink ones are going to be my underpainting with new pastels. Now these are my sky colors and I had also some teal colors like for cooler areas in the landscape or grasses that are far away. Those are more of my vibrant greens. I have an assortment of purples and some blues and some other greens. So this is just a sample idea. Oh that I'm moving over to the dark. That's actually a really good dark green to use as well. So if you have anything similar to this I'll talk this through as I'm doing it. That would work for this painting along with maybe some more lighter colors for the flowers. Now I'm going to be using I noticed some of these same greens were in that set that I have which is the Diane Townsend. Oh it's something greens. It's her green set and I love these pastels. I'd only tried one of them since I got them at Christmas time. I'm also going to be using this set called the Mood for Matisse and I use these for the flowers that you'll see. But you can use your pastels. You don't have to have these and just kind of emulate the colors that I'm using here. And here's a still shot of those Diane Townsend pastels. Again I really loved these. I do show the actual numbers of each pastel as I'm painting. Now for my surface I'm using a 9 by 12 piece of UART sanded paper. There's the grit on the back. It's 400 grit. It's really a great grit to work on. That's my favorite actually. Now I've got this taped to my board. I've got my pastels here. I'm actually at my table for a sitting easel. There's been so much going on in our world. We've been so busy. I just kind of wanted to sit down and paint today. So this is my basic setup. Now my UART paper did warp a little bit or was warped a little bit. So I'll talk about that issue too and ways to rectify that. All right let's get started with this. Here I'm just sketching in a general composition. I really liked how those trees, I think they're like cedar trees. I don't think I've even ever painted cedar trees. I liked how large they were and how they were kind of swooping around, almost curving to the right. So I wanted to keep that gestural quality. And also too this reference image will be available. If you're one of my patrons on my Patreon page I always have the attachment to the photo, if it's my own photo, which this one is, so that you can use it. But you can see it here of course. And I've decided, well I sketch, I'll talk a little bit, I've decided that while we're going through this whole worldwide global thing with the coronavirus I sometimes don't give as much content on my Monet cafe channel and I give more content on my Patreon page. But I decided because so many people are at home and need art as therapy, I'm going to be providing everything for free on this Monet cafe channel. I know my patrons won't mind because of what's going on. They're everyone's so sweet anyway. But still it it does help. I know times are kind of rough with people not having work right now, but your Patreon support is truly helpful to me right now. And so for those of you who are still supporting me or might choose to support me for five dollars a month, it is huge for me right now. So I really appreciate that. So I'm using the new pastel in you pastel. They're made by Prismacolor. You can get them in various sets of 12, 36, 48, or the whole kit and caboodle, which I think is like 96. But those are really great. The harder pastels, now this is, I'm doing what's called a warm underpaint. Right now I'm experiencing a little bit of that UART paper that curls up on the edges. If you live in a humid climate, UART paper can curl. I do have a fix for that. I'll be talking about that in a minute that works. But right now I'm using, I had forgotten to draw the flowers in. I'm using this new pastel to get a general idea of where these flowers are. It's not a, I'm not going to stay so strict to the locations of the flowers. It's just a general idea. I wanted them kind of curving around, sweeping around a little bit, going kind of up to the left and over to the right. I'm making an idea of that trail. I loved this photo how it looked like there was almost a a path of sorts. It actually seemed a bit like a trail that people had walked on enough to make it the grass stomped down a little bit more than the flowers and things that were growing up on the bank on the left side. And the little trail kind of lead curved around into where you see that break in the trees. And I don't know, I was just really drawn to that composition. But what I'm doing here is I'm doing what's called a warm underpainting. I'm using three different colors of new pastels. You noticed I have kind of the darker burgundy. I did it first. Always, typically, I would say almost always, your foreground's going to be darker in value. And plus things that grow out of grasses, you have to have some depth to them. I know I sound like a broken record if you've watched many of my videos, but I always say these things just in case someone's new to this. You want to get like a quick value study in and using a warm complimentary underpainting is a great way to do that because you have this beautiful color to lay your greens down on. So I'll talk a little bit more about what complimentary colors are in a minute. But again, so I'm using this darker of the three that I chose. If you look at the beginning of the video, you can see the three different warm colored new pastels I'm using. But I'm using the darker one to get the foreground grasses. You notice on the left bank of the flowers kind of underneath. I'm using it to get the value of the trees in. Typically anything standing vertically in a sunny on a sunny day is going to be darker in value because the sun shining on top and the sides are going to be more in shadow. So almost always trees are a darker value, especially if they're close to you. If they're further away, they get lighter in value. So all I'm doing, it might look a little scratchy and crazy, is I'm just getting my tones down and my values down. So I'm getting, you know, a basic idea of my values. And I know too in the photo, the things do get lighter in value the further away they get. But there was some grasses growing behind the bank of flowers kind of up to the middle left. It was a little darker back there. I think a lot of weeds and things were growing. Now, here's what I was going to talk about. You are paper, me in Florida, it curls up. There's literally no way that I've learned to keep it from doing that. Even if you keep it in its package, I've had it where it curls forward like a U and I flatten it out in many different ways. I have a video on how to do that. I'll share that in a second. But those edges that I'm taping down now, no matter how tight I tape my paper down, I still seem to have that that curl on the edge that makes my pastel application really hard to get a smooth application. So I'm doing the best I can to doctor it up here. I literally put tape on the backside facing me and then I put tape on the front that kind of holds it down. All right, now, but I do have a video. I think it's called Help My U Art Papers Warped, something like that. I've got two of them, but the most recent one is the one with the best fix. You literally, now I'll explain here, I'm adding the lighter value of pink now. Things in the distance were a little lighter in value and a little bit along that trail, you know, before you get, when you get a little further back it was a lighter value. But again, here, I'll describe this video about fixing the U Art Papers so you don't have to go find it. You literally take the U Art Paper, turn it upside down, put the sanded, oh no, I'm sorry, got it backwards. You take the sanded side, you get a sponge, damp your sponge. I'm going to talk about what I'm doing right here in a minute. Wet your U Art Paper all on the front, not soppy wet. Then flip it over to where the sanded side that's wet is down on the surface. I have this marble counter I do it on. Get a blow dryer and blow dry the backside of the U Art Paper and that will flatten it out. So that's a kind of a quick and easy way to fix it. Now what I'm doing here, I don't want the beginning part of this painting, like I said, it's an underpainting to be so chunky. This is what's going to create the impressionistic moody feel and it also kind of blends the pastels down into that paper a little bit and keeps you getting a little more layering. It kind of brushes off some of the pastel. But I just used this piece of pipe foam insulation. Karen Margulis is the artist that I think, she might have learned it from someone else but she kind of turned the world on to that technique and it works really great. Some things you try to wipe it off or blend it in and it literally just brushes all of the pastel off. Like if you used a brush, like a big paint brush, it would just start brushing the dust off. But for some reason, this pipe foam insulation that you can buy at any hardware store kind of blends it in really nicely. So you can get it any hardware store, you just need a little piece of it. And you can put it in the washer and wash it if it gets real dirty. Okay, you see I've blended that in. I didn't worry too much about getting working around the flowers too much, as long as I kind of know where they are. Now I've got my basic value study and it already looks kind of neat, right? These warm colors are going to play such a nice complement to the greens that I'm putting on top of them. Now I'm using a darker pastel. This is a Terry Ludwig pastel. I believe this is the eggplant color. It's very dark. It's not black, it's purple. Dark, deep, deep. Like an eggplant, you know. So what I'm doing is I'm just kind of getting in my darkest darks. And in the reference photo I see that there's these little shadowy areas for those two trees that are on the right. And I'm going to, I think I also blend these with the pipe foam insulation too, just to get more richness and depth with the darker values. I definitely need some darker values. That's, value is truly king when it comes to painting. Color, the expression is color gets the glory, but value does the work. You can be off with your color choices. You don't want to be too off, but you can get creative with your color choices. But you don't want to get creative with value. You want to get your lights and darks correct in your painting. And I have actually like two or three videos back. A whole video on value. What it is, it's very, very in depth. And I had a, actually I believe it was one of, oh, my patrons voted for that video. I gave them a choice of like four different things and they voted for the video on value. It's that important. Now I'm using some of the darker pastel in some of the the roots are down in the deep dirt, you know, you need something dark to put those things on. And again, I'm, you notice I'm not drawing any blades of grass or anything like that. I'm just getting down my base. This is all kind of preliminary stuff for your painting. And I know when I first started painting in pastel I felt like I had to start almost drawing right away, you know, individual blades and all that kind of stuff. And the more you do this, the more you realize you've just got to get your structure down first. That's probably a good word. So again, I'm using the pipe foam insulation. Even though I put the dark on, when I blend it, see how it just softened it out. I wanted that one tree to be a little darker. It seemed to be the darkest one in the reference photo. But you see how you still get a little bit of that hint of that warmth behind the trees. Now that, that far, the tree to the, if you're counting from the right one, two, three, that one I'm working on right there. It seemed to be the lightest because it was a little further back than the other ones. And now I'm utilizing the fact that I have some dark on my pipe foam insulation. And I'm using it almost like a paintbrush. I'm kind of dragging it into places that was a little darker behind that little hilly area to the upper left there. And so I'm just kind of painting with my pipe foam insulation. So, you know, you just learn all these neat little things that you can do and get creative as you, as you grow artistically. So, again, you can kind of see things taking shape. And the sanded paper, man, I'll tell you what, it was such a blessing to me so many years ago when I found out about sanded paper. I was trying to find a way to learn to paint again. I loved art when I was young, but because I had my children, which come first, of course, before art, and they are so worth it. I of course put, like a lot of you have had to experience in life. You put your own, you know, hobbies and creative things on the back burner, which is great. But there's a time when you like, okay, now I can kind of explore some of the things I want to try to do. And I found pastels were a very user-friendly medium. My kids weren't out of the house by any means, but they were just old enough to where I could sneak in a little bit of time for myself. And so I did not have that many online resources. I mean, there was, I think I talked about this in another video. There was this thing called wetcanvas.com. I learned a lot. But anyway, okay, here's a close-up of that underpainting. So you can see that it has like this soft kind of dreamy quality, but it makes a great base for beginning your painting. And that didn't take all that long, you know? So now it's time to paint. Because I like to cover the whole surface of that UART paper, I need to address the sky. Notice there's still UART paper showing through. I haven't covered up everything. And I realized that third tree there that I'm working on, the third one from the right, it was a little shorter in the reference image. And I kind of like that. I didn't want them all to be the same height. I like the variety of the size difference there. So all I'm doing is kind of negative painting in between the trees here with that medium value, pretty blue pastel. And I'm going to use about three different, if you refer back to the beginning of the video, where you can see the pastels that I chose for the sky, I have about three different colors I use for the sky. I have this medium value blue. I have a little bit of a lighter blue. And then I have kind of a medium value, a little darker than the blue and purple. Now, typically with skies, your darker values are going to be up towards the heavens higher. Your lighter values get down closer to the horizon line. But I usually pick kind of a medium value to get started with. And then I lighten it up as I go. And then I go back up and add the darker ones to the tops of the sky. So now I've got a little bit of that lighter one, I think, yeah. And there was some sunlight peeking through down close to the horizon on that opening in the trees, a little bit there. And I realized too, that's what you don't want to do. I talk about, I have another video that's coming up real soon where I talk a little bit more about sky holes. With sky holes, they're basically the holes that you see in the tree. You see the sky through the the holes or the branches in the tree. And when you do that, it's good to carve your trees out instead of drawing branches. And when you do it, you don't want to choose, I realized that color was too light, just a minute, you don't want to choose a value that is too light. If you put the color of the sky like that medium value blue, if I put that in the sky hole or the lighter value blue, it would look almost like popcorn sitting on top. So you usually go one value darker when you put the sky holes in for like that carving out of the trees. But right now I'm still just kind of playing around with the values here. I wanted that little part, that little triangle I'm working on there, to be the lightest value. That's where I'm kind of drawing the eye to. I felt like that's how the composition was sweeping around to that little opening in the trees. And now I'm working a bit more on establishing the values in the trees, just kind of getting some things more accurate. And so far this whole video you've seen so far has been real-time. I'm just speeding up this little section right here in the trees so it doesn't get monotonous. I realized I needed some values that were a little bit darker so that I could lay down those greens on the trees. And cedar trees, they have an interesting way they grow. Like I said, I don't think I've ever painted cedar trees. But they grow in these little vertical kind of bands or clumps that grow up. So but again, I needed to get a little bit more dark down to be able to layer the other colors. Now a little bit more blending. I didn't want them quite so dark. And now I'm going to be ready to add some color to these trees. I haven't addressed the flowers yet but I will in a minute. I'm kind of working top to bottom here. Now now's when I'm going to start working with these Diane Townsend greens. It's her set of greens. And I like I said, I really love these. I think I want to try doing a majority of a painting with most of these. They don't these two sets that I got don't have a lot of really good darks so you would need some darks. But these greens are just fantastic. It's a combination of cool greens which is what I'm using right now. This is one of the darker cool greens in the set. And it was perfect for that tree that I said was a little further back because color temperature cools off. It gets cooler in the distance. So that tree is going to have more of the cooler greens. The foreground trees I think I add a little bit of this to it but they also get a little bit of the warmer greens because they're a little closer and colors get warmer as they approach the viewer. Alright so a little more painting here. Again sometimes I speed up my videos for the sake of Wi-Fi speed. It takes so long for me to upload videos because I live in the country where it's slow. That's a number 169 Diane Townsend. I'm sorry I didn't hold up the color of the other one. It was really the only one I had used out of that set and I didn't have the wrapper anymore. But I believe this one actually is a little darker than the other one. It's a little deeper and maybe a little warmer than the other one. The other one was kind of a bolder, more of a bolder teal. But anyway again back to the fast forwarding of the videos. A lot of times it's because of my Wi-Fi speed and I know I'm going to have to speed this video up in sections because it's I think it took me it definitely took me over an hour to do this painting. So I'm going to just compress it a little bit by speeding it up and make it load faster. Otherwise I'm telling you it takes hours where I am. We're out in the country because some of you if you've been on my channel along you know my story about our house flooding back in 2017 due to Hurricane Irma. And you know it was a real trial in life but we made the best of it and I love how the Lord works things out for good even when it feels like something tragic. And I know he's going to do that with this situation here even if it's just people with this virus situation. Even if it's just people learning to appreciate family life again staying home learning how to cook. I literally just recorded myself cooking last night and I think I'm going to upload it. I have another personal YouTube channel. I thought you know what oh my goodness poor people who eat out all the time all the restaurants are closed. So I was like uh maybe I'll just record myself making one of my main one a dish that I I like to make a lot. It's kind of like a Asian type of cooking. But anyway so I think some good will even come out of all of this. And you know it's certainly a great time to be able to paint and to get your mind off of things aren't we blessed to be able to have this creative outlet. All right so now I do think I'll speed all this a little bit up until we get to the flowers. Here I'm choosing a little bit of those warmer colors from the Diane Townsend set that I'm adding in the trees that are getting a little bit more sunlight on their tops. Now the sun was coming you always want to consider where is the sun. You can usually tell by the shadows. In this case I could tell the sun was to the upper left kind of shining um up and downwards toward the towards these trees. And um so you can see how I just scumbled in some of the colors that are warmer and the sun is kind of uh highlighting them. And again I'm adding a little bit more darks because I'm going to do another layer over this. And that's the darkest part of this was in those deeper shadowy areas down towards the base of the trees. But uh it looks a little dark right now but I tone that down as I kind of soften things up. So it's kind of like a constant thing wanting to make sure you get your values right. And uh you know I definitely wanted to get the the values of these trees correct before continuing because you're what you have down affects your choices for the rest of the painting. That's why it's really good to get an overall value study in before you start. It'll you know if my darks weren't dark enough I might choose different values in the foreground you know. So I hope that makes sense. All right so I decided to get some a little bit more of that teal color in those background grasses. I decided to keep this kind of impressionistic. It actually ended up less impressionistic than I wanted it. Um but I do two more paintings. I wanted a little bit more of that lighter color that was kind of a minty cooler light green in the back light teal I should say. Now I am establishing some of the flowers again but what was I was about to say is um I decided to do this same painting again uh as an example for a request that someone made I believe on the Monet Café channel. I don't think it was one of my patron. It might have been a patron that was just watching the video on Monet Café. Oh I love this color. Um I apologize if I don't have the numbers close enough for you to see them but you know if you get this is from the set I told you at the beginning mood for Matisse. It's got these gorgeous neutral oh like a a grayish they call it uh like a gray and a beige. Oh my goodness I love it. Now you may be thinking wait a minute I saw the beginning uh photo of the painting. Those are white flowers. Why are you doing that kind of a dull gray? Well white has to have something to contrast and typically you put even with flowers you put the darkest down first and then add the lighter lights. Your your light light would just look kind of flat if you just put it on top without it having something of a darker value to lay it on top of. Um but anyway so I'm still just kind of scumbling along. I'm using a combination. Those are new pastels and you see how I uh how I said if you get the value right you can get creative with color. Now there wasn't pink in that background little opening back there but the pink works okay. I think I end up covering it up with some green but again I'm still establishing values and playing around with color and uh but once again this one I was really loving this kind of loose feel and I always love to go back and look at my videos because I can critique myself and often I wish I had stopped sooner or or not gone so detailed but uh on the next video like I said I got a request uh or a question that said how do you determine what color underpainting to paint and how does it affect the final painting and I was like you know what that's such a great question I may have talked about it before but I thought I'd do a video on just that so I literally take the same reference photo do the same painting I do change some things up I have different color flowers um but I I did two paintings at one time it was really fun oh my goodness that was really a neat exercise two paintings at one time with two different under paintings and just show how the under paintings affect the overall painting and with that one all of that said to get to my point I decided since I'd already done it once I decided I keep it even more loose and impressionistic and dreamy and I was really happy with the results of that now this is another one of the green set or green pastels from the Diane Townsend set and uh again I'm I'm kind of playing with some of the greens this little pathway again was a little bit more in the light uh there was some sunlight shining more on that so that's why I'm getting a little bit more of that green but I'm see how I got a little darker values get darker as you get in the foreground and also some of those grasses were getting a little bit more into the shadowy area along the left so that's why I changed my value choice or my yeah my value choice um now I'm going to go ahead and get the oh wait I said wait for some reason I'm oh I wanted to get a darker color I didn't have any kind of a dark burgundy for the centers of those flowers I noticed the center of these little wildflower daisies were yellow well this little centers work the same as I said the petals you need a darker value to put that yellow on now what I'm trying to do is vary up the positioning of the flowers I have a video on I don't know if it's called the art of randomness or something we have a tendency in our brains to place everything very um patterned and nature doesn't always work that way as matter of fact God has made things in nature work so beautiful it I call it like a spontaneous harmony it has this beautiful harmony but it's not a specific pattern often in nature um so see how I have the flowers all kind of facing different directions and you have that ability as an artist to take out your artistic license and uh and get creative so now I'm getting a little bit of a lighter even a lighter um kind of orangy gold and yellow to put like a little um tip or crown on the tops of those now I'm getting to the petals and wait wait a minute those flowers were white why is she using that lavender well once again I know that some of those petals are in the shadow and again the white needs something to lay upon so I'm using the darkest value choice for the petals before I get working my way up to the light ones now you notice how I'm giving those um flowers uh again that randomness letting some of them look up I like it when they can all generally be reaching a certain way but you've got some of them just kind of turned you know with their own little personality you don't want them all exactly the same give them some individuality all right just added a little bit of that lavender back like some of those were back in the distance a few more flowers kind of cascading back and of course they're going to get a little smaller in the distance and um uh lighter in value this is already kind of a a light value anyway so they work it works well in the distance okay now I'm just continuing to add um these flowers too I the reference photo the the daisies were a little small so I had a little bit more in this painting and had them a little smaller than the the next tutorial that you will see so now you can see I'm adding the lights on top of the um petals let me zoom in here so you can see it better so I'm keeping in mind where the sun is and I know the sun is kind of to the upper left that's why I'm kind of keeping the petals putting the white kind of on the tips and the top not as much on the lower right hand side that's got a little bit of of highlights I'm also keeping in mind some of those flowers at the bottom are going to get a little covered up with grasses so I want them to be a little darker in value I don't give them as much white and again in hindsight um I would have held back on working as long as I did on it but I don't know I just kind of got in the zone and kept painting and probably didn't walk away enough like I always recommend to do but I'm really loving um that warm underpainting with those beautiful pinks underneath and I guess you could say I sort of kept things local in color with regards to the photograph meaning you paint what is in the scene although I'm always a little bit bold and creative with color I kept the flowers white I kept the trees their general color I kept the you know the grasses kind of the same colors and values now this is like turning on the lights that beautiful green that dye in towns and green now that one's a little darker that one there so I'm using that one as I get closer little darker in value um and um as things are in the sunshine because they're going to be warmer that's kind of a nice warm green now I'm going to pick a green I can't remember which one this is notice how that's a darker value than the other green I just chosen because those grasses are a little bit more in the shadow now I'm doing a cooler even darker green staying in that shadowy area that kind of wraps around to the left and utilizing it while I still have it in my hand I knew there was a little bit more of that dark green back there on some of those grasses and trees it was a darker value back in there for sure the light was oh how to get a sip of coffee so uh continuing to work here I think I am going to um I've done so much talking lately just with everything that's going on in the world with family members and kids and everything that I think I'm going to let you guys enjoy this process but don't don't go away because I will have some more commentary towards the end so enjoy this I'll see if I can zoom in on this a little bit more and help you see a little better all right enjoy this oh wait hold on I wanted to say one more thing in a minute you're going to see me use some workable fixative it's basically a spray fixative that probably the one of the most one of the most common questions I get is do you fix your work at the end do you spray something on it to keep the pastels from coming off or smudging and no absolutely not because it darkens your painting but you can use fixative during your painting process to purposely darken areas but also the fixative has a little bit of a a tooth to it a little bit of a grit and it actually gives you a little bit more layering uh capability so in just a second I'm going to use that um okay so I'm not going to pause I'm not going to add music just yet so um here I'm adding some of those greens that really pretty cool green where I know the sun is hitting kind of the tips of those grasses that are growing up um from the bulk of the grasses now there's the fixative I put a paper towel down over my pastels and I moved my iPad now I'm just spraying it you notice how I sprayed it mostly to the lower left wrapped around a little bit to the right because and I purposely got those little splatters if you just barely press the nozzle it creates those little very artistic looking splatters you know how they do in watercolor where they hit their brush and make little splatters that's kind of how that works with the fixative now I know they're white flowers and I know they're kind of cascading in the back like it is in the reference photo so I'm just kind of randomly putting them in there of course they get smaller in the background they're a little bigger in the foreground and just kind of representing it that way um I'm adding a few more of the lavender colors because some of them like down there in the shadows I know they're going to be covered up and uh so I'm wanting to kind of reestablish that a bit okay now that I've talked about the fixative uh oh and by the way I um I usually walk out of the room and let the fixative settle a little bit if you have a studio space that's not very ventilated sometimes I'll even get a a big piece cardboard fan around um I've never had a problem with it but I just want to give that little precursor or warning you know in case you are sensitive to those things okay so I'm adding the whites again to the flowers um and again keeping in mind where the sun is so now I am really gonna turn on some music you guys enjoy uh hang on till the end uh so I can share a little bit more about what's coming up next I'm getting close to the final here I do open that one last bright it looks like a white it's actually a really light colored yellow just to give the final highlights on a few of those little daisy pedals that are sticking up higher out of the grasses and uh I really enjoyed this painting it again artist so therapeutic and I called it finding hope you probably saw me write that down because I think that's what our world needs right now and um you know I share my faith a lot I I have hope no matter what's going on in the world of course I I do hope and pray that things will get better I do truly believe that they will and uh but regardless it's a beautiful thing to have hope in spite of your circumstances we're not dependent upon circumstances to make us happy and uh again we can always break out our pastels and and at least have a little bit of artistic therapy to ease our minds and our soul so I hope you enjoyed this I do have the other video coming soon with the two other paintings of this I actually turned them into poppies with the two different colored backgrounds it's very cool I had fun with it so you guys be blessed I pray everyone is safe and well all over the world we're all sharing in this together and as always happy painting