 Singin' in the rain. Just singin' in the rain. And we'll be paintin' in the rain, too. I just had to start this off with that because that's what it was running through my head while I was painting this card. It's a new stamp set from Colorado Craft Company with the art of Anita Jerome. Jerome, Jerome, I don't know how she pronounces it. My apologies if I'm screwing that up, but I mixed a very, very thin cobalt background for this because it's a rainy day. It's not gonna have like bright white highlights, but you'll be surprised at how light it ends up looking when it's all finished. But I use a lot of water and a little bit of paint to make a very, very pale wash of color. And then I added a little bit more to it while it's still wet so I could add a little bit of darkness at the bottom because I had this real vision in my head for having a strong color at the bottom and then lighter up at the top. So after it's all dried and flat, I went in with a little bit thicker watercolor and started painting in the bottom section, going around the puddles. But you can also create more puddles in this if you want. There's only some of them that are drawn into the stamp set. And I'm leaving some openings in a variety of places. That's going to help me as I try to create more of a look of puddles and realistic puddles, realistic rain down here at the bottom. And one of the things that's going to happen with rain is you're going to get some solid area right under where the reflection of the bunny rabbit is. There's all kinds of fanciness you can get into with the reflections, but for now we'll just go with the simple idea that you want more solid color there. And the highlights are going to be off to the edges where you're not getting a reflection because you'll be reflecting against the sky, which will be lighter. So I'm mixing a thinner and thinner bit of watercolor by adding more water to it so that I can add lighter and lighter marks in that background because it's kind of going off into the distance. I want the stronger color in the foreground and I'm not making straight lines. I'm just kind of making all different size and shape lines, but kind of horizontal ish and then I'm going to just take this paint and make some splatters all over the place to give it that feel of crazy chaotic rain. You can also do that if you've got too much color on there, you can also do that with water and that'll add some water droplets kind of in the paint and stuff and can create some really interesting effects. So next I took a dark blue. This time this time it is indenthrone blue and I'm going to add some into this paint that's already still damp. I didn't dry any of this down here and as it's drying, you can see I'm getting more of a dry brush look because the paint I'm using is really thick compared to what was down there and I'm also trying to use a quick motion across the surface because that gives me that kind of quick dry brush look where the brush is skipping across the textured surface of the paper and that's what gives it that sort of really rough edge look and I'm slowly trying to build up the color that's in that center section. Remember where I said the bunny rabbit's going to be darker underneath of him and all the light color around the outside. I'm mixing a thicker cobalt blue, so I'm filling in a few more areas, taking out some of those whites and I'm being a little more careful as I move into finer details, finer lines. And I'm trying to make sure that any of my shapes have a point on the left and right side so that they look kind of flat as opposed to looking like they're a chunky brush stroke. So now I've added some pains blue gray to it so I can get a nice really dark color and the reflection really starts to appear from the bunny rabbit. I'm expanding the real estate of that really dark color down in the foreground because that's going to make it feel more like the foreground and pull you into the picture, but doing it with less on the outside edges. So I'm starting to get little dry brush marks out to the left and right and alternating it then a little bit with the cobalt to take away some of the white. I was just trying to squint at it and make sure that it looks the way I wanted it to come out because I I just wanted this really nice heavy dark color at the bottom. Now remember, we painted right through the whole stamp the first time. So there is some light blue color underneath of that yellow, which is OK, you know, you can see the yellow is a little dollar than it would be if you paint it around it, but it is really hard to paint a nice consistent background wash over something and go around a stamped edge that is just really difficult. So it's if you can use a really light color, if your your first wash is going to use that really pale pale tone, then you can paint right over top of it, as long as the colors on top are going to be darker. So it just requires a little thinking ahead and planning to see what kind of colors you're going to use for the rest of the image. So all of the browns from the bunny are going to be right on top. And that's just a mixture and that's just a mixture of yellow ochre and a little bit of burnt umber, but you can mix it a bunch of different ways. And then I'm even using a little bit of that blue mixture that's left over to add some dark shadows because that's going to tie the bunny in with the background a little bit by just adding a little bit of neutralizing to that brown so that it kind of fits in with the rain at the bottom. But the umbrella, I wanted to make that really pop. So I made it, you know, bright yellow, bright pink, even though they're not as bright as they would be if they were on pure white. They're just on this very pale blue, but they're nice bright colors, which kind of has some symbology that the rainbow colors are what's saving the bunny from getting soaking wet. Although his little feet are getting wet, he doesn't have any boots on. So then I decided to add a second layer of each one of these colors and leave just a little lighter space. So I'm not covering the whole thing, just leaving a little bit of lighter color so that it looks like there's little highlight, but it's not necessary. You could just make those flat. If you're coloring something like a background that looks super realistic, you can let everything else go. There's there's a lot that the brain will fill in when looking at it and will make it into something realistic just by the fact that in your brain, it just does that automatically. Now, I've squeezed out some white paint. This is titanium white that I happen to be using here. And I don't keep it in my palette because it gets dirty really quickly. So I squeeze some out just on the the tape on the side of my painting so that I can use just a little bit of it. Now, depending on how much you plan to use, you can squeeze out less than this and throw away less paint, but it's going to dry and be hard. So if I were to leave it in my palette, then it would be hard to scrape out of the palette and everything. So just putting a little dot of it so that I can paint using that is really helpful. But notice that I'm not using it really thin. I'm using it almost like acrylic paint. And that gives me the chance to do some stuff that some strokes that look like dry brush on the surface. So it's giving me a little bit of texture and broken lines so that I end up with something that looks very much like water this way. Now, you can also use a white gel pen and add some of that. But this is going to give you dry brush that gel pen will never give you. So with gel pen, you're going to get actual lines created. And this gives you something that feels like it goes with the rest of the brushstrokes in the painting itself. I also used the white paint to add a few drops in front of the umbrella and tried to space them and make them look like they were about the same size as the little drops that I had sprayed and splattered around the rest of the painting. And if there were any that were on the edge of the umbrella, I tried to continue them so it made it look like it continued from the background on top of the umbrella using the white paint. I used the same white paint, of course, to make a few drops of water across the water and, you know, a couple on the bunny, not a whole lot, but enough to make it look like there's still water splashing around all over the place. And the moment of the great reveal peeling off the tape. Then all it took was trimming it down so I could add it on to a card base using some dimensional adhesive to pop it and stamping the sentiment. No matter the weather, we are friends forever. So hopefully you will go around for the rest of your day singing, maybe a little Jean Kelly singing in the rain and dancing in the rain and painting in the rain. All righty, I'll see you guys again very soon with another video. Links for all the supplies are in the doobly-doo and I'll talk to you again soon. Bye.