Sunset reflected in a glass easy beginner painting tutorial 🍷🌆

Sunset reflected in a glass easy beginner painting tutorial 🍷🌆


Hey everybody! It is Cinnamon Cooney your Art Sherpa, I am so excited to share with you this ‘Glass of Vacation’. This is an inverted reflection in a glass with a view of a sunset. It’s a lot of fun to paint. This particular lesson I’m going to give you a lot of tips and tricks on how to make sure your colors don’t get money. Some glazing advice some blending advice hopefully some things that are going to make you super successful in this particular painting. Get your paint get your brushes come back I mean right now we’re going to paint this glass to start this ‘Glass of Vacation’ project. Let’s take a deep breath let it all go and talk about the materials we’re going to be using today. This is a 9 by 12. Can this board this is just so ready to paint. You don’t need to do another thing to it it’s just ready to go. Right here. I have my acrylic paint for today’s project. I have black I’m using Mars black in specific. I’ve got a couple areas of titanium white. I have had red light kad yellow medium yellow blue dogs and the Purple Queen acronym magenta. I have birds Sienna yellow ochre and in the center here this milky bit is acrylic glazing liquid gloss. Now this product slows the drawing time and it allows me to glaze usually a product that says glazing only does the glazing but it doesn’t slow the drying time down for this it can help to slow down drying time. Let’s put in our horizon line so we know where our sky is and where our ocean is and that’s going to be the first thing that we’re going to identify. So for into 8 inches from the top I’m going to work and I’m going to do this in pencil so you can see it but you should probably do it like a chalk that will vanish into your pain. The sky versus the water. This is also going to help me place in my glass. Later once I have that in I’m going to grab a nice firm. Great. I’m going to get in number eight black pearl. This is synthetic filaments. It’s not going to take in too much water. I’m going to get it wet and dry off any extra water because I don’t want this to be totally sopping. At this point I’m going to get my just had red light loading in on the brush. I get a little glazing just to improve flow. And I’m going to come do about a half inch band of my waterline. Now some tricks when you’re painting this with me have lots of clean water because you’re really going to be rinsing out brushes to switch between the contrasting colors. Like right now we’re doing this red and yellow but we’re going to want to really rinse out this brush you know before we try to switch up to the blue part of the sky the actual part of the sky and that’s the part that can really be challenging for people. So we’re going to talk about that a lot so you guys can have super success in your painting doesn’t get money on you. This is easier than it looks. But there’s a couple of things you’ve got to do a very specific way. Now I’ve got quite a lot of pigment on there so I’m going to wipe it off but not rinse it out and I’m going to come to my yellow and load that up and add a little white. If you’re painting a student paint the yellow can be one of your trickier colors. So you might need a couple coats or to often add white to it. I am coming along the edge here where this is still wet. And I’m adding this yellow band into it. You can see that I’m getting kind of a blend. I’m going to pull this down. This is how I’m going to get this. Where are we losing the yellow they’re going to rinse out. Rinse out come get a little of my head read into my soul and I’m making quite a bright orange. Coming on the edge of my brush and just. Streaking this in. To my paint. Streaking it in to my paints you see I’m getting kind of that warm sunset effect. Now here’s an interesting trick that I’m going to show you because there’s a lot of orange in here when I’m switching to the Aqua. It’s going to want to gray out a fun thing I can do. Is try it. That’s a little weird random but it’s a fun thing I can do. The reason it’s fun is by driving this I can come back with the color but I’ll use two won’t mix together. Gorant great graying out the paint. So that’s going to make you more successful in what you’re trying to do. So to get the next band of color I’m going to make sure my brush is really rinsed out from the Orange and take a little blue a smidge you can see it’s just a dusting on the edge of my brush over to my yellow adding white. A lot of yellow to this and I’m going to come into my White. OK. Get your glazing medium and what you can do right here. Is now very easily go over this band but you’re not going to get the grain that you would get. I get asked a lot how I keep my colors from being money in these areas. And this is a good way to do it especially if you’re in New. If you think the colors are going to blend together and get dark and undesirable great. Your best bet. Let them dry and then do the merge. I’m rinsing out really well. And I’m going to make my turquoise which is a little bit of yellow into my blue. Now this is going to chewier I initially look like a deep aquatic green and you’re only going to see the color when you start adding the white to it going a little ways because I do want this to blend blend these two areas together. Now another thing that can happen to you when you’re now is the colors getting too dark. So the trick to that is if you think your colors are too dark. Wipe the extra off on your brush. Come get white. It will naturally naturally lighten up quite a lot. Look at that. So that’s how you’re going to keep it from getting too dark and that happens to everybody especially when you’re trying to gauge how much pigment you want in a brush or what the color ranges that you’re working on. I’m going to get a little place so I can balance out. I really like this stuff. And for this type of painting it’s an incredibly helpful tool because acrylic paint dries really fast very image blending then here. Neat. You know we’re going to let that have a dry form and it’s. Then we’re going to put in the sun. You can dry that with your hair dryer if you like. Now to put in this really bright sun rain we’re going to come and get a smaller brush. This is in number two. Let me get my rest just a little bit with there. I’m going to actually get white in great here. In the center paint of the orange. I’m going to make a small dime size penny size little circle. It’s a white sun this son is going to be reflected throughout the glass. Which is part of the charm of the painting I think you’ll notice here that you can see some of the orange coming through. And honestly that is completely OK. Now I’m going to get some of my yellow and. My glaze and I’m going to make the heat and radiation kind of coming out around the sun. Going out. I got a little over my white so I have to fix that in a second to worry about little Boo-Boo’s or mistakes and I’m painting they’re not that big of a deal. You’re just pointing that out. If he lost something that you want and you can absolutely go back and put it back in. I’m coming with the strong amount of the yellow right here. You’re still seeing some of the orange underneath. But that’s actually almost. A benefit. And I might here just even take this out for a little stroking as to where the water’s going to be. You can even grab a little of your yellow can help to add some weight come up here. Into the blue area of the sky. Saw a little bit of this streaking into the orange area to create that feeling of oh that incredible summer sunset that you can totally be a witness of on vacation or in South valuate side how I’m feeling about that. If I’m happy I’m going to make sure that the Boo-Boo’s fixed Oreo look at that. That’s all it takes to make that really really stunning sky. Are you excited. Put in the water and Kano’s side to put it in the water like the colors for the water. I’m going to switch. See how much this water is quite green. I must switch to some clean water there’s so much yellow pigment in this water and I’m going to be using so much blue and purple that that would Gray my color slightly. And then who really wants that. So that is a trick them to do right there to make sure it’s not growing. So I have taken my number three black Presbrey you know I’ve checked it for being too Moyses a perfect amount of moisture and I’m going to mix my halo blue into Wilcoxon the purple and this is the first layer of my ocean is going to come down with this color in the water. Might come as carefully as I can along this horizon line. Because this pain is dry. I’m not having an unfortunate mix between these two colors. What’s the trick right there. I’m going to be brushing this water back and forth. Can force in. Even though there’s going to be many many brush strokes of color over this and still going to try to keep these brush strokes as level as they can because it’s going to help me make this feel more like a calm vacation. Oh I know it feels like a good time for a vacation right now. Would love to be at the beach if you’re blessed enough to be at the beach. I hope you’re enjoying all those beautiful skies that you get to have. And if you’re not that’s what we’re doing today is we’re painting the view that we all wish we had. You just see me going back and forth. Something to pay attention to. I’m painting pro paints which have a lot of pigment in them. But there’s still some streaking that I get even right here and you can kind of see that that’s normal. And that is some of why will layer colors in wool pull so many elements together almost to because so some to sort of re wedding and taking off the extra combing and mixing the colors. Now I get a little it gets a little hard coming down here so I’m going to flip over and I want to encourage you that when you’re painting to make sure that you’re keeping your workspace super comfortable. It’s important to be comfortable if you’re painting to recover from something that’s happening from health. You know it’s important to pay attention to your posture but even if you’re just fine you’re just taking up minigun you know. Remember how you’re sitting in your posture. It’s going to affect you. You’re going to be here longer than you might think. Right. Just sitting down. So you want to just pay attention to how you’re feeling and ask yourself the question do I feel OK. Are my shoulders tired. Is my neck hurting. Is everything comfortable. Remember you can rotate your canvas. You’re not forcing yourself to do something it feels either unnatural or not good to you. Just enjoying covering up that canvas back and forth brushing to make sure it’s kind of organically sman but you can see even with the paints I’m using There’s still some personality in that paint and that’s ok. Sime gwain to get some purple. Some of the dogs in purple and a little acronym and do cool thing. I’m not going to interrupt my brush because the blue is actually pretty friendly to the quite accurate on that a minute. Put in a bunch of clinic are down. And I’m going to grab a little of this white there and you can kind of see this beautiful color that makes her really like this color. And even though this is a little damp it’s started to tack over. So it’s going to blend one a little bit but it’s still going to let the paint skip over the top. If this is really wet for you you may want to wait a minute. And then try it. So when they come over the top and I’m going to just dry brush this across and I can force the trick to this is the gentleness of pressure. See if I’m going to make a mess on my hand I want to be just see how the bend of the bristles is barely just touching the tip of them. I want to be like that. I don’t want to be like that if I’m pressing that hard. You can see how that’s doing. I’m not going to get the effect I want. Now I don’t have that many people saying oh my hand the whole time so I’m just dusting this little highlight color here. Hotness and make making all myself. Hopefully that helps seeing the pressure. You know these are things that people don’t just know organically when they’re coming back to painting after a while and just using that edge and my bristles just dusting this and learning so much of my blue show through and my big trick here is to not let the brush strokes get on. Angle really. So I’m trying to avoid doing just with the brush strokes getting in an angle smooth distant water. The other thing I’m not doing is making a stroke stroke stroke see how that makes a para. Now it won’t look quite right. He turns over all blend that out. But these are just things to watch to see that you’re not doing them little tips. Little tricks well insites. I am not getting this what with the glaze because again I’m trying to dry brush and I’m not getting it wet with the water. Because I’m trying to dry brush. And kind of smooth this out here where I had a booboo. What was it intentional Bubu I was demoing something that could happen but still. Going to rinse out this brush really really well. Really really really really well. I’m going to dry it off really well. If you want to make sure that it doesn’t still have pigment in it you can always drag it over a paper towel and make sure that you don’t see any coloration on the paper towel. That’s a good way of knowing your brushes free of all the pigment especially when you’re switching to the yellows and the oranges you want to keep those purples and the oranges sort of away from each other even though they look so amazing together. Is that like the crazy thing it’s like I love these colors together but if they mix up then they turn into color. I’m not necessarily always looking for and it’s kind of super frustrating. But really what it is is about making it here that they’re together when actually you’re keeping them separated by drawing those layers. I’m going to try this. I can do the next letter. My hands are a hot mess. I don’t know if your ears are to listen when you share this with me on social media. Be sure that you share your artist’s hands with me to see how you end up looking at the end of a painting. I know my hands always look really crazy there’s just the main care whole thing is like completely a lost cause for me. I’m going to take my brush and going to rinse it out dry it and then come over and kind of get back into this turquoise space I was in. So a little bit of this Yellow Sea it’s not a lot though is it. Great. And a little bit of the blue and I’m trying to make it this more blue than yellow. And just explain that a little bit if it were more yellow than blue. It would be this color when you hear artists talking about that. This is more blue than yellow that’s more yellow than blue. I don’t know if that will help but maybe it will make sure that my brush is still more blue than yellow and now I’m going to get some white. Here we go. I’m going to get some white and this time instead of being on the flat of my brush. I’m going to go on the edge of my brush skies reflect in water right so there’s the depths of the water and the color of that. But then there’s also the reflections and if there’s ripples that kind of mirror what they see. And so to paint that sort of feeling effect I like to come on a dry brush and then going to just softly softly softly softly start putting in some of the highlights that you might feel are happening up in the sky. I’m coming here and I’m doing this very very dusty Chast so light the pressure so light. The hardest thing on this painting for somebody new probably will be just keeping your pressure late enough and not making patterns rate. And I want to make one too. Very well see that doesn’t feel like water reflection. I want to break you down. I want to imagine the ripples across the surface of this water oh my perfect vacation how I’m feeling the breeze and the breeze smells a little like night Jasmine. You know I’m talking about that incredible sweet smell like Jasmine and it’s on the air and I’m listening to the waves lightly lap at the dock here where you know I’m just looking out and watching the sunset because today I have time to watch the sunset. I feel good. Health is good. I don’t have any worries this moment. I left those behind wherever I’ve taken a vacation from this window. This painting just completely released from having to think about that. Notice how I haven’t gotten any more pain. You know it’s kind of amazing. What you can do right now I’m going to flip this over again. I’m noticing my body posture going a little crazy. I’m going to do this through the whole space. Now down here we’re going to lose some of this to our little wood playing. What I find to get the men to get a little more weight I find to get. The nice water effect it’s better to just paint over it. Then to try to paint around that’s where we’ll start to lose her ankles. Just keeping this level keeping it level and in soft soft dusting haven’t painted out all the purple. These are little ripples. You’re relaxing easy little ripples tips the bristles just top. So fine. Yes. Subsects. Those of you that are friends of Sheldon from Big Bang Theory are seeing soft hitting your head. It’s good. It’s good. So when you have that sort of you know what I’m talking about here that that soft rippling in your water you know rinse insurance rinse out your brush run through your brush. And now we’re going to bring just a reflection from this sun down the water towards our Goc where we’re resting and I’m going to make sure every every every bit of this blue purples out of my brush or I’m going to even change brushes and I’m not going to use my blue water. For this. In fact this is an excellent time to change your water to prevent muddiness. Let me do that. You do that. Well take a deep breath and we’ll meet right back here to do those reflections. So now they’re painting his dry. Let’s put in those reflections. Going to be really fun. I’m going to get smaller brush so that size is better for the types of brush strokes. I’m going to want to do. This is a number six you could get a number for would also work. I’m going to get this a little bit wet drag off the extra water. And interestingly enough I’m going to mix a little of my Kronecker don’t in had orange together then then smidgin my yellow. Creates a really nice rosy piece with a little white be great. And this is the first little run of strokes that I’m going to do. These are going to be I’m going to use just the corner of my brush for back here. Make light strokes again just like I’d been doing all along. I’m going to keep these as levels I can softer brushing my and. Trying not to make repetitive wind patterns. You don’t want to build a ladder you want to create a wandering path of light. Light wanders back and forth. Light wanders back and forth just back as it’s coming up closer here you can make those brush strokes a little more wavy and you can even switch your canvas around if that’s going to help you. You control a line in direction. I like to make sure that I have some of these that go on and off from the edge here. We’re in this out. Turn around again. And now I’m going to do my yellow current together. I enjoy that. A little bit back here. Smaller back there more timid back there older as I come up front with these strokes me a little more cat on the brush. Warm up that stroke. Making it brighter as I come closer. So colors that are distinct can often feel a little more faded out or muted. And then as they get closer. They get brighter and bolder. So that is a nice way to create a sense of distance or placement in a canvas. We’re inside out now here at ads. I’m going to grab a little of my when I are down in a smidge of my own. And the reason I’m getting these two to make my Ornge is because they’re so transparent and I’m going to get my glazing medium in just under the sun going to glaze a little bit of this glow. Memorial and their just a little bit in this glow right at the horizon line. Sort of transparent. See that you can see the canvas underneath just right here. That’s nice. Now my. Would that my glass is going to be on is going to come from about here down at an angle here so I’ve got kids chalk and I’m going to make a little line here a little line here. I’m going to tentatively draw that angle you might need a ruler rulers. Help me I have a little trouble sometimes with straight lines. So I like to use to get an angle I can handle a ruler. To do my drawing. Maria and then. There’s the halfway mark of the painting going to demo a little bit of a shadow that’s the front of our deck want to be a little more prominent Mary so I know where that is and to get my smaller brush. Let me get some of my just black here. You’re right here. I’m going to just paint that shadow that I put in black. The shadow the plank. And here at the edge here. We’re going to follow my chalk line with my black paint. Now I’m going to grab a little of my Okur little black some Brown. In some way. You kind of see how that’s just on the tip of the rush and I’m going to just. Start painting in my FO one right here. I’m letting the street keenness of my paint Okkar stance over MBLAQ edge and my brush are in some brown the edge of my brush and some whites kind of just see how it is on their just a little bit of weathered Beachwood. My first layer. And when I’m really trying to do here is just not blend this right. Initially. We have that base color on a little white and brown and black. And see how it’s kind of like black and white. And I’m going to come here and going to geste creates some wood green texture. Well more black just greeting someone green texture says the aging of the wood like to do kind of a calligraphy stroke where it kind of goes up six back and comes out. Was just it. Going to get some brown here. You Up. Shrilly want to have a defined sense of that this is old weathered space race here. Will Brown go get them and make sure my edges here are clean. Dry that real quick with my hair dryer. And put in my not so MacGraw my smaller brush might take a little of my brown over my back but I mostly want it to be black. And I think up here I’m going to come up and put in a little not because I kind of had one forming there going to just very lightly create my Forwood green pattern here. Other place I’d like to put some kind of wood green on. Maybe down here. Where things follow these lines and feel very very woody. You can grab some white and Simula. You’ll notice I haven’t rinsed my brush and you can even come inside your green couple of places to highlight to accentuate So hopefully what you’ve got something that feels whether. OK so let’s either trace on the glass using the tracing method you can find that at the art Sherpa dot com or freehand it. So just a couple of notes if you decide to use the transfer method to get your wine glass on your campus about how you want to line that up. So I have my paper that I have rubbed white chalk all over the back. And then I very carefully and firmly press my pencil and trace all the lines and transfers the image but something to no this line here in the glass needs to line up the horizon line right here. And you want to make sure that the bottom of the glass is still firmly on the wood. When I print this out I print it to fill the page. So it makes it just a little bit bigger than it is in just the file and that’s how I get this exact size. So once the image is transferred onto your can this whether you freehand it or whether you transfer it on go ahead very carefully with a fine line you’ll want a really thick line. In your black paint. Just very carefully outline the glass. Now I’ve got my number too bright here but you may find that you like the detail round or another brush for this type of work better. When glasses are at sunset especially if they’re very thick glasses. And we’re talking about the reverse refraction on the image. A lot of times their outlines will be black. Just very carefully. Thing in this first line we don’t want it to be particularly thick. And yes you could use a paint pen to do it. Very good. Just tracing that all in with our black paint. If you do have a booboo try not to panic because you’re going to be painting over everything that you’re saying and that will help slim the line. That’s what Sheeny. Just very carefully brush that base Bach and then I’m going to also take a little glaze in a little black paint. Flip this over and just wash them and make sure I kind of pull out a little shadow coming over to the left. Well the camera is just very light and even put a little reflection on the wood where it would come to the glass and kind of do a little focal of light. But it’s important to add shadows to the bottom of objects because they cast them helps them not float I’m going to also just so lightly make sure I created a very fine fine fine fine line right here. Also just as light as I can. One right here. So I don’t lose what I’m doing. Conc men come in and paint these sections. Whispery here with white paint. And the reason I do that is a couple of things with my paint I can all fien really cover dark colors with light colors because I use really professional paints. I don’t know what you’re painting with at home. And so if we paint these parts of the glass white first you’re going to have brighter colors. You’re going to have more luminous colors. They’re going to look more like what you paint in the background. And if you’re painting like with an economy paint or student paint you’re going to get a better result than if you just tried to cover like you know yellow imagine harnes to curry yellow just right over these dark colors. So I’m going to take the white paint that I have left on my pal. I’m going to come right here. I’m in a very lightly dry brush this white over it. I don’t need to paint it out actually that it’s OK that a little of the orange showing through and just trying to knock everything back. So it’s almost like I’m starting fresh. Effect. Will more of my white paint here. Definitely here where I’m going to have the sky reflecting down in the glass. I really enjoyed this type of subject matter. The idea of the inverted reflection in the glass was really joyful for me. I hope you’re enjoying that as well the idea of the world to be captured inside of glass. Super exciting. Just painted this white down here and we’re going to come with quite dark colors. But again this will improve the vibrancy of the colors. We’re putting on here and this is just a dry brush away. Ice so you can kind of see your form of your glass. In this world you can see my water has gotten quite money so it’s a good time to rinse out brushes and get a clean water. And then also because I’ve been in a very hot studio I’m going to refresh my palette because the whites have bake my paint. If you’re in a very dry environment you’re painting outside where you’re painting with like air conditioning on it can drag paint very quickly. Solutions for that are wet palette. I do have video on how to make wet pallet for very inexpensively where you can find them at your local art and craft stores. So let’s invert what we just did in the beginning in the painting in our glass increases amazing illusion. So up here is the ocean. That’s what we’ve got to duplicate. From what we did before. I’m going to get my number for borate as a Burslem great and get it wet and bring off the extra water and I’m going to go back and makes my own dogs. I put out everything but my burnt sienna and my yellow ochre from earlier years I won’t be using it again in this part of the painting. Well come here very carefully. Paignton this part of the painting. My ocean. It’s doing great. Hey tensions to the same things your horizontal brush stroke all the stuff that made you successful this part of your mission. Can you send out. And I’m going to get the blue and the purple clinic or don’t like U.S. line neber and self up on some way. Pulling out the extra pain that much I’m anointed just very lightly brush over the surface purply pink reflections from earlier just a little bit. This is all about having a very light pressure for the surface. You can even tomb on the edge here. Streak a couple of these fortunes and you just feel reminiscent of each other. Let us drive for just a second. We’re going to get a really small brush. This is a number 0 around we’re going to load it with just the way and I’m going to put in the first sun reflection that I have which is right here where you see singles like reflect and there’s so many suns in this piece. Make sure I have a little yellow glowing around it. In that reflection. That’s going to give all of this a little second to dry if we need more time to dry. It’s not getting Taqi go ahead and hit it with your hair dryer and then make your turquoise that you made earlier which is more blue and yellow like we talked about a little white out and you need to make sure you don’t have too much weight during the brush. Go ahead and wipe it off. Always OK. Let’s stab these soft little reflections up here in this water that we have. You know and why we have this color because we’re going to need to let these two dry between each other. I can take a little of my yellow to my blue men actually want it here at the base quite dark much darker than I have it in the sky. It’s just in that dark color around here we’re going to even go back with the glaze to darken it. And I am going to pay attention to the direction of my brush strokes because they’re going to really inform what I’m doing when they get just white that back and forth like this the class of the corm still leaving about half inch of the way in there is going to be inverting this guy. And the trick is going to be just like it was before. Not letting them mix well I’m not really interested in them mixing and letting the mix work early and just telling them mix I’m going to drop kick off the extra paint from my brush and wipe it off or push it off like it did there. And get many more yellow than blue color. Taking this up the convex of the glass. Whether it be a little bit streaky like how or brushing that dyeing that below of a streaky. So we’re painting this guy. We’re showing this sort of curve world. Yes. And I like to pull it down a little bit. And it’s great to let that rest some so that when I come back with the orange we keep everything super bright. OK. So I’m going to rinse rinse ring ring ring ring ring ring ring rings out. But I think for this reflection I’ll even switch down to a smaller break. This is the number one beurre. It’s just a small brush what you’re looking for something that gives you some control. I mean and mix some of my reflection colors that I used earlier. So we have the had red light in the connector. These actually mix together beautifully to make some lovely colors. So it’s nice just to keep those around. Right here. Interestingly enough when we come back with some reflection lines Mary be bigger towards the back in wandering towards the front and I’m going to get just have you on there. Just again one of these reflection lines grab a little yellow. You’re having fun. So now this is sort of in both places long as this is dry and check that it is another cool thing you can do is you can take a little of your had you know a little of your glaze and just show some of the way that that would be glowing right there. Pretty cool stuff. I think I’m going to get back into my. Number go for them to start putting this in. I’m going to make sure this is dry though some actually take the extra step of hitting it with hairdryer. Once that is dry you can come back with your hair dryer and come back with your chad Renn and a little water ran along here much water. See how that’s not covered great that’s too much water. When does this drag that off. Clean extra moisture out. Grab another be a pain. Just put everything back heating this right across here. Wipe off that red or wipe it off on a towel to get some of my yellow. I’m going to go back in for what that line’s still wet. More yellow. They start curving that’s coal here if you need to. This is an adage that can be challenging and here playing this down last. That See how that keeps it from just growing out on you. I also like to put a little bit of weight just kind of try brush with a bit of a cloud or lateness and there was my yellow is still wet. So I’ve got a lot of lovely effect when I grab mine had a little glitch just to make sure I’ve got good blending. That’s nice. There we go. Look at them. They’re the sky to cool down. So I’ve got to also imply the shape of the glass. Well. Well we’ll play it. It’s nice it’s nice nice nice nice. Let that dry for a minute and then I’m going to put this glass in. Interestingly enough with my blue and her all burst. So first I’m going to point in this bloom purple is going to be a dark color and then pointing in. Purple. A white area flex it be kind of very very. And glass like breathing in breathing out making sure I’m feeling OK my posture. Well then I’m going to get just a smidge of weight on my brush and blue and a kind of dark in this country here. And dry brush across the base. TRIPP Right. Wipe off this is I like to cause offloading. If you have trouble doing that. You can always you know wipe off your brush when they get a little white little blurb. Also a dry brush. I’m going to come in here and I’m going to hit a couple of reflections in this corner and tap one coming into this glass. I’m going to tap one. There’s going to be one right here in the center. Savidge bringing this township with us. And one out here on this outer edge the base straight down well over here. A little bit right there. See on our screen you put that in and get a little of your right hand there and then a couple. To cross and you can even take this right at the top of that dark line. That’s already starting to be sort of interesting. Many get my small brush back out again in small detail. The McComb ran here. A little bit above what in my little says the third son. In some of my yellow. Him for this next bit. I’m going to have to dry this to make sure that it’s dry enough to show the effect I’m going for. Right. We’re wrapping this up this is where the whole piece is going to come together. Let’s get our small detail. This is our number one. Let’s get a little of our purple of black if we need it. Now I want to come up here on this rim. I want to come along here and strengthen this line right here. I have a dry brush but I definitely want it stronger just slightly back here and again a dry brush but it’s nice if it’s stronger. That down and rinse that out will be coming back to that again. But we going to let that dry now down here. You’re going to want to mix some of your more yellow than green. Chew on it real thing green. Right here. We’ll have it here and put some there will act down. Be a little bit of it we hear a little bit on this left hand side. Now with the same small brush get a little yellow a little of your white. Just on the outside of this class and it needs to be quite bright to really pop just a small bit of light that is while around the glass reflecting. Some of it down. It’s part of the stone. Here when you can even have it on top right here. Little white little yellow. All crazy foreign just just little bits of white that are coming through. Here. She don’t want to take out your dark line. We can even say that there’s a bit of a light coming through this part of the storm. Well there let’s get some more light side of the storm so I’m leaving quite a lot of my black still there but now I’ve got this way. If this got crazy and I feel like it did for me when I didn’t rinse out my brush and I would just put back. So you know I hedging that back stress out of stuff gets messed up too much chances are you can just knock it back and it ends up looking cooler because you did. So don’t worry that very glass like into your insurance rents. Kind of the same thing up top the weight in the yellow. Liked but a little bit of that right here along this part of the room. Now get some just wait put a little tiny sun right here. He’s in the tip of my brush. So they’re sort of reflecting through rain. A little of your yellow will of your cat. And this is again key. Everything has to be dry underneath. Or the blues going to grade out we’ll operate here and I’m going to just create this sort of kept reflection. For action across down. Definitely say there recent memory here. So great here. You can get stronger cancer feels different some different places because you’re just trying to paint the reflections of the color that might be coming through the glass. And that’s a thing that glass does. And then the final touch is the shading of the glass. And this is where the light glaze is far superior to actually take a little purple and a little blue and white lace and it really needs to be Gliese. You can dry brush it. But this is just a nice way of doing it. And I come from sine I’m going to just over here a little bit Turkey in that. Where I am great here. At the bottom I’ll grab a little more blue. Going to just make that deeper. So that a trip or what. Just makes it all pop ups too much. I puff to get too much some glaze just Wainscott the place. Open a glaze just creates the deepness that you would see. Glass like that right. You know you’re just checking that. Making sure that looks how you want it to feel. When another last little place. I’m kind of inclined to put a little highlight. Now I’m looking for yellow little white maybe here at the surface of the where whatever know this person is drinking where ever that would be. Right. I think you can pretty safely. Go ahead and sign that piece now. Where we are. Canning always fun something that after I sign in I’m like oh it should be more like this. That’s you know that’s allowed just you know. It’s. But it’s definitely allowed. All right you guys be good to yourselves. Be good to each other. Keep painting. I so appreciate spending time with you today. Hope. You appreciate this glass of vacation. I hope you get to have a vacation to see you. These are really simplified

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