(opening music) Cinnamon: Hi. My name’s Cinnamon Cooney, and I’m your Art Sherpa. In about thirty minutes, I’d like to show you how to paint Sunrise Lighthouse. So, grab your brushes, grab your paints, and come back and meet me at this easel. Right now. Come one, let’s go. In the center here, where you have your glazing, acrylic glazing medium, and this is the one by Golden. There are several types of glazing mediums, but it is important for this effect, that it is the Acrylic Glazing Liquid by Golden, because this one slows down drying time where other types of glazing medium speed it up. Your first step will be to take a ruler, and I want you to come to your canvas and mark it six and a half inches from the bottom, on either side. Then, with either chalk or, in this case, I’m using a watercolor pencil. This is so that it disappears into my paint, and doesn’t stain it. Sometimes a regular graphite pencil, like the kind you used in school, will bleed into your paint and gray it a bit, and we don’t want our sunset to be grayed. Take your two inch brush, and very carefully pull a little yellow paint out from your cadmium yellow. And pull out a little bit of white paint from your titanium white. And then mix in your glazing medium. Your brushes load should look like this. Here, with a very level brush stroke, go ahead and go back and forth. Try to keep your brush stroke level. This wonderful, wide brush is going to do a lot of this work for you. If it gets a little yellow, go ahead and pull a little more white paint into it, like I am here. And add that in. Now, as I’m going up, I’m going to get into my quinacridone. I think any magenta, even though this is quinacridone magenta, will be good for this painting. I just like to tell you the exact colors that I’m using so you can get those exact effects if you want to. Pull into the glazing medium and then half way up my previous brush stroke, I’m going to start adding this fabulous sunrise pink. My goal for this painting is to keep this very pink and very warm, and that’s one of the ways that you can tell a sunset, is a sunset is different from a sunrise. And I like that a lot. I’m adding a little white and a little more glazing medium. Coming back again, just trying to make sure that this is wonderful and pink. Pull quinacridone into your brush. You’re noticing that I am not yet rinsing. Adding a little white and a little more glazing medium. And again leaving some of the brush stroke below it but letting this blend what’s above it. Try not to overwork the strokes too much, because you want a little bit of the streaking effect. I go on the edge here. Now go ahead and rinse this brush out. What we’re trying to get out is most of the yellow, because yellow grays purple because they’re contrasts on the color wheel. And whenever you mix contrasting colors, colors that are on opposite places on the color wheel, they make a crazy color gray. I’m gonna go ahead and take my quinacridone to my violet and add a little bit of white to it, and pull from this side, the glazing medium. See how I’m being very careful to avoid this yellow? Gonna work hard to keep my brush strokes fairly level. As I’m blending up, I’m letting the brush do the work, and that’s the part I like about these brushes. One of the questions I’m sure you’re going to want to ask in comments is, can I use a house painting brush. And I suspect that several of the good house painting brushes will work for this very well. Now, I’m gonna pull from just my violet and add a little of my dioxazine to it. And still pull in some white. And then my glazing medium. Look at how this is on my brush. It’s kind of like a little mish-mash here. Going back and forth. If you’d like to know more about glazing mediums, or blending mediums, you’re absolutely welcome to follow my big art quest, which will be in the info card. And also a link to that playlist in the description. That’s a year long free on YouTube, quest to explain all the different things that you might find in the art store. You don’t need to have this medium to complete this painting. Water is also a flow agent. But, it does really help you to get a good effect. I’m now starting to pull some of this purple down a little bit, as you can see. Oh, I’m liking that sunrise quite a lot. How are you liking it? Get a little of my quinacridone. Maybe a little white. And just blend a little bit here. Try to make this a dramatic sky. It’s really a lot of fun. The trick to keep your sunrises or sunsets from getting muddy will be to keep this yellow, away from that purple. I’m gonna rinse my brush out now. Tapping, tapping, tapping it down. I’m not breaking or hurting the bristles. I’m just trying to encourage the paint to come out in the water. I’m gonna drag the excess water off. I’m also gonna pull the excess water out of my brush. Now, to be sure that my sunrise yellow doesn’t get into my beautiful purple waters, I’m gonna use the hairdryer real quick, to dry this. It can take a little longer to dry paint when it has this Golden glazing medium in it, because it’s that medium’s job to extend the drying time. And also the use of your paint. So you can save a little money, in the use of your paint. But remember, water also works, and that’s free from the tap. So always respect your budget and never worry about having to get things to complete a painting because there’s always a way to do it, and this is your painting, and your art experience. Now, for the lower part here, I’m going to be adding my ocean, and my ocean is going to be at first pure dioxazine purple. It can be a little hard to tell the dioxazine from the violet from the quinacridone sometimes, so if you need to, go ahead and label them. I’m going to pull out my glazing medium. I’m not adding any white. I’m just doing the pure dioxazine. And where the horizon line is very close to my water line I’m going to do this with my brush. Now, if your brush is very frayed, and very fluffy that can make this hard, and you may need to switch to one of the brights that we listed in the beginning of the video and the description. I’m going to plant my brush on it’s little edge, and this is probably going to remind you of when you painted corners. If you’ve ever painted a room in your house. I’m using the hard edge of the brush to create the hard edge of the horizon line. Which is pretty easy and pretty fun to do. I enjoy it, I hope you enjoy it as well. We usually teach these video lessons live, but today’s live stream just broke in the middle of it and the video didn’t record, which is pretty unusual for us. So, since we always like to keep our promise to our art community, we’re re-filming, and re-uploading. If you’d like to see what a live event looks like, I have put that in the I-card so you can go view that, and see what that’s like when we do that. I’m going to put out some more dioxazine paint. Dioxazine purple is one of my favorite colors. As you can tell by my hair. I really like it. But then I, in general, like all the purples. Purple is a wonderful color. So, just back and forth, with my brush. Something that helps me make this look more like water is that I keep my brush strokes very horizontal. Uh-oh. Look what happened there. I got some yellow in there and I really don’t want that. That can happen to anybody, so if you see it the first thing I’m gonna do, is I’m gonna pull the yellow out of my brush with my towel. If it’s only a little bit. If it were a lot I would rinse it out. I’m gonna grab this gel, and my paint, avoiding yellow. And finish painting this off. Don’t let that yellow get in your purple. I see a lot of paintings. People always like to share their finished paintings with me, it makes me very happy to see them. You can share your paintings on Facebook. At Art Sherpa, The Art Sherpa, Twitter, also the Art Sherpa, and instagram. (laughs) Also the Art Sherpa. I like to stay consistent. By the way, I’m on Pinterest, too. So any place you want to share your paintings with me, I’m really happy to see them. But whenever I see someone say, I feel like my colors got muddy, I know what happened is that they mixed contrasting colors together. And that all they have to do to fix that, is keep those little suckers separate. That’s very nice. I like the finish up here, and the finish down here. And I’m going to put my brush in some water, and rinse it out. I don’t want to leave it in the water. Even though sometimes I’ve been known to do that, because it’s really, really bad for my brush. So I’m gonna pull the excess water out of this brush, and immediately after this painting, I’m gonna clean it in a spa. If you’d like to know more about repairing and cleaning brushes, check the I-card. for a really great video about cleaning your brush. While this is still wet, I’ve got a number ten brush. That’s a bright. Brights tend to be very square on the edges here. If you want to know more specifics about the kinds of brushes I’m using, Check the description below. I always try to include all of the information of the exact materials I’ve used, so you can get this exact result, but remember, it’s just a guide, it’s just a suggestion. You can still just use what you have. I’m gonna pull a little purple out, and I’m gonna load it on my brush. Always working from the edge. You can see the load is just at the tip of the bristles. And I’m gonna grab some of this white. This makes kind of a light lavender. And I’m gonna come here, to where I know I’m gonna put my sun, which is over, oh my gosh, like about five inches from the right and I’m gonna start putting in little reflections. My trick about reflections is using the edge of my brush and keeping it very horizontal. I like to joke that it’s like, um, oh gosh, like a dot matrix printer, but some of you guys might not remember what that is. But if you do remember the dot matrix printers, they used to go (makes sound effects) d-d-d-d-d-d-trch-d-d-d-d. And that’s kind of how you want to be. I like to set my shoulder, and set my body. Relax my stance, and just do my best to keep it level. What you don’t want to do- I’m gonna fix this. You don’t want to go like that. If you can see how that is, that’s at an angle, that will never feel like water. Now, if I did make that mistake, I would just come back and paint it out with horizontal strokes. What I really like about acrylic painting is that if you make a mistake, that’s ok. Because the paint’ll dry, and anytime the paint is dry, you can just paint right over it with what you really wanted. And everybody- everybody- makes mistakes in art. Experienced artists. New artists. All kinds of artists make mistakes, and that’s ok. What did Bob used to say? There are no mistakes, just happy accidents. I think that’s probably really true. Just keeping those brush strokes level. Another thing I’m trying to do is not make regular, little dashes. I’ll show you. Like this. That isn’t gonna feel like a reflection, so be sure to randomize and change up the length of your brush strokes and how they weave together. I like to think of a basket. That really helps me. I’m gonna pull out this quinacridone red and come right back into my white. I want it to be kind of a strong pink. And the reason for this is, very often in a sunrise, or a sunset, or any sky, anywhere, over water, the water will reflect what’s above it. So, I’m gonna add some of these beautiful colors to my water. I think that makes this painting really lovely and colorful, and painterly. And that makes me happy. I’m wondering if you have a lighthouse by where you live. And I’m also wondering what lighthouses mean to you. They are very special to me. I like to think of the people who stay in them, who make sure that ships get through the night safely. And I like to think that in this painting, this lighthouse has stayed through the long night and has guided many many ships into the shore. And I’m wondering, are lighthouses meaningful to you? How do you feel about lighthouses? I’ve heard that in Michigan, there are a lot of lighthouses. Now, I’m gonna take a smaller bright. This is a number eight bright. Brights are different than flats and washes, because flats and washes have longer bristles. That’s how you would tell that. So, shorter bristles that are firm are your ideal brush for painting. You don’t have to have it. It just is really, really helpful. I’m gonna put out some more white paint. Though, my palette is getting really pretty, I think. I’m gonna put it right here. And maybe a little bit right there. That should get me through the rest of this painting. And while I’m waiting for this to dry, I’m gonna add a little drama. Right there. To my sunrise. Uh-oh. I pulled out a little too much yellow.That can happen. Go back. You know, if you do, just wipe it off. I’m gonna get a little glazing medium in it. And I’m gonna come right here. And I’m going to paint in the rising sun. I do this by creating a little area of lightness and drama. That kind of goes up almost in a pyramid shape. I really like that. It’s very exciting to me. See I have that there? And one thing that you could do is you could take a little of your quinacridone and a little of your yellow, and get this very vibrant orange and you can even paint a little of this dramatic orange around where your sun is rising. If you’re having trouble… my pressure on this brush is very light. If you’re having trouble with the blend, you can add some glazing medium to it. My studio gets quite hot. So that’s why that’s useful to me. It’s not required for acrylic painting. It’s just something that I like, and I always like to tell you how I’m getting the results I’m getting. I’ve switched my brush to painting on its edge here. You can see it going back and forth on its edge. See how it’s going back and forth on its edge? That’s one of the brush strokes this does. It can go back and forth on the flat like this. Or back and forth on its edge. And both of those brush strokes can help you accomplish this painting. I’m pulling some of these edge strokes in. I like that ripple effect that suns can have at a sunset. Isn’t that beautiful right there? I’m going to rest this in water for a second. And pull out a number two bright. But any detail brush, any of the detail brushes in the description, will work for this part. I’m gonna get this detail brush right here, and I’m gonna pull out some just yellow paint. And right here, in the middle of all this drama I’m gonna make a little half circle that sits on the water. That’s the sun. That’s the sun peeking up. Telling our lighthouse keeper that the long night is over. The light will be still on in the lighthouse, because there’s still a little work to do. But the lightkeeper knows that it’s almost done. I’m gonna dry this to make sure the next part doesn’t get muddy. You should probably dry it too. Once I’m sure that this part of my ocean is dry, I can really safely pull out a little yellow, and a little white and create the golden reflections that are dancing down the ripples in the water from the peeking sun. Now, the closer they are to the sun, the smaller they’ll be and the closer they are to me, the larger they’ll be. And that’s an easy kind of perspective I can do. Just a little bit. Now, I don’t really need to put a lot in there. I’m gonna wipe my brush off with my towel, and grab some just white. I’m gonna come and just add a little bit of white to this. Just to create that wonderful, rippling, sparkling drama. Drama in my painting, but not drama in my life. Is what we like to say. Alright, one last little touch. Well, actually, a couple last little touches. I’m going to put a sparkling reflection down. This is a radiating light beam. You don’t have to do this. I just really like it, because I feel like the light in the sun is reflecting the light in the lighthouse. And you can take a small amount of this orange that you have and with a very dry brush, very lightly come around your sun. Just a little bit. You could also glaze that, too, if you have glazing medium. Either method is acceptable. But you can kind of define this sun a little bit. Just take that sort of little glow, and I’m radiating out, curving my brush strokes, and that helps that little sun shine there, on the horizon. A little bit of warmth in the center of it. Now you can see that really well, can’t you? Just feels like a sun peaking up. Long night is over. The next part is really fun. I’m gonna put out some of our black paint. I like to wait to the end to put out my black paint because sometimes acrylic paint in hot, dry regions, can dry very quickly, and my studio is definitely a hot and dry region. So anything I can do to give myself a little break on that, I like to, and putting this paint out at the end always helps me conserve a little bit of paint. So, I’ve got another number eight bright. This is from a different brand, but they’re both very firm filaments with a nice edge. Exact materials are in the description below. I’m going to wet my brush here. I’m gonna come up, oh gosh, about a half inch from above my waterline here, I’m gonna make a little dash. Oh, now I’m commited. I guess I better make my slide. And how I’m gonna do this is, I’m gonna paint on the edge of my brush. I’m gonna come over a little bit horizontally, but I kinda let it wander up and down. Then I start to imagine and build my little downward slope. Right. I’m gonna come down like this. Every time I do this, it’s a little bit different. And yours can be different than mine. Your painting shouldn’t look exactly like mine. It’s should look like yours. Right. That’s what’s important. What you should be getting out of your painting experience is not being perfect. It’s being creative and relaxed. (sighs) I’m just gonna paint this all in now. Isn’t that nice? Just paint this all in. I’m using the flat of my brush. And like that just use the flat of your brush. One thing, you don’t have to worry about your brush stroke direction like you did for the sky or the water. But if you’d like to, sort of mix it up. The way the light will reflect on your painting later, against the black will make it seem like rough landscape. It’s kind of interesting. It’s really not that important, what black you use on this painting. There’s several kinds of black. But it is a good idea to stick with the black that you have. There’s really no right or wrong in art. There’s just your goal. What’s your goal? My goal is to help you paint. Just painting this in. So, today was interesting. We had our live event. Wonderful people in those. If you’d like to join us for a live event, go ahead and subscribe to the channel because that’s how you get notifications to know that’s even happening. Cause they won’t notify you, unless you’re subscribed. But it’s probably still a good idea to go ahead and click that reminder bell on upcoming future events. And you can find those on the landing page and it’ll let you know what paintings are coming up. So you can make plans to get materials or even decide what you’re thinking about painting in the future, which is pretty nice. And if you decide to come to one of our wonderful, live events, you’re gonna meet a group of the nicest people in the world, who also like painting the way you do. And these paintings, all the lighthouses, are dedicated to them. We like to call them lightkeepers. They are definitely people who are about making the world a better, happier place. If you ever have a question, you can just come to a live, and say hi, and they’ll talk to you, and they’ll help you get your questions answered. Alright. I’ve painted that in. Now, I have a tendency to get a little messy, when I’m measuring things and kind of sketching them in. So I’m gonna dry it again. My paint isn’t shiny anymore, so then I know that it’s dry. That’s always really helpful to know. And I’m gonna sketch in my lighthouse. But I’d like to state again, that this is painting, not drawing, and I don’t think drawing should be a barrier to start a painting journey. And in fact, I don’t think drawing means you’re an artist or not. It’s just an art skill, so I always like to keep traceables on my Pinterest boards. And you can find those, again, in the description below. Just click the link and go there. And feel free to trace it. It’s doesn’t have to be a draw up painting. I know a lot of really good artists that don’t draw. Though, if you’re interested in drawing, I am doing drawing course on Facebook Live now, three times a week in the evening, if you were interested in learning how to draw. But you don’t need to draw to be an artist. Just something you can do if you want to. I’m gonna get my ruler out again, because frankly, one of the things that’s really hard for me to do is keep my lines straight, and in my lighthouses, I tend to get them to be like leaning towers, instead of vertical towers, and lighthouses should be vertical. So I use my ruler. And I’m gonna use my ruler where the measurement helps me, cause I know I want this to be about twelve inches from the bottom of the canvas So, I’m gonna draw using my ruler to keep my lines straight, a line coming up. Yeah, you can use your ruler and paintbrush. Isn’t that interesting. twelve inches up. It doesn’t need to be a really thin line, you just want it to be straight so it can help guide you. Now I’m going to make a horizontal line across, which I’m ok at, so I feel confidant at that. It’s about an inch and a half wide. And then I’m going to make two little marks on either side. If I were to say how wide they were, I would say that they’re about Hmm. I’m gonna get an exact measurement on that. I’m bad at exact measurements. (chuckles) A little more than an inch. Let’s say it’s about an inch and a quarter on either side. Make a little mark there. Gonna mark another almost inch and a quarter over here. I don’t want to get too crazy cause I don’t want the base of my lighthouse to be wide, but it needs to be wider than the top. And this is just for you guys who want to, you know, free hand this in yourself. Because, just like it’s ok not to draw, it’s ok to want to free hand. Everybody has different goals in art. One goal is not better than another. It’s just whatever makes you happy. Whatever makes you happy is what’s important. I’m gonna go ahead and paint that lighthouse in, and see how I feel about it. That’s what you’ve always gotta be doing. Paint it in. See how you feel about it. If you’re painting- I have a professional paint here. This is professional. It’s by Golden and I really like this company. But if say you were painting, a student grade paint, right. That’s a more economy paint. Sometimes what they do is they don’t give you a lot of pigment Don’t feel like it’s you if you have to do two coats. It’s ok to need to do two coats. But be sure you don’t add too much water to the economy paints, as that can do something artists like to call underbinding. And what that basically means is that the paint doesn’t really cure properly and it can lift back up when agitated. You know, like by varnishing, or something. I’m gonna paint this all in. I like the part where I get to paint it all in. It’s very relaxing for me for some very strange reason. Gonna have so many videos in the I-card. Have to look at the edit again to remember how many I promised to put in there. I love my info cards. If you’re new on YouTube and you never used info cards, always check everyone’s video for the little i, in, I think it’s the upper right hand corner because that might give you some more interesting stuff that would help with whatever you’re enjoying on that YouTube channel. Alright. So I have that painted in. I’m pretty happy with that. I think. (chuckles) So what I’m gonna do is the next part, which is two vertical lines up and those will be very very parallel and straight up. So I’m gonna go up here. I’m going to make that, oh gosh, definitely an inch and a half, at least. And then one line straight across. Just like this. And I’m gonna try to keep a little lip on either side, about the same distance from the other one. Something important to remember about painting. I’m making a little triangle right now at the top. You’re thinking, “Oh, goodness gracious. I’m so glad all those things I learned in school came in so handy.” Um, It’s almost like building little building blocks, isn’t it? Do you remember doing that in school? That was really fun. I used to really like the wood blocks. Build all kinds of extraordinary cities. You know, that was one of my favorite toys. I don’t know what it was for you, but that was one my my favorite. Now, to finish my lighthouse, I’m going to get one of my small detail brushes. I’m gonna get my bright back. I’m gonna make sure all the yellow is out of it. I really like this number two bright. It has a nice stiff filament and a good sharp edge, so it’s really reliable for me. You don’t have to spend a lot of money on brushes, but it is helpful to know what makes a brush be good or not. So that, no matter what kind of brush you get, it doesn’t shed on you. or it’s not too soft for the job. Alright, I made two little long lines out. And I’m gonna curve up Maybe even a little higher than I have it, this little walkway. I need to make space for the man that lives in my lighthouse to walk around and help protect people. And he has like a little crazy walkway. I’m really hoping my lighthouse is vertical. If it’s not, I’m still gonna love it. Try to always love your painting. No matter it’s faults. It’s kind of like loving your children or loving yourself. Perfect should not be a barrier. Now I’m gonna put in my trees and I really like painting trees. I think they’re a lot of fun to do. I’m gonna get my brush a little wet. This can help improve the flow of my paint. I’m gonna pull some out from my paint like this, and I sort of work it around so it has a more melted butter consistency. I’ve got it loaded on my brush, but not way up into the ferrule, just mostly at the tip. I’m gonna come right here, and I’m gonna plant it up. I want it to come to right about here. Right. Not all the way up to the top of my lighthouse but, it’s a fairly tall, healthy tree. And I like to make sure that line isn’t perfectly straight, and now I’m gonna make a pine. Now, sometimes when I see people make these, they want to make them kind of like this. But what I’m gonna suggest you do is take your brush on kind of its corner and just do little dabs. Dab dab dab dab dab. But up this thing I’m gonna make kind of a crazy, messy dab. I want this tree to feel like a coastal pine. I don’t want it to feel like a christmas tree that I pulled out of a box and I’m assembling. And so to do that I’m trying to break up those rhythmic lines. RIght. I don’t want rhythmic lines. Nature tries to avoid that, unless it’s messing with you, and warning you that something could be poisonous. (chuckles) So… when you’re trying to mimic nature, it’s a good idea to think about the personality of your tree and how it lives on this little embankment. And also love your tree. Love your little tree. I let the light and things kind of show through my little tree. I think that’s really helpful. Now, I’m gonna make a little friend to this tree. It’s gonna come up here. It’s gonna be at a crazy little angle. These guys grew up together. I’m gonna do the dab dab dabbing. You can see me just dashing up and down but what I’m really trying to do is put little branches that are reaching up. But they’re different lengths. Maybe this little branch goes behind the lighthouse here. This little branch comes out here. I’m just saying this little guy’s like this. Look, now this lighthouse has a couple little trees. That’s pretty awesome! You can always come back and define this if you’re finding that the paint isn’t covering well, and that actually can help you. Which is pretty cool. I’m gonna really rinse out my brush. And I’m also gonna get a really rinsed out number eight, because I’m about to get into my yellows, If you need to, it’s a good time to get clean water. Because again, you’re trying to prevent what you’ve got going on with your lighthouse from becoming muddy. Now the first thing I’m gonna do, this is sort of interesting. I’m gonna wipe off my ruler to make sure I don’t have any surprise black paint. I’m gonna try to, in the middle of my light cage, set it as horizontally as I can, I’m going to get a little of my yellow paint, and I’m gonna dip it into my glazing medium cause I want it to be slightly see through. It’s super important. I’m going to make a line, a line, it’s gonna come here. Stop. Hit my black line. I don’t want to draw right through my black lines. And I’m gonna take this line here, I think out to eleven inches, so starting again on the other side of my black lines. And out to eleven inches. So hopefully you can see that there. This is gonna help me work on what’s happening in my light. Now, I can come here right in my lighthouse and put down this yellow right here. And then I’m going to get a little more of my yellow paint on here. I don’t want to get it in my purple. I’m going to pull it into my glazing medium. Maybe even add some white to it. You can always put some more glazing medium or yellow out. Right. A little yellow. Little white. Lots of glazing medium. Or you can do this with a very dry brush which I’ll also show you. But the first thing I’m gonna do is, I’ve got this on it’ little edge, but I’m trying to create this sort of light cone So, I’m gonna draw two shorter lines than my first line. They don’t have to be perfect. I just want them to be shorter. And then I’m gonna pull this out The glazing medium lets the sky really shine through behind it. You can even make this a little longer if you feel like the light isn’t reaching far enough into the dawn sky. The trick about this will be to let as much as the sky behind it show through as you can. I’m gonna show you on this side how I get a similar effect, with just a really dry brush. So I’m gonna just get a little pigment on my brush. It’s not a lot, it’s just barely barely, and a little white. Tap it in. See how that brush just has barely any paint on it. And I’m gonna do a similar thing on this side. I’m gonna kind of say that there’s a cone of light and I’m gonna paint that in. It’s gotta very be light. See how lightly I’m pressing down? This only drops a little bit of my pigment on the canvas, and I’m still seeing a lot of the sky behind it shine through. The thing to remember in art is there’s not too- There’s not like just one way. I just put some glazing medium on to blend this out. There’s not just one way to do something. There’s a lot of ways. Try to pay attention to all the different interesting people out there that are sharing their skills. Because they might say something really spectacular, that really helps you in your art. The important thing is that you keep painting. I put a little more white on my brush. Which you can see there. Got a lot of glazing medium, I’m gonna just add a little white to this bright light. Make sure that it’s coming out both sides of the lighthouse. And I’m gonna put a little bit right there. Right there. Just a little bit here. Just to say this light was shining through the night. Pull it out as far as you need to. If you need to feather this out. See how I’m feathering that out? Just want the light to to reach the sailors far away so that they stay safe. Now, I’m gonna get my number two bright again. And I’m gonna put in three little windows in the lighthouse. I’m gonna just pull out some just acrylic, loaded on the tip here. and I’m gonna imagine there’s stairs going down to the living quarters down below. And I’m gonna paint one vertical window. And then over to the right of it, and in the center, paint another vertical little window. That’s kinda fun to do. If you make a mistake, I’ll show you how you fix it, cause I made one there. And then another little vertical window. Alright, if you did make a mistake just wipe your little paint off grab a little black and just come back and say,” No no!” Be like this little window. See how easy that is to fix? You don’t have to worry about any of it. It’s just painting. Now, I feel like that lighthouse, that’ a lightkeeper, and it’s guiding people in through the long dark night. I hope in your life, you get to be a lightkeeper. If you are, thank you so much for making the world a better place. I hope you enjoyed this painting. Check out the cool stuff in the I-card. Make sure you comment below, and let me know what you liked. Hey, what you even want to see different, or what you’d like to see more of. I really appreciate you spending this time with me. And I want to see you at the easel again really soon. Ba-bye. Thank you so much for joining me today in this fabulous painting adventure. If you’d like to know more about anything you saw go to theartsherpa.com, and I want to see you really soon! Come join us live. Tuesday, Thursday, and Saturday at 11 a.m. central. Or enjoy one of the hundreds of painting available on replay, anytime.