How to PAINT and RESIN Mixed Media Art - STEP BY STEP

It's Rebecca from ArtRisen here with another talented artist and we have Jillian Schultz in the house. Welcome. Thank you. And so Jillian, you are an artist of many talents. You do mixed media, you do textile, that is fabric for anybody that doesn't know. And so what are you going to show us today? I'm going to show you a mixed media piece using fabric. Okay, well I'm Thank you. Okay, so let's get started. I'll tell you a little bit about what you need and where I get my things. So I'm making two pieces today. I'm kind of worried about this because when I'm at home, I work on five or six or seven pieces at the same time. And I do that because then I'm not committed. I'm not sort of struggling on my little eight by eight panel that it has to work out perfectly. But today, for you, we're doing two pieces and we'll keep our fingers crossed that they work out. So these are cradled wood panels, which you can get at Michael's or your local craft store, you can order them online. And I use wood panels because for two reasons, the resin works really well and we're going to get to resin later on. But also I love the wood grain and I use the wood grain in my pieces. I like to either stain it so you see some of the darker wood grain. Or I like the way that the paint and the dyes work and they spread on wood. So that's what I use to start off with. For today, I've got just paint that you can buy. I tend to mix a lot of paint at home. But for today, these are colors that you can buy off the shelf. I also don't only use expensive paint. This is like the cheap paint. This is the paint maybe your kids are able to use at your house. So I do use that. I like to have different values, different consistencies. I like a lot of movement in my mixed media pieces. Just assorted paintbrushes, palette knife, spray bottle. I love working with water and spray and I like to experiment to see how paint sort of spreads on the canvas. I also use dyes. I'm a fabric artist and I like the way dyes actually work in the wood. I like the way dyes work with materials. But this one, this isn't dye. I actually premixed this at home. This is paint that I've added a lot of water to. And again, all of these things will do different things on the canvas. When I'm at home, I'm usually working on five or six or seven canvases so that I don't get too tied down onto what one of them looks like. So I put paint on, you know, and then I go to bed and I wake up and it's a fresh eyes and I can see where I'm at and move on with that. So let's start. Now you have to remember, I'm an interpretive artist. So I don't get too bogged down about, you know, what it's going to look like putting the paint down. So we're starting with some basic steps, but I encourage you to experiment. That's the best way to start and I experiment all the time. So I'm starting with, this is golden paint. So this is, I'm just adding some into my cups. I'm going to put this here because I want it to be not quite as thick as some of the other paints that I'm going to use on the canvas. So all I do is add water. You can add a little bit, you can see how it goes. But again, I love to experiment as an, you know, when I'm doing abstract, which I really like to do, I start with, you know, first layer and like in nature. So in nature, you've got a whole bunch of different layers. You've got, you know, the ground and the moss and the rocks, and this is what we're doing here. So grab a paintbrush. Now my paintbrushes, some are really, really expensive. Some aren't so much. That's the way I like to work. Some artists are different, but I have my favourites, but then I flip flop back and forth. So I'm just mixing it. Sometimes I leave lumps in it. Sometimes I don't. We'll see what happens. Okay. So let's see what we get when we put it on the canvas. So I'm going to start just laying the paint down and see what happens. You can see I've got, you know, I'm turning the brush. Okay. So that's maybe step one. Step two, maybe we're going to add a little bit of water and see what happens. Step three, the pre-mixed paint that I was talking about. Let's add some, see what happens. Now some of that dye. This is a turquoise. I think that I want a little bit of colour contrast. So I'm going to add a navy blue and I'm just going to add. So I don't really know where I'm going yet, but I'm going to let this see what happens. I'm going to leave it for a bit. Actually, I'm seeing that maybe I want to pull some of this colour. Who knows? Who knows? So now we're going to try something different on the other one. I think that I'm going to just take some paints and I'm going to put them onto the canvas. Let me see. So we've got green or sorry, we've got blue. Let's go for a teal and let's add a crazy. This is my, this is my all time favourite paint. It reminds me of the forest and of the trees. It's called Jenkins green. So you can use a palette knife, but like I said, I use stuff from around my house as well. Cardboard. This is art resin packing cardboard, but I think it works really well. You can cut it to the, you know, the, the shape and size you want. And then, oh, this is cool. So look at that. I've got some really cool patterns happening in here. Like I said, it's all an experimentation. There we go. So a little bit left on there. We'll see what happens. I think I've decided I'm going to use this and we'll, we'll get some movement down here as well. There we go. We'll see what happens. Okay. So I'm looking at this one. I don't totally love it. So I'm going to take a palette knife and sort of see what happens. I, you know, I liked the cardboard, but I think that it looked a little bit too perfect. I draw my inspiration from nature. Nothing in nature is perfect. So I'm seeing, maybe I want a little more contrast back to my amazing Jenkins green and don't get too bogged down because you might find that once it dries, you want to add more color. That's the beauty of doing it this way is you can add as much color as you would like, and you can keep going now back to the other one. Okay. I don't, there we go. That, that navy blue is really blue. So I think I'm going to scrape a little, this little bit of this away here. Let me just do this, scrape some away. Oh, look at that. That's very cool. I got some cool things happening. Okay. Okay. Yes. Artist hands. They're always full of paint. And then I'm going to go back and the cool thing about these cups and a little more water so that it moves a little bit more, but I use these recycled cups. They've got this great edge on them. And the edge allows me to, to pour the paint in a way that has a little bit of an edge. Okay. So maybe I'll add a couple more drops of this guy in here. There we go. So now I'm starting to see already, look, we've got a little bit of a green sky happening now. Yeah, I know skies aren't green, but work with me here. We'll, we'll add some clouds and it'll, it'll work well. And this one, you know, when I stand back, I'm starting to see some rocks and I'm maybe seeing some lake in the bottom. So what we need to do now is let these dry first layer. We can add lots more. Don't stress too much about it. We'll let it dry. I'll wash my hands and we'll move on. Okay. So the other one's drying. I'm not happy with where we're at with this one. So we're going to add some more. So remember I told you about the cheap paint. I'm going to add some clouds into my green sky, the crazy green sky. So I need to. And the reason I'm doing this wet is I like what happens when I add some paint into the wet. There we go. We've got some, I've got some more clouds. I've decided that this is a scenery. I've decided that the bottom looks like a lake, but I want to add some clouds here into the mix. One thing to remember for me, anyway, as an artist is you've got to have contrast. It's got to be light. There has to be dark. And so I'm adding one corner of this is going to be only white paint. Then let's, let's see what happens if I add a couple drops of blue into this. There we go. Let's see. More white, but it's starting to take shape. They look a little more realistic. I'm an interpretive artist. So really, you know, we sort of, we started to go with the flow and see what we come up with. Okay. Again, still don't love it. Let's add some more dye. Oh, Oh, see, got some cool stuff happening here. Who knows? Let's leave it. Let's not. Okay. So the other thing is you can sometimes overwork things at home. I'll often sit on the couch. I'll say to my husband, okay, just going to go throw some paint. I put some paint down and I walk away and who knows? Oh, look, it's got some really cool things happening in here. Oh, okay. I can't resist. I'm going to add a couple more drops because I like what's going on there. Okay. Now we leave it. We walk away. This is really cool. What's happening. So the white paint and it's the cheap white paint is reacting with the dye and it really looks like the sky and the clouds are moving. I mean, I'm starting to see that this is, this might end up being a darker piece with movement in the clouds. I'm adding some more because I love how it's moving. And, and this, this would happen on a painting canvas as well, but I really like the wood board. I like how it seeps into the grains of the board. So who knows where we're going to go with this now? Okay. So we've got two things that have happened. One, we left the pieces outside in the beautiful sun with a little bit of wind to dry and a thunderstorm happened. And so it changed them a bit. The second thing that happened is that we can work with it. We can work with it. So it's a happy little accident as Bob Ross would say, and what I can do to fix one of them. So let me show you, this one's got, you know, first of all, my thumb marks and a little bit too much blue, but one of the cool things about working on a wood panel is that you could also sand off some of the things you don't like. So there you go. I can sand off some of the blue that happened as a result of the thunderstorm and I can lighten things up a little bit here with my sandpaper. Again, you know, 80 grit, a hundred grit. I don't worry too, too much about it because art resin is an amazing product and fills in all the cracks and, and all the crevices. So all I've done here is taken off what I don't like. So there we go. I've used my sandpaper, I've taken off some of the accidents to create more happy little accidents. I don't know. Anyway, onward and upward. So the next thing I like to do, and again, I've talked about layers, is to add material. I'm a textile and mixed media artist, but what resin does to material is just glorious. It actually deepens the colors. And so what, you know, when I mix acrylic paint and the textile together, the effects are that you've got depth in your piece. So I've got some material here. There is a lot of material in our world. So I try to use recycled material. This is an old blouse. This is an old skirt. I mean, some of it I buy some of it I use, but it's a nice to use different kinds of material, different weights of material. This piece actually, you can see through it a little bit more. So it adds a different effect. So what I need to do now is look at my pieces and, and decide, you know, is it a scenery? And I mean, I tend to gravitate to rocks and trees and scenery. So that's what I'm going to be working with here. So for, I'm looking at materials here and I'm thinking, okay, this, this piece probably works more with the color scheme in there. And let's do something. I think I'll go over there and then something a little more fun and bold on the other ones. I do like polka dots. So then what I'm going to do is cut out forms. Now the thing about cutting out forms, if you go and look at a tree, no tree is perfect. If you go look at a mountain rocks, nothing is perfect. So I don't get too, too bogged down in shapes and how, so I've cut it and I'm now laying it down. So all I'm doing at this point is putting the material onto the canvas. I'm sort of adding, so these are going to be mountains or hills or I don't know. And I have the freedom to move it around. I can take some other colors. I think actually this piece has a little bit of purple in it. I like that. So I'm going to take some of this and the piece sort of comes together as, as you're working. I find anyway, there we go. So I've got some color in there, you know, and you have the, you have the option here is if you don't like it, lift it up, pull it away. Now there's green up in the sky and sort of in the background, there's none in the foreground, but I'm going to be able to add some of those colors now with acrylic paint. So let me think, I think I need a little bit more color in this piece here. Okay. Now I'm going to move on to the other one. I'm going to be a little bit different. I'm going to be a little bit more abstract in this one. That's the happy little accident that happened as a result of the thunderstorm. The, the original piece, if you have been watching throughout had a lot more blue that ran off with all of the rain. But if I add some real different abstract pieces, we'll see where we go with this. So as I'm doing this, you are probably looking at it upside down. So wait till you see when it's right side up. So there's some random shapes that I'm going to add there. This, this piece of material is really great because it's got so many different tones that I'm, I'm knowing. So one way, one thing that you can do, if you sort of are starting off, wet your material, you're going to see what it looks like when it's got resin. I've done this long enough that I know that it's going to be deeper and darker and that, you know, that kind of contrast is really going to work well. Okay. So, okay. So it, it looks pretty good. So the next thing is we're going to add the glue because we have to get these stuck down in order to add the epoxy resin. So I use Elmer's glue. I put my glue into little recycled applesauce cups, and I do add some water. So then you sort of need to mix this around so that it's, you know, it's not quite as thick as regular glue. Then I wet the pieces of material. So this is a good point where you can also go, Oh, I, you know, I like the way that looks, I don't like the way that looks. And the only reason I wet them is it makes it easier to saturate them with the Elmer's glue so that they're really stuck down. So this is sort of like any, if anyone did Modge Podge when they were younger, have worked with Modge Podge. This is what we're doing here. We're just sticking them down. Now I'm not worrying if it, if, if, as I'm doing this, a little piece hangs off the edge, you really, you really, really can just cut it right off, but there you go. So I've got one piece and it's ready to go. Now I'm going to wet these pieces just so they, you know, just so they sort of lay down a little flatter, and then I'm going to saturate them with the glue so that they stick down. And really, this is, this is something I I've learned over time. If you've got any little corners and things sticking up, it's great. It adds texture, but if you're doing, you know, a shallow layer of the epoxy resin, those little corners and things are going to stick up. So you'll either have to like it the way it is with the corners sticking up, or you'll have to pour a second layer of epoxy. So, I mean, that's your artistic choice, but this is, this is the way that I have come to make sure that everything's stuck down. Now it's really neat here. I've got some of the frayed edges of the material and that gives it a, you know, a more organic feel. And then I'll start to add the acrylic paint and make this look a little bit more realistic. So now I'm going to add the acrylic paint and I do like to focus now on one at a time because I'm going to add layers and shadows and more texture. So I'm going to get rid of this guy and I'm going to work on this one for the next little bit. Okay, so this is where I want to add a little bit of contrast and make this whole thing come to life. So I'm seeing that it's kind of dark, so I've got some lighter paints here that I'm going to add onto the canvas. Let me just see what brush I want to use. Okay, so let's see. So I'm, I'm in a, I'm in a line, line phase where a lot of my pieces have lots of lines. And I mean, this came from walking our brand new dog and looking at the lines and the contours of the rock. But I think that once you start adding some of this color contrast and depth, the whole thing will come to life. And so I do add paint onto the material because you really don't want your piece to look like you've got a whole slap of material onto your final piece. You want it to look like it all works together and blends together. So, and I still have left some of the wood there. I like the idea of the wood being there and some of the places are still wet. So I, I'm still using the, how the paint is running and I'm using that to my advantage as I'm, as I'm adding more and more texture to this piece. Now, remember I started off not really knowing where I was going with this and it's, I, I think it's sort of coming together as we sort of add color and contrast. I really like what's happening here. Okay. Now the, the not so expensive paint, remember I told you about that. I think I need a couple of trees way back here, background. And yes, I put my paintbrush right into it. It's inexpensive paint. I'm not so, so concerned about how it's going to, you know, if there's a little bit of white in my black, it all works out for me in the end. Although I have said when I've taught other classes, perhaps if, if you know, you were in an art class, this would not be the way to do things, but it's the way I do things. Okay. So we're adding more. Now I'm adding some black here. I tend to, I tend to often have black in my pieces. It sort of grounds them in a way, really. We've just got a few little trees back here going on. Once this is epoxy though, all of these colors jump and okay. So I've got the, this going on. Probably, I think this is, is close to being done. What I probably will do now is set this aside and come back to it and think, do I need more? Do I need a bigger tree? Actually, no, I'm lying to you. I'm already seeing it needs a little bit more just when I take a step back. And the thing is, I don't know. I don't get too bogged down even about tree shapes. I hold my brush very lightly and then sort of just go for it. And those little movements, I don't know. I think they add character and to the piece. Okay. I said I was done and here I am still painting. Okay. So let's stop here. I'm going to set it aside and I'm going to work on the other one for a second. Okay. Look, I'm adding more. I stepped away and realized I didn't like the balance. Add some more in here. I do tend to step away often for, you know, a more than one day. I, you know, it's important to, for me anyway, the way I work is I step away and then I come back and I look at it in a whole new, it's a different light, different, different frame of mind. And then I can decide whether, okay, am I happy with it? This is a tiny little piece. And really, I can tell you that once the epoxy goes on this, it's going to be absolutely incredible. The colors will just jump off, but I just want to make sure. Okay. Okay. Now I'm walking away. Okay. We're ready to work on the other one. This one needs a little more work. I think I have to go back and fix the clouds that the, the irony on that one that the rainstorm wrecked. So I'm going to go and add a little bit more white up at the top for the clouds. Okay. And then actually I'm going to use Titan bluff, which actually I really like using because it's a color that is very similar to the wood. And so it all for me works together. Okay. So where are we going with this piece? I'm not entirely sure where I'm going with this piece, so I will just go for it and see what happens. I think I want this piece to be a sort of a little more abstract in how it looks and, ah, there you go. Another happy little accident. That's going to be part of the tree. Okay. Now this one I'm probably going to have to walk away from because I'm not loving what I see here. I did like, it just isn't, it's not flowing for me. It's not working, but that's okay. That's okay. We'll keep, we'll keep adding paint a little bit. I just think that it's a little contrived in a way. So I often will go back and forth and add colors and take colors away and, and sometimes remove some of the material that I put down, which is, which is a nice thing. You're not, you're not stuck. You know, it's just, I didn't like that piece there. So I've added, I've added some more. Okay. Lots of concentrating going on here, right? The creative juices are flowing. How is this going to work? And what's it going to look like in the end? And am I going to like it? And that's the fun part of art, right? My husband will laugh and say, you're like, yeah, I go through the stages of art and I love it. And then I come down and I say, I absolutely hate it. And it's junk. And then I come back and, oh, I like it again. And so not loving this one, everyone, just so you know, this is not the favorite piece I've ever done, but who knows, who knows where it'll end up. Cool thing is I've still got this piece of material. So maybe I'm going to add this one back in here. It's got the glue on it. So I don't really need to add. Okay. Okay. If I, if I take a step back, maybe. Okay. No, it's not bad. It's not bad. I do need to let that dry for a little bit because if I start to work it too much, it's just going to get muddy and not so nice. So I'll let it dry for a couple minutes and come back and add some final things. Okay. This one is very close to being done. I stepped away and decided I needed just a little bit more green in the trees. Again, a little bit more contrast. So my favorite green, which is Jenkins green, which is the forest green adds just some of that contrast. And actually you probably can't even see it at this point. You will be able to see it a little bit more hints of it when we put the epoxy on. So I just am adding just those small touches at home. I probably would, you know, step away for a day or so and really make sure that I'm happy with it. I, uh, like I said, I've often throw paint down and then I step away and then I go back to it. This one, this one is pretty close to being done and you can see we've really worked with, with the shapes that came to be when we first started putting paint onto this canvas. Okay. We're almost done here. A little bit of highlights on the tree, highlights on the tree. I'd say we're close to being ready to epoxy on this guy. Now remember I said you can cut off these side pieces. So then to prepare this for epoxy, I like to paint the sides black. So all I'm doing is taking my black paint. I just think it finishes the edges better and it makes it look more professional. Some people prefer to hang these pieces a little more contemporary without a frame. So I finish all of the edges in black. Okay, so that guy's done. I shouldn't put it down like that. Okay, that guy's done. Okay, this one I am struggling with. I don't love it. It's, it's got too much. There's too much going on. So what if I take the material off? Okay. What if I sort of rethink this? I like the idea of having a tree, a big strong pine tree in the middle of it. What if I use the white as an accent and go in and add the green as a tree? So what's happened here, and I really do work in layers and as an artist, what's happening here is that the white that I put down is going to be a little bit of an accent. It's going to shadow, an accent, whatever you want to call it, for sweeping, sweeping white pine. This is coming together and in fact it's, it's doing what I had hoped. The tree is really, it is starting to pop. Okay, now remember I've still got these pieces. They can go back in in a different way maybe. Now because those already have glue in them, I really just have to wet them again. They'll stick down. Sometimes it helps if you wet underneath as well. Okay, so there I think it's, it's okay. We're, we're, we're starting to have, make a little more progress with this. And what's really neat is I, you know, I had a piece of material here. I decided to take it away. So now I've got a line that I didn't have before, which I quite like. I'm going to use that line to my advantage. Now I think we're good. What we have to do is again start to think about the edges. So I'm going to do black on the edges for this one too. And then we're ready to epoxy. Of course I have been known to go back and fix things even before the epoxy. And I have been known to fix things after the epoxy because one of the neat things about epoxy is you can paint on top of it. And so you can also go and fix and then just add another layer. Okay, so I'm not going to lie. This one's not my favorite, but it's interesting. I have sold a number of pieces that aren't my favorite, so I'm going to leave it. I don't want to overwork it. I think it, I think it's good. And I know that when I add the epoxy resin, it's really going to jump the, each of the colors and everything. So I think we're ready to go with the epoxy. Okay, we're almost ready to put the resin on, but one of these has got a little piece that's lifted up. So that's an easy fix. You can go back, whoops, go back to the glue. And I have to be honest, I use my fingers for this, but, cause you just have to make sure that everything is stuck down. It's otherwise, I mean, unless that's the look you're going for, it's going to be very hard to resin. In fact, it's really hard to resin something that's up because you might get a bubble underneath or, okay, so there you go. There, now it's stuck and we're ready to epoxy. So gloves, of course, gloves, of course. So we don't have to mix a lot of epoxy for two small places like this. If you buy the art resin, you can go to their website and they've got an awesome calculator, which we always use when we're doing bigger pieces. It's really important because you don't want too much. You don't want too little, but I mean, if I have too much, I often have other projects around that I'm able to use. So we will start with pouring the epoxy. And for this, I need glasses so I can see that we pour the right amount. Okay. So now I'm going to add the hardener and it doesn't matter which goes first. But what does matter is you always put the right cap back onto the right one, because otherwise it's going to be stuck and you won't be able to use the rest of your hardener. So I just have to make sure that I'm doing the exact same amount. That's kind of a critical thing. Okay. So now we're ready to stir and you need to stir for three minutes exactly. Remember to scrape down the sides and move the bottom around because you want to make sure that every single bit is stirred in. Some people say you have to worry about bubbles. I really don't worry about the bubbles so much. It's just really important that it's mixed thoroughly. Okay. The fun part begins. This really is my absolute favorite part. The piece just jumps alive when you pour the resin on. So I usually just pour from the center. Make sure that you've got enough on. Now for the smaller pieces, I do use my hand to spread the resin. For my larger pieces, I will either use a foam brush or I use a plastic trowel. But for the smaller ones, I mean, I am going to have to throw out the gloves, so it's okay. It works that way. Okay. Now we get to pour the second one. You can already see the colors are coming alive. So then, like I said, I use my hand. These are on stilts already. I call them stilts. We call them stilts. They're, you know, they're stands so that they're off the table. And I've already taped the back so that the resin isn't going to drip onto the back of the piece, and that will make it very easy to take the green painter's tape off, and we're good to go. So I've got the resin out to the edges on this one. I'm going to move on to this piece. There we go. And then I like to make sure that, because we've painted the edges black, and remember I was telling you about, you know, it being finished professionally, it's really important that you've got resin on all of the edges as well. And I just use my hand. It's actually, I do use my hand on the larger pieces as well. You can sort of feel and make sure that you've got resin right across the edge. We'll move on to this one. And again, we're going to make sure that we've got resin on the edges so that the piece is finished professionally. This one's really neat because of that rainstorm. Some of the green has seeped up into the sky. But remember I said I didn't like this piece. I'm looking at it now with the resin on it, and we used a beautiful forest green on the tree, and it's almost reflecting into the sky. And that was a happy little accident, Bob Ross would say, because of the rainstorm. And the next step is making sure that we get the bubbles out. Now on these smaller pieces, there's not a lot of bubbles. Bigger pieces, I have to be a lot more careful and make sure I sort of babysit the piece for at least an hour to make sure I get the bubbles out. But on these smaller pieces, they don't tend to come up as much. But the next step is a blowtorch to make sure that we get, pop all those bubbles. So you have to get the bubbles out to get a nice, beautiful, smooth surface. So at home, I use a huge blowtorch. In the studio here, you can just use a smaller blowtorch. And really, all you're doing is back and forth over the surface and popping all the bubbles. It's actually fairly satisfying. You can use a toothpick to take out the dust. But look at that. Oh, these look fantastic. Okay, so the piece that I didn't like, I like. The green pops. The white that I started off with actually gives the piece a little bit of reflection. They both are really, they actually, they're two pieces that you could put together on a wall, which is, you know, it's helpful when you start doing a number of pieces in a row, they'll all be similar and then you can put them together. So if you see any little dust pieces, all you need to do is take a toothpick and you can, while the resin's still wet, you can pick it out. Again, a good idea is to look at the piece from a whole bunch of different angles. On my bigger pieces, sometimes the resin just sort of gets blocked and it stays in one circle and there's no resin inside. So it's really important to walk around your pieces and make sure that all the resin is cured properly. That looks pretty good. Okay, so we've checked and we've double-checked, we've, you know, walked back every 15 minutes or so. It looks good, but you want to make sure that dust doesn't, I mean, there's dust particles flying around all the time, so you want to make sure that there's no dust when you walk away overnight. So what I do at home is put a box or something, a teepee, over top of your pieces and we're done. So we'll see you tomorrow and we'll have the big reveal. Okay, 24 hours later and we're ready for the big reveal drum roll. Oh my goodness, they're fantastic. Oh, this is the best part. No, I did say the best part was putting the resin on, the second best part is seeing how it turns out. This is fantastic. So, so, so, so the material is a really interesting thing with art resin. It gets darker, the colors become more vibrant. So in the one that I hated, remember yesterday I wasn't so keen on it, the greens with the white underneath, remember I said, play, play, play, have fun. We played with that yesterday and look what we've got. So the material pops. On the other one, the dark blue has become this sort of really great indigo blue and, you know, when we tried with the water and the paint was sort of flowing over top of the canvas, it really blended together because of the rain that fell on it yesterday afternoon. Don't give up, try different things. I mean, part of that rain made, in particular, the green one here, the blue sort of ended up in the sky. I hadn't planned that, but it's sort of a blue-green that works with the tree. So don't, don't, don't give up. I can't wait to show the rest of the Art Resin crew. Jillian, you have unified your mixed media so well that I didn't even really realize until you showed me how to do it that there was fabric in there. So well done. It's a sign of a good artist, right? Thank you for coming in. Thank you. You are welcome anytime. Thanks for Art Resin. You guys out there can subscribe, comment. If you have a question for Jillian, go ahead and type it in. We'll see you next time.