A Walk Through Fall - Painting Session #2

Hello everyone. All right, let me know if you can see and hear me okay, and then we will jump in and get started. Perfect. All right, I'm gonna throw my apron on because I've been messy the last couple of nights and I've had no apron. I'm getting paint on myself. All right, good to see you guys. Let me know where you're watching from this evening. I already saw a few. We have from Italy and, um, the UK, Canada, all over the US. South Dakota, Minnesota, Georgia. Welcome back, Peggy. Um, my mic is, um, I got that off Amazon. Oh yeah, I did my hair today. Did you notice it's a little blonder? I got some of my blonde back. So, um, yeah, uh, earlier this summer I decided to get rid of my long hair and then go more natural, but then it was like way too dark. So this is my natural blonde as my dark color and more highlights of the blonde blonde that I used to be before I got older. Um, brand of my mic, I am not sure. I don't have the case in front of me. I'd have to look it up. Good morning from Australia, Miss Odette. Okay, so we have some fun in store tonight. Um, giving everyone a chance to jump on here before we just jump straight into painting, but we are going to be doing a giveaway tonight. So, um, someone on here live, we are going to be doing a giveaway when we're done with the painting session tonight. And we will be picking 1 lucky winner at random to win a little goodie box for me. Do you guys want to see what you have the chance of winning tonight? Um, let me check back up here for this question real quick. Rita said, I'm still on day 1. I have rows of colors. How do I combine them? Rita, I'm not quite sure what you're asking, but just finish that tutorial to the end, and that's where you should be before you start today's lesson. So we ended at a complete stop, and then we will pick up from there today. So everything that you need to know is already in Lesson 1. Kathy said, is it necessary to use an easel when painting? Not at all. So I mean, obviously I teach you guys flat all the time. Some people prefer to paint flat. Some people prefer to have an easel. I do it both ways. Sometimes I paint at a standing easel. Sometimes I sit down and paint. So it's really preference on what you're comfortable with. Okay, thank you guys for the compliments on the hair. Okay, so let me grab our giveaway over here. Okay, so like I said, we'll be doing this at the end. Um, you guys will know, um, as we are finishing up the painting, I'll like say a prompt and let you know that we're getting ready to do the giveaway. And then we are going to ask you a question, and from that question We want you to answer in the comments, and then Megan, my community manager behind the scenes, is going to pick one person at random, and we will announce it in the comments. And then all you have to do is email us in at our customer support with your info, and then we will send that package out to you. So I thought it would be fun since we are transitioning into fall. It feels like our high today was 71 here. It feels so good outside. I'm here for it all day long. I love summer, but I really, really love fall. But I did this, um, last fall. This is just a small, um, shelf sitter that I did an impasto style pumpkin on, and it has the words grateful on it. So this is going to be the original that I give away tonight. Um, so that is just part of your prize. So you will get this original signed by me. You are going to get a little package of some magnets. This one is from my Spirit of Not— A Spirit Not of Fear workshop that I did, and it says, for God gave us a spirit not of fear but of love, power, and self-control. So you will get a magnet of this original. You will get a magnet. I love this one, my little Joy to the World painting. Love these little magnets. And then another fall one here, our Enchanted Pumpkin. And then of course a couple, a couple stickers with reminders for you to dream without fear, don't let fear control you, and to trust your journey. And then last but not least Who wants a full 15-piece brush set from me? You will get, um, all of this in your little happy mail that comes from me. So this is all 15 brushes that I sell in my set, um, along with the bag and all these other goodies. So one lucky person's going to get drawn to win that, so make sure you stay tuned to the end of the session and then make sure that you answer the question that we ask at the end so that you get entered in to win that contest or win that prize. Okay, I'm going to try something really quick. I just noticed this new feature on here. I'm going to see what it looks like to throw your comments up. So let me know if you're excited. You guys comment and I'm going to see if they show up here. What that looks like for you guys. That's so small, I can't read it. But can you guys see everybody else's comments? My screen is like much smaller because I have all the background stuff on here. So we'll throw this up in the— when we are going to pick a winner. So it's kind of fun to see the comments, but I'm going to take them off for now because when we're actually painting, that can be a little distracting, right? But it's kind of fun, especially if you're watching it on replay, so you can kind of see the live interaction. Okay, so obviously this is where we left off, right? So we've got some floating colors up in our sky. We're going to attach these to some tree trunks today. We're going to start with adding color in to our ground area, and I just want to kind of like talk through the steps before I actually show them to you. So these are going to be similar colors from what we have up here, and we're just going to put some random strokes of color in there. And the idea behind that is to kind of give the illusion of those, those colors from our fall trees. I'm just going to hold this up closer. Kind of giving us all those different colors down here, reflecting down onto the grass. We're going to be adding the shadows on the sides of the tree trunks. We'll be doing that obviously after we add the trees. But before we add any trees on, we want to put down some of this background color back there, and it just gives your eye another place of interest, right? So your, your eyes kind of traveling all over the painting instead of this just being plain boring green. We're going to add some color to it. If you are new to painting with me, I love color. I don't try to paint things super realistic. I like to put my own interpretations on what we see. So that's what we're doing here in our grass, and then we're going to be doing the same thing on our trail as well, on our path. Okay, so I'm going to go ahead and transition you guys to our other camera here and take myself off the screen. Okay, how's that look for everyone? Okay, so brushes we're going to be using tonight. We're done with our big one. Um, we are going to start using some of our smaller brushes tonight. So we're still going to use our angled one. We're going to be adding in more color up here in our trees after we put the tree trunks on. So that's what we're going to use that for. We may end up using it down here in the path. This can be interchanged with all the variety of rounds. So these are the different size rounds from my set, numbers 1 through 5, and they're just different sizes of rounds, as you can see here. And I always tell people, like, if you don't have my set, obviously that's okay. Um, just you want a variety of rounds. So that you can have different control of your paint. If you're doing, you know, small little highlight sections, then you're going to want to use a smaller brush. But learning how to use smaller brushes and get the right amount of paint in there, we're going to be talking about that tonight too, because a lot of people struggle when we switch to smaller brushes, because in your head you're thinking, oh, it's a smaller brush, I need to use very little paint. Right? So that's actually wrong. You, you still want to use a lot of paint. You don't want it like dripping off your brush or anything, but you want to make sure that your, your paintbrush is fully loaded. So I'll be talking about that as we work through the different brushes that we're using tonight. But general rule of thumb is, is for you to start feeling comfortable with the brush size that you choose. A lot of the weight of your line. So like the heaviness or the thickness of your line has more to do with the amount of pressure you are putting down with your brush versus the size of your brush. So I can use this, the largest round that I have out of my set here in my hand, and I can still get a super skinny line with this because I'm putting a little bit of pressure down and I have the right amount of paint in my brush. Okay, so, and I'll kind of demonstrate that a little bit on our scrap paper underneath here to show you what I'm talking about. When we get to that. So again, this is just things for you to practice. Um, obviously, if you guys join me for night 1, you know my recommendation is to paint with the replay so you're not missing my instruction, so you don't feel under pressure or like you're trying to keep up with me. Um, it's much easier for you to watch me first, really like soak in what I'm doing, watch what I'm doing, take notes, practice these brush strokes that I'm talking about in your mixed media pad or on a scrap of paper. Um, and then when you go to watch the replay, you're already going to feel more confident because you've watched me do it. You've practiced those brushstrokes, you're starting to remember those, and then when you watch the replay, you're going to hear me say it again. So sometimes the more we hear something, the better it sinks in, right? Okay, so I want to start with— well, let me get my color out first. I am just gonna go ahead and get a variety of colors on my palette because I'm kind of going to be bouncing around to everything tonight. So obviously we're just repeating, um, the colors that we already had. That's my, um, Berry Cobbler, our Tuscan Red, Tiger Lily, Cadmium Yellow, Um, M said, yeah, that's my problem. But what about laying down too much paint with each stroke, and then it looks lumpy? Yeah, so you've got to— that comes with practice. So, um, this again is why I, I don't encourage anyone to just only paint on canvas. Like, don't just go buy a pack of canvases and that's the only thing you paint on. You need to allow yourself to experiment and scrap paper, old piece of wood, cardboard, mixed media pad, like allow yourself a space and a time to practice your brushstrokes. That, but that comes with the more you do, you're going to start learning how much to have on there. I always lift up my brush and show you guys the amount of paint that I have on. It typically is not going to go— I mean, you're not trying to fill your paintbrush up to this barrel, right? We don't need that much paint in there. So just notice that part, especially when you like go back on the replay if you don't catch it live. I'm not going to like go back and repeat because that's why we have replay, right? So, but you can go back and look and like kind of notice how much paint I put on there. Again, you don't want it so much— you're not scooping your paint up and then carrying it over to your canvas. You want a good amount on there. It's not dripping off. But you're not just lightly dabbing it in. Um, Christy said, can I get your paints at Hobby Lobby? You may be able to find some of them there, but my actual set is only available online. So I'm just kind of going around in a rainbow here on my palette because I'm thinking about what colors I may be mixing together at some point. So I'm just trying to kind of keep them next to each other. Um, Yvonne said, can you use a mixed media pad for painting and practice with watercolor paint? Yeah, you can do watercolor, you can do acrylic, you can do pen and ink, you can do markers, all that kind of stuff. Um, let me get a little purple. I'm going to go ahead and get some black over here, and I'm trying to decide, do I want any— I don't think I need any white right now. We'll see if I change my mind. Okay, so we've got this beautiful rainbow palette here. I'm going to try not to stick my thumb in my black paint. I'm gonna to try to keep it even so my colors don't spread. Um, so these are the same blues that I used in day 1, Michelle. So we've got Blue Raspberry and the Ultra Blue Deep. So I think I'm gonna start with my number 5. Um, so this is like my bigger round out of the set, and I think I want to start with some of the warmer colors. So let's do a little bit of Maybe a little bit of red, red-orange mixed together. So again, I'm going to kind of hold this up and show you so you can see how much paint I have in there, right? Like, it's not thick and gloppy, but I've got a good amount. The other way you know that you have enough paint is by the glide. I talk about this on day 1. Is your brush gliding easily for you? If it's not gliding and it's tugging, you need more paint in it. If it's gloppy, like, um, I can't remember who said it, but if it's like lumpy gloppy, that's like way too much paint. It's going to take forever to dry. You're going to have like, I mean, like literal lumps like in your paint. So you don't want it that thick either. So you don't want to be too heavy-handed. Um, so just enough that it's going to spread easily. And just, I did a couple of these on day 1, but I'm just gonna very randomly just kind of start pulling in, and I'm doing this very light-handed, right? Not pushing down hard, just quick little pulls of color in a couple different areas. And don't, don't overthink this, okay? You don't want to go crazy with it. You don't want to create like a pattern. If it feels like it's looking like dashes, change the length. So notice like this is like a long stroke, then I have some shorter ones. You don't— whenever you're thinking about these kind of things that we add into paintings, Uh, contrast, change, um, not being the same. That's kind of what you're, what you're going for. You don't want too much of the same. Let's get a little yellow in this. And again, you don't have to use the exact colors that I'm using in the areas that I'm doing them. Oh, I like that brighter. I think I'm going to add a little bit of that over here. So you can just do some different sections. I'm going to keep my warmer colors more towards this upper half, the brighter and warmer. Let's get a little bit— pull some burgundy in there, maybe a little of that red. That's pretty. And this may look kind of crazy right now as we're doing this, but once we start adding the trees on, it's going to be really pretty. And I'm going to pull some of this, this warm color into our path too. So I'm just going up and down, okay, kind of back and forth like this. You're not putting a ton of pressure down. When I talk about pressure and the amount of like how thick your lines are going to be, this is like light and wispy, right? Like this. But if I'm heavy-handed and I'm like pushing down hard, look how thick that line is going to be. So this is what I mean by pressure. You can change how thick your line is depending on how hard you're pushing down. So I like to hold it like this. Kind of go back and forth, and then it kind of tapers both ends of that. That's the kind of brush stroke we're looking for. We don't want a super— like, I'm not going to hold it like this and then push down and drag it. That's not going to look good. That's just a big block line, right? So kind of see, I'm like kind of moving, flicking my wrist as I'm doing that. That's going to help you get that difference in your brush strokes. Okay, so it's easier for you to see the contrast when I do it on white. That's why, like, this is what I would recommend you doing in your mixed media pad practice. This— if you start here and you're like, why am I so heavy-handed? Then you just keep practicing. You try to— basically, you're trying to not get your bristles to, like, push down and fan out, right? If you're pushing down that hard, that's too hard for the brush strokes that we're trying to make. So just the tip of those bristles and just kind of quickly going back and forth is going to give you more of the look that we're going for. So does that help to kind of see that, um, on white paper? So those are the, those are the brush strokes that I'm doing right now. Let's throw a little bit more orange in here. Let's throw some of this in here. So I'm going a little bit lighter again. I don't want too much in the forefront. If I get it too bright down there. It's not, not going to make sense with how dark we have everything else here, but I can always cover that up if I feel like I got a little bit too much. I'm going to go into more of an orangey red, so you should see very little brown of your path actually showing through once we get more of these warmer colors on here. All right, so I'm going to rinse that. It's already looking a little more fall-like on that trail. So now I want to add in some of my cool colors. I've got this, um, yellow and green over here. I'm going to kind of make like a citron, um, like yellowy lime green color. So I'm going to take a little bit of green, some yellow, and we're just going to kind of streak some of this in here. Maybe Touch more green in that. You'll know when you put it down on your canvas whether you like it or not, and don't let the brightness kind of throw you off. I like those little pops of really bright color. The contrast between that and so many of the darker colors that we have in here is just, again, just one more thing for your eye to kind of dance around and look like— look at. So we want there to be those differences between the darks and the lights. Those are our values that we're talking about. So now I'm going to come in and pull some of this Blue Raspberry into that green and make it different green. That's a little more teal than I meant, but I kind of like it. Again, this is your painting, your world. It doesn't have to make sense to anyone but you. If you like it, then that's all that matters, right? And I kind of like that color. I'm gonna go in more blue. I'm gonna pick up some of my— more of my Blue Raspberry, just a touch of that Ultra Blue Deep. Again, I'm just making a lot of variations of these colors. There's not an exact science to it. Exact method to the colors that I'm using. I'm, I'm keeping— you'll notice these cooler, darker colors, I'm going to keep back here a little bit more, maybe where we have a couple shadows closer to the path where those trees are a little bit more condensed and not spread out so much, maybe add a little bit more there. And I'm going to go into purple, so I'm just kind of moving around the rainbow here. All right, so same thing, I'm going to just add in— we'll add more purple and black in with our shadows, but I'm going to go ahead and lay a little bit down. In a few areas. See, I'm just kind of like almost dragging it across. We know it's going to be shadowy on our edges back here, so maybe a little bit more dark around our edges. And I'm just going to touch up where I just saw I had a little blob of orange over there, so I'm just going to cover that up while I'm doing this. Again, a little bit closer to the path because we're going to have those trees there. But I know this looks like just a bunch of random colors right now, but that's fine. We're going to break up what this looks like when we start adding the tree trunks in. So I'm going to take just a little what's left in my brush. I've got some purplish blue in here. I'm just gonna very lightly add a little to the front of my path here where it's a little darker, and I'm going to pick up a little bit more of that blue. Actually, I think that I'm going to grab a little of my Bahama Blue. I have just a touch of that as that like lighter blue color in my path. So let's add just a couple. See how I'm doing that real light brush stroke? I'm going to go down for this, especially towards the back. We almost want that you not to be able to tell where that horizon line and your path start. It should be so faded and like blurry almost back there. So think about like, this is what we call atmospheric perspective, when something like if you were to take a picture of a trail like this or a path like this in the woods, the further back you got, it would be very blurry. You wouldn't have great detail in there. That's atmospheric perspective, right? So we kind of want to blur that line. We don't want to see a really solid edge there because that light coming in and shining on the path would kind of blur that. Okay. So just a couple streaks, and then I'm just going to kind of gently just kind of pull this. I don't need it super solid, just a little bit of that pulled around our sides. Now I'm going to rinse this and work in a little bit of the yellow. Sharon said perspective is hard. Well, there's different kinds of perspective, um, so I mean, when we're talking about atmospheric perspective, that is detail versus non-detail, right? So it's just thinking about things in your painting when you're making, let's say, your own composition, and you were coming up with this. That's just an important thing to remember. Things that are far away are not going to have as much detail as the things that are close to you in the forefront, right? I've only used this one brush so far, Tracy. So I'm going to go in, like I said, with a little bit of yellow, yellowish orange. I have a little orange in here too because I don't like yellow straight out of the bottle. Just a couple streaks of this in here, and we can always come back and add more to this if we, if we don't like it at the end. I kind of think I want to add some of my tealish greenish color in here because I just like it. So do you guys see what I'm talking about back here though, how that's nice and blurry? Um, Camille said, can I show the example of the painting again? You mean just the larger original? See, like So it's always good, just like I told you on day 1, take pictures, look at your progress. We were really zoomed in, we were really close up. You're paying attention to every detail that I'm doing, right? And you're like, oh, I don't know, is that too much color she's adding there? Is that going to look right? Then we pull the frame out, we get further away, and now we just have this nice kind of accent of some colors and some reflection coming down on our path. So that's where we are right now, and this will be where we finish. So you can start seeing these colors that we lay down, how they're going to translate at the end, right? So the next thing we're going to do is start adding in our trees, and we've got a couple fun little tips and tricks for doing these trees. We're going to start with the ones at the background. So when you're doing— when we're creating depth, when we're doing a landscape painting like this, you want to start with your things that are furthest away and then come forward. And yeah, this would be more of like an impressionistic style of painting. Okay, so I got my black. Remember, pull this over here. So I'm going to start with black. But again, on our ones that we're doing, like on this horizon line right here, what I did in the original was I did some black and then I immediately went in with some of like my Bahama Blue, that really light teal color, and kind of streaked over it. And what that did was kind of again fade it. It made it not so contrasting, um, with the sky. Things are going to be a little bit more faded back there. I am going to show you this again just so you can kind of pay attention and see what I'm talking about. So you see how like some of these like grayer areas, these are not like super solid, strong black lines. And again, we're going to do— we want quick motions. I also want you to look at how messy these are. Look at some of these. Those don't even look like full tree trunks. That's good, right? We're creating the illusion of trees farther away. They don't have to be concrete. I can just have some almost dashes of lines that represent that there's a bunch of trees back there. Okay, so you kind of see what these look like. The reason I want to show you that up close is because it's one of those things you may not notice even when you're like looking at try to make that go away. When you're, um, when you're looking at your reference photo, it's just something like in your, in your eyes, you're just like, yeah, I see trees back there. But like, really look at those brush strokes. They're not super solid. So as you see me start adding these in, you're probably going to be like, oh, I don't know if I can do that. Like, it's going to make you a little nervous. So again, watch me, watch me do it, watch my hand motions, watch how I'm like, it's like a flicking motion. Again, not heavy-handed. I'm not putting a lot of pressure down. I'm not pushing down hard on my brush. Okay, um, you could switch brushes if you wanted to. Let's go— I'm going to go with just a slightly smaller round. This is my 4 out of my set. It's just a little bit smaller, um, than the one I was just using. I also, um, pulled in a little bit of purple. So I don't usually like to paint just just solid black. I usually like to mix it with other colors, so we're going to kind of get like a black-purple mixture here. And I am going to start on the left side of my canvas and then move right so that I am not dragging my hand across my wet paint. So again, I'm going to start at the horizon line. I'm just doing these, these very, very back ones right now, and I'm just going to start kind of pulling up like this. I'm going to zoom in for this. How's that? That's got to be better. Okay, so you want to pull them in to the foliage up at the top. We don't want to stop shy of that. So they're going to be wispy. I'm going to keep reloading my brush again. Plenty of paint in there, but not too much, not drippy. And you can decide how spaced out you want these. Try to not have them all perfectly separated. You want to have variation. I always say variation is your friend. If things start looking the it too much the same, you need to change it up. And then anywhere that I pull down into the grass, I can just kind of drag across there and just add a little bit of that shadowing down there too. Is this view good for you guys to see? I feel like this is a good— far enough away but still closer for you to see detail. So like some of these where my lines are not connecting all the way, just start halfway up, you can pull those up a little bit more, but it's also okay for some of them to be a little wispier and not super solid. And you can decide how many you want to add in. You may not want a super crowded forest, totally up to you. Now let's jump. I'm going to kind of leave some open space here. We're going to jump over to this side. Now I'm not even going to worry if I get too heavy-handed or anything with that. This is all going to just come together in the end. Really don't overthink this part, don't overanalyze it unless you just get one like super duper thick. Um, I really wouldn't stress too much about it. So keep in mind this is like the very back of the painting. So I'm just reloading my brush. So messy is good. Nice and messy, right? So I told you I've still got a little like that black and purple in there. I'm just going to pick up a little of my Bahama Blue, and I'm just going to make myself a gray with that. And I'm not trying to completely cover all of the black, but I do want to tone it down a little bit. I might get a little bit more blue on there. We'll see over here. I'm not going to add as much light because it's darker over there. All right, so see how that's starting to kind of fade those out a little bit? Just touching up. If I had some floaters here, they're floating in the air, so pay attention if you have any floaters. Um, Laura's asking about the lighting back here. It's not going to matter as much, Laura, because these are all getting lighting because they're at they're very far back. So when we are talking about the lighting along the tree trunks on the trail and these larger ones that we're putting, the light source is going to be coming from here. So they would be all the trees on this side, the light and the highlight that we add would be on the left side. All the trees on this side, it would be on the right side. So, and I'll show you that as we, as we move forward. And again, if you get too light and you're like, oh, that's lighter than I meant for it to be, that's why we love acrylic paint, because we can just change it up. Just because you put your brush down on canvas doesn't mean you have to leave something that way, right? I'm going to grab a little purple and blue and just kind of come back here. I just want to add a little bit more shadow up here. And then I'm actually going to add just a touch— I'm changing it a little than my original. I'm going to add a little bit more kind of light coming in here, just a couple streaks of that. I like that better. Here's the other thing, um, just like this is just a extra bonus lesson tip from me. The more you paint the same subject, like if you do a painting multiple times, each time it's going to turn out a little different. You're going to make different choices in it. You're going to learn different things as you're going along. You're going to see things that maybe you didn't do in your original that you could do in the second time that you make it. Um, so don't be afraid to make changes. That's why I always say, like, I don't want your paintings to look identical to mine. You may realize and come across different things that you want to do do in your painting that I didn't do in my painting. But I'm like really starting to love how this looks back here, and that light is kind of faded over that. So again, I'm just using a little Bahama Blue right now and just kind of playing with this a little bit, pulling some of these lighter areas in. I'm going to grab some of my Blue Raspberry too, maybe mix it just a little, so have those little peaks of blue coming in. I'm liking the way that looks. I'm going to go into my Berry Cobbler Pull some of those back in. So see how we just kind of keep adding to it? You don't have to do everything all at once. As your eye starts kind of working around the canvas, you'll start kind of seeing— again, this comes with like taking pictures and stuff too— you'll start seeing where you want to add some different color in, maybe. And just a little bit more. Orange. Mine's going to be toned down because I do have a mixture of colors in here. So obviously I was working with blues and then I'm transitioning to orange, and we talked about that orange and blue are opposites, right? So it's giving me a very toned down orange, almost like a rusty orange. It's not going to be super, super bright, and that works for this section of the painting. All right, I'm going to leave that for now. What do you guys think? We're liking the way this looks. We like our trees added in. All right, so I'm just kind of rinsing, and I want you to— again, I just kind of want to stop here, and I want you to look. I want you to see how imperfect all of these are. Some may lean a little bit. Guess what? When you go out into the woods, some trees lean. They're not all straight up and down, right? We are going to change things a little bit when we start going along our path, though. And this will be like a fun little trick that I'm going to show you guys. We're actually going to flip the canvas upside down and do our trees upside down because there's something— and keep in mind, I taught this this probably, I think, I think 12 times or so, um, in person. And when I would get to the part of teaching them how to do the trees along the path, I saw this, I kid you not, every single paint night. Now, not by everyone in the class, but there was always 1 or 2 people and they could not— their brain would not allow them to put these trees close together. And what I mean by that is when you're looking at this, look, they're straight up and down along this path, right? There's barely any space between them. And that was just like, for some people it just messes with their head. And what would happen is I would come by and all their trees look like they're terrified of the road and they're all angled out like this. And so now they've got trees that are laying down and they're at an angle coming across their canvas. So of course we had to kind of paint over that and I got them all straight again and we fixed it. But I want you to keep in mind, all of the tree trunks that we're doing— yes, you may have some that are a little angled off, wobbly, whatever. That's not what I'm talking about. None of your trees should be going at a 45-degree angle off of this path or over here. All your lines are vertical. So for this part One thing, and I can try— I discovered this years ago. This was a painting tip that I learned from someone. It just changes that all of a sudden our brain is not trying to— it no longer sees a path. You just see a starting point and an endpoint, and you're making vertical lines between those two points. That's the only thing you have to remember. So as we're doing this, it's okay if your trees touch each other. It's okay if they're super close. They're supposed to be. That's what it looks like when you're looking down a path. Okay, so keep all that in mind. I am gonna go in with just black right now just to make it easy. The first two that I'm doing, I'm using my number 4. Okay, so still a decent amount of paint in here, and I'm paying attention to points. Along my path. So these first 2 trees are going to be literally at the end of my path. My job is to not tell myself I'm painting a tree. I want you to tell your brain right now you're painting vertical lines. That's all you're doing. The further back they go, they're also going to be skinnier because they're further away. So if you feel like you need to use a skinnier brush, you can, but I'm just going to go straight into my trees, right? I'm going to make it a little bit thicker than that. That's a little too skinny for my liking. I'm going to come on the other side and notice I'm doing like short brush strokes too. You don't have to make one long brush stroke there. You just want to make sure that it meets your tree line. And then we're going to scoot out I'm going to come to a different point on my path, and again, you're just kind of deciding that there's no right or wrong. Yours is going to have as many trees as you want it to, and I'm going to make another vertical line. I'm going to do the same thing over here. Do you guys like this angle, or do you want me to zoom in just a little bit Oh, Marcy, that's interesting. I'm going to pull this up. Marcy said, I would do portraits upside down in painting class in college, upside down from a photograph. It just breaks. So one of the things is, because when— here's the thing, like, when we do this, our brain is no longer saying, oh, you're making trees. They have to look a certain way. Marcy, turning a portrait upside down, it's no longer saying you're making a face. What it forces our brains to do is just think about and look at shapes and forms, right? So we're just kind of playing a little trick on our brain to make it easier on ourselves. So I'm going to go ahead and finish this, this curved side, and I'm just going to— the further out I get, they're going to get a little thicker again. Who cares if they overlap this and those all kind of blend together? None of that matters, right? So I'm going to push down a little bit harder because I want that to be a little thicker there. So again, we're paying attention to the amount of pressure. You also want to pay attention that your tree trunks should be thicker. There should be more pressure towards the bottom where they're coming from the trail and less— it should be skinnier and more pointed towards the top. So again, it's okay if they're next to each other. If they're super close, just going to kind of pull that out. And then this one, just because everyone's curve is going to be a little bit different how, how these line up, I'm going to show you on the original. Okay, so again, we're doing this side, right? Like, look how close together all these are. You really can't tell at the base, like, how far apart those trees are. And then we're going to have one, like, forefront one that goes off the edge of the canvas here. I think I'm just going to go ahead and just say this is my big one So this, this is what I was saying, like it'll be different for everyone depending on the curve of your path, how much room you have there. But I'm going to go ahead and make this my big one and my last one that I do. This is going to go all the way to the top. That one has a little bit of an angle. This is going to be our biggest tree. It's in the forefront. I can come and straighten it out if I need to. And when we flip it over, then we can like really look like, do I need to straighten it a little? This definitely has a little bit of an angle, but again, trees lean, you know, they don't all grow perfectly straight. So a little bit of angle to it's okay. We just don't want to go in 45 degrees off to the side. Julie said, how far into the trees are we going? You're just breaking the line. We're going to cover up some of these so I don't have a certain spot. They're not all stopping at the same place. Okay, so now we're going to jump over and do continue along our other side. And again, I'm just going to go down a little bit, so I'm just scooting over a little bit on my path. I'm going to zoom back in so you guys can see a little better here. Make it a little bit thicker at the bottom. I'm going to go a little bit wider as we're getting further down the path, which means closer to us. Um, for those of you asking about like canvas size and colors and all that, everything is on the hub page on your supply list. So if you didn't see all that information, just go to the hub page and it's all there for you. And again, I'm going to flip this over and like actually finish them. Trying to decide if I want one more. I think, yeah, I'm going to flip this over and then decide that. Okay, that looked really weird. Let me zoom out here. I got a little bit of lean, so now we'll straighten them up. Definitely straighten the camera up. Hang on, let's angle just a little bit. All right, so I'm going to do this one. This one's going to be my big one that's going to go straight up. And this is going to be my widest tree as well, so I'm going to go ahead and start making this thicker. When you are doing the thickness of your trees, um, one of the— this still looks angled. I feel like I'm just off. I'll fix it. Um, it's like throwing me off every time I look up at the camera. I start at the base and I just kind of keep going back and forth until I like the width of it, instead of like deciding one side and then jumping over and starting another, because then you'll end up with one that's like way too thick. So I'm really loading up my paint now because this is thicker and I want to just get this filled in. I'm gonna go ahead and make this guy a little bit thicker too. And then kind of same thing I was saying back at the top, at the bottom I'm just going to kind of pull in a little bit of this black into my path so it's got a little bit of a darker shadow there. I'll straighten this one up. Let's go ahead and have I'm going to do a branch off of here, so I'm just going to kind of angle it off the top, kind of pull that thicker in here. So whenever you're like making the branches, I want you to keep in mind they should have like a V shape, so they're going into the tree. You don't want them just like kind of jutting out off the side. Maybe add another little branch up here. Now everyone's is going to be different. All our trees don't have to be the same. Just gonna make these a little bit, um, straighten them up on my left side. I was kind of leaning a little bit, so I'm just kind of counterweighting that. And if I get quiet, it's just me thinking, just kind of going back over. I may even decide to add in a few more here. I don't know yet. So I'm going to leave this for right now. I know I'm going to come back, play with it, edit it a little. Um, I'm going to add some different colors to these, but right now I want to get my other trees out in, in the woods planned out too. So we want to stagger where these are going to start, right? So I may have one that kind of starts like back here, and again, it's just going to kind of go straight up into that. And then we're going to kind of start adding them in. We don't want them at the same space across. So let's have another one maybe here. I'm going to go straight up. And where do I want this other one? Do I want it closer? Maybe off to the side over here. So again, it's not coming all the way down to the bottom. That's kind of hard to see, it's dark down here. Um, so about an inch above the bottom, and it happens to cover up one of those background trees. That's fine. Well, this guy is still really leaning, isn't he? Let's do this. I'm going to make them thicker here. All right, straighten them out a little, and I'm going to have it branch off. Then I want to add a few more branches on this big guy here. Maybe have another one come up slightly higher. We'll kind of angle him out. I don't worry— you'll, you'll notice I don't worry too much about at the end. You just kind of want to taper these off. They just want to be skinnier. I kind of like the way those meet above the path, but we want to add some additional little lines and branches here. So I'm just kind of plenty of paint again, but just kind of lightly dragging so it's not super heavy-handed. And you can decide how many you really want to kind of come up, up here. I just really picked a few. Some of these can kind of branch off. We're going to throw some leaves back over top of them, but it is nice to kind of have the idea of like a couple little branches kind of showing through there, maybe a couple skinnier ones. Oh, picked up a dry clump that almost fell on here. All right, I'm liking that side. We're straightening them up a little. You get a little lean on a few of them, that's no big deal, but if they're all leaning, we want to straighten some of them up. And it happens, you guys, and that's okay. We're not trying to be perfect, right? We need to remember to tell ourselves that. All right, so let's jump over to the other side. We're going to kind of do the same thing. I need more black paint. Sorry, my paint bottle is right overclogged because I never shut my paint bottles, and then this is what happens. Give me just a second. Let me— Tara said, how do you stay so clean? So again, that's by having enough paint in my brush. If I didn't have enough paint in there, then it would be streaky looking as I was going down, right? So you really just want to make sure you've got enough paint so you can make those full, clean brush strokes as you're going. Um, Christy said, just wondering why you don't use thicker paint. Um, well, I do sometimes in some of my paintings. I do. For this style, I don't feel like there's any benefit to me using a super thick one, and I kind of like the fluid nature of the craft acrylics. I think I kind of want to add one more little guy in here, one skinny little guy. Make it a little close together. I kind of like that look better. Okay, so same thing over here. I'm going to pick a couple that are going to kind of just right off the horizon line just a little bit. Maybe one a little further down here. Try not to overlap completely my other ones. Isn't that fun? Have you seen how immediately when I added that in there and it broke up that section of that like yellowish-green color, and now you see like shadows and highlights? I just love the way that it looks. No, Christy, I don't usually use fluid acrylics. I use either my craft, my DecoArt craft paint is what I started. Um, when I did paint nights, because I'm not going to use thick-bodied acrylic to teach 40 to 50 women how to paint at a time. So that's where I started using craft paints, and they're just comfortable to use. So if you haven't used them, I would recommend trying them. So I'm going to come down here again. We're just kind of staggering a little bit, thicker towards the bottom. Kind of tapered as we go up. I love filling them in. There's just something about filling them in. Okay, so I'm going to do one. I'm just going to make myself little dashes. I'm going to have one tree down here. I'm going to stagger another one maybe right there and then put one over here. So I'm going to add 3 more in the front. I don't know if you can see those little black lines. Um, Susan said, so bummed I had to miss the class. Is there a replay? Yes, Susan, if you did not sign up for it, um, then you may have not known that, but there's like a, um, hub page where we have all of the replays. So night 1 was Tuesday night, and then we have our mindset sessions that we've been doing during the daytime. They are on, they're still on YouTube right now. They're still on the, the first one did not, there was something wrong with the streaming and it didn't stream to Facebook. So you'll have to watch that one from the hub page or from YouTube, and all the replays are available through September 7th. And then we will take down the hub page for the public, but if you become a Tribe Sister this week, one of the perks of being a Tribe Sister is that you get continued access to these lessons. So if you join Tribe, you don't lose access. You keep it as long as you are a Tribe member, and those products will be added to your library. So now this other one, um, I did this different than my original years ago. I'm going to have this one go all the way, um, to the top too. So it's going to be bigger. Now you just love— now that we have all the trees in there, all those different colors that are in our grass are so pretty. Now I'm going to have this one kind of branch out a little bit lower. So see the— how I'm pushing down? This is where you see— it's kind of hard to see because I'm on black, but this is where I'm putting a lot of pressure down because I want a nice solid tree trunk, right? And then as I transition up here, I have a lighter touch and I'm not pushing down as hard because I don't want these to be as thick the further up we go. And these can be crazy little branches up here. Definitely don't worry about these being like clean and perfect and crisp and all that kind of stuff. We're going to be covering a lot of them up anyways. Mine are pretty wispy. Sorry, I'll try to angle this straight on here. This camera is driving me crazy today. I don't know if it's— what is going on? Okay, there we go. Sorry, just me having some technical issues. Okay, I'm liking it. All right, so let's add, um, I'm going to pull in— I did it on this side, but I forgot to do it on the other side. Pulled in just a little bit of shadow. I mean, they're— the big shadows are going to go the other direction, but there's still going to be a little bit of darkness down here next to our trail where some of these trees are coming out at. So I'm just gonna pull in— let me zoom in for this part— just, just a little bit, just these quick little horizontal strokes, just a little bit where those trees are coming out at. I'm just kind of mushing my brush around so it's not like too concrete of a line there. So now I want to add my shadows coming out from the trees, right? So I've got my black and I'm grabbing some purple and even a little bit of my— let me show you what I'm doing. Black, purple, some of my like plum color. So it's really like this really dark, pretty plum color. It's not straight black that I'm going to use for my shadow. And we're going to start— let's start on this side again, light coming from the center, so our shadows are going to be going to the left. And then I'm just going to drag a little bit of this color into my trees as well, so we got some of that plumish color mixed in there. Then we're going to have a shadow again, same brush strokes as like I was doing these color— colorful ones in the back, but now we're just doing like this black plum color. And you can see I'm just kind of overlapping these tree trunks, but then I can just go back So now that shadow is kind of pushed behind there. Now we're going to do the same thing on the other side. Um, Sue, closed captions is not something that we can offer live. There are closed captions, or should be, on the replay though. And it may seem weird as you're doing this and you're like really close to your painting, you're going to be like, am I doing this right? It looks like I'm just making big black marks. But for right now, that's really what it should look like. And then we're going to add in a little bit more color to it. I'm going to grab— let me just grab some of this blue since I've already got it down here. We'll just make our own purple. I'm just taking some of my Ultra Blue Deep since I already have it here, some of my, um, Berry Cobbler, and I'm just going to make my own purple. And I want to add that color into my shadows. Again, it just kind of gives it a little bit more interest. I'm not making these super straight lines. I'm going to come in. I still have some of those darker colors in there, but I just kind of picked up some of my burgundy, right? And I just am going to start streaking some of this in. It's a little vibrant right now, but we're gonna kind of blend that in. To our black a little bit. And I just felt like it just added a little bit more dimension to these instead of them just being solid black. We've got a little bit of color in there. Think of it like bark, got some variation, so it's not just straight black out of the bottle. And it may not be something you see a ton on camera, but I'll try to— I'll lift it up here in a second and let you kind of see. And I'm not doing super solid, it's kind of like streaky. I'm leaning over too much. I'm killing my back. All right, I'm going to take one of my skinnier brushes. I'm going to use this liner one, so it's a little bit longer. So that's called a liner brush. Um, I'm going to go into my Bahama Blue, and I'm going to kind of add a little bit of the highlight over on this side. So just very lightly, just kind of dragging, especially these back ones. Really want those kind of faded in back there, not too crisp. So you can just kind of gently pull the brush along the edge. You can hold it straight up and down. Just kind of practice, like, what feels good to you. Now, as we get a little closer up here, there's still going to be a little highlight, but I'm not doing it quite as heavy. So just kind of lightly streaking along. It's not going to really go up into the trees too much. And again, if you get too heavy-handed, if you put too much of a highlight on there You can easily go back and alter that and add more black back in. And that fun— look at the difference between this side where we have the highlights and this side where we don't have them yet. It makes a big difference. And I chose to use the Bahama Blue because I didn't want like bright white. I wanted it to be a little bit more toned down than that. I'm going to kind of make this a little messier back here so it's a little, little more blurry. Those aren't too concrete back there. I'm liking it. Okay, let's do a zoom out. The liner brush is the number 2 out of my set. All right, I'm liking it. Okay, so we're down to really like the last finishing touches here. And those are going to be where we kind of come back in to our trees up here a little bit more. We don't want all these branches on top, right? So I'm going to work in some extra paint over top of some of these, so it's going to kind of fade out where the tree trunks and the branches go into the trees. So we're going to go back to our angled brush for this. I'm going to start with a little bit of blue. So I'm going to show you the original again. See how I have these like blue sections in here? I could have just left a little bit of blue showing through, but just my tendency is to be heavy-handed with my paint sometimes. And so a lot of times I have to come back and add those accent colors in, and it still works. So it might feel a little off to you when you put it down and you're like, oh my gosh, that blue is like showing up a bunch. But then once we add in those warm colors around it, it totally works. And Sharon said, how do you know when you're done? Taking lots of pictures. Pictures will tell you and show you things that might be like just bugging you a little bit that you want to go back and fix. That's really a lot how I determine it. I definitely recommend like walking away, getting up. Do not stay like attached to your seat. To, um, your canvas. I'm gonna go in right now to some of like my Blue Raspberry, my Ultra Blue Deep, even pick up a little bit of that really dark purpley mixture we made. And I'm going to just start kind of doing a couple— this needs to be a little bit lighter. So see, I'm not gonna let that stress me out though. We're going to add a couple little blue sections in here. I want to lighten that up though. A little too dark. I want it closer to like my sky color down here. There we go. And it's just here and there, random. And it's not going to stay this bright. Keep that in mind. We're going to be overlapping it a little in some areas, but it kind of gives like a nice break in the trees, gives you like the illusion that there's some of that blue breaking through. All right, I'm gonna wipe off that excess. I'm gonna go into my burgundy. I say burgundy, I'm talking about the Berry Cobbler. I just call it burgundy. Need a little bit more. Okay, so this is the burgundy color, right? You see me like overlapping some of these tree trunks. It's going to push those bran— not trunks, push, push those branches back. So we're going to cover those up a little bit. This is why I was saying don't stress too much about having like perfect lines, because we're going to be adding to it. I try not to like overthink this part as I'm going. I'm just randomly, quickly— quickly is key— quickly putting down some color. Because when we too— when we're too slow and you're overthinking it, and like that perfectionist side of you starts coming out it's going to look like that in your finished painting. You want to embrace the messiness. Okay, so now I'm going to pick up some of the red. We'll throw some of that in again, just sparingly. I'm kind of just using what I have left on my palette. Now I'm going to go into this orange. Now orange and yellow are going to be a little bit more transparent, so we may have to do a little bit more layering with them. I may even add a little bit of white to my orange. Now I'm going to rinse this because I don't want that blue that's left over in my brush to mix with my yellow. Um, Tracy said, oh, she's using the Alizarin Crimson. That's a great color too. It's a beautiful color. Yeah, you don't have to have Berry Cobbler. That's just a great berry color itself. Okay, so rinse, right? Brand new clean brush again. I'm going to go in to— again, I'm just kind of using what I have left over here on my palette. So this is like my yellow with a little bit of orange touching it. I'm gonna just go with that for now, and then we'll see if I want to add any white to it, which I do want to. I can tell. See, I glanced up at the camera and then I was like, oof, that is— that is too yellow. So I'm going to add a touch of white. I can be very, uh, easily offended by yellow. It's one of those colors, and I don't like it when it's like too stark. I almost like— I feel like I like an orangish yellow better than I just like yellow. So I like a warm yellow. And I like it when I've got some wet orange spots on here. I love it when they mix. I think I want to pull some more of the— I need more orange pulled down here. Um, yes, my branches are dry, so I don't have to worry about that black pulling in there. So I just got a little bit more orange. I'm going to pull it into some yellow. So we've got an orangey yellowy mixture here. Oh yeah, I like that. It almost looks like coral. Okay, so this is going to sound so random, but I just said coral and it made me— it made me laugh on the inside. How many of you watched Walking Dead, uh, back in the day? Every time I say the word coral, I think of his dad saying Carl. Remember how anyone— remember how he used to say Carl in Walking Dead? That's what it makes me think of. So yeah, every time I say coral, I think Carl. And then I think I'm going to come back with some like super pale yellow down here. I think I even want more burgundy in here. So this is where you decide your painting. Like, I'm just making those choices right now. Like, uh, I think I want more of this color, I want more of that color. Like, what color do you like? Then that's what you want more of. Okay, at least a couple of you got it. If you didn't watch Walking Dead, sorry, you have no idea what I'm talking about. It's just the way he said his name. Always made me laugh. Let's pull a little bit of that Berry Cobbler down, couple darker sections down here. Yeah, I'm liking that better. All right, so I'm doing a good rinse. You guys having fun? Have you enjoyed these last couple days of painting? We are getting ready to wrap up. Oh good, Liat got it. She said, then I had to say Carl out loud. I'm glad I'm not alone in my weirdness. Not that you're weird, I'm weird. All right, so I'm getting like a really— well, I meant to, but I didn't. It touched my orange. I'm going to make a really pale yellow. Okay, so as we're, um, wrapping this session up, um, as promised, I'm going to be doing a giveaway here. Shortly, so don't jump off yet. Um, I'm going to finish up these couple of brush strokes, and then we are going to do our drawing, select a winner at random, and someone's going to win the prize. Um, but we have a question for you. So from this question that I'm getting ready to ask, I want you guys to share your thoughts in the comments, and then there's going to be a lot of comments coming, coming through. Okay, so it's going to feel— there's over 500 of you on here live with me right now, so it's going to get a little busy in the comments. But Megan, from all these comments, is going to randomly scroll and pick a winner. So I'm going to show you the, um, the giveaway really quick again. Let me pull this down just a little bit. If I could stop working on my painting. See, there's always just little sections I want to add. Sorry, Megan, I'm almost done. She had— she has to wait for my cue, but that means I have to quit painting. But I can always come back to this later, um, if I'm not happy with where I'm stopping tonight. Okay, so giveaway is going to be a signed original from me. I created this last year. This is like my little shelf sitter impasto style pumpkin that says grateful. So someone is going to get that. You're going to get— I'm going to try not to set this on my wet painting. Um, M said, can you add some yellow leaves to the ground? Yeah, you can. On your painting, you can do whatever you want to. You could definitely add some leaves to the ground. Um, you're gonna get 2 stickers, our Dream Without Fear and Trust the Journey. Just great reminders for you guys. And then I'm throwing in 3 magnets, so our Enchanted Pumpkin I thought one for each upcoming holiday season. Our joy to the world, little Christmas tree magnet. And then, um, our spirit not of fear, for God gave us a spirit not of fear but of love, power, and self-control. So you will get those custom magnet magnets. And then last but not least, you will get a full 15-piece brush set from me, all 15 pieces and the bag to carry them in. One lucky person is going to get this fun little bundle. Okay, so here, here's your question. Get your typing fingers ready. What's your, what's your favorite part or biggest takeaway of these last few days? So I'm going to show the comments on the stage because I'm not like teaching a step right now anyways. So I would love to hear from all of you what your favorite part has been. Maybe like, like, did you have an aha moment? Let us know. It's so fun for us to read your comments and see what you liked about the experience. All right, I see some color mixing come up. No need to be perfect. Don't overthink it. I love it. We're focusing on some good mindset here. Maria said, I love all the tips. There is no such thing as perfect. Absolutely. And the shadows and highlighting. Being encouraged. Good. I'm glad you guys are feeling encouraged and finding your joy. Being bold, not fear of mistakes. These are all so great, you guys, and this is what is so important and what I really want you to focus on, or I hope that you start focusing on as you hopefully continue to paint, is to not put so much pressure on yourself that it truly is not about being perfect, right? Like, I have some leaning trees on here. I have some globs of paint that are in places that I didn't mean for them to be. But does that mean my whole painting is ruined? Does it mean my painting is ugly? No, it doesn't. And you can always come back and change those things. So really just allowing yourself to like sink into that, like focus on that mindset is so important. I say it all the time, but like when you sit down and your creative time. You're taking a break for you, right? Like, for those of you who showed up, you know, the first and second night here, what made you want to show up for this? Was it just the desire to, to learn how to paint, or was it you saying, I'm going to do something for me, I'm going to take some time for me. And then just taking all that energy, our energy that we put out is so important, and your energy shows up in your paintings too. So having a positive mindset, coming at it in a place of giving yourself grace, all of those things are important. Not expecting perfection from yourself, right? Learning, like, I hope some of you, I hope all of you listen to the mindset lesson today where we talk about mistakes are stepping stones, not setbacks. Um, but really like sticking with that. I know I saw the winner pop up here. I'm trying to scroll back up and find it. Here we go. Congratulations, Christy! You are our lucky giveaway winner tonight. So you're going to send an email to christy@thesocialeasel.com. Let them know you are the winner from our live tonight. The whole team already knows about this, so they'll know to be looking for your email, and then they will give me your address, and we will get that sent out to you. So as we're wrapping up tonight and transitioning into closing, this is our last painting this week. So we have a full week together next week too. I hope you come back and join me again, but there were just a couple thoughts That's what I wanted to leave you guys with tonight, because it's really easy, especially like when you sign up for something free. You didn't have any commitment to this, right? It's easy to put off. It's easy to say, oh, I'll do that someday. But I was— the word intention just kept coming to me today, and that's really what it is. It's like, what are our intentions? What are your intentions? And I think about this word a lot as a business owner, as an entrepreneur, and I have been for over 20 years. What our intentions are kind of set the pace for our life. So being intentional about taking that time for you, not putting it off, not saying it can wait till later, not saying someday, but like you showed up, you made the choice to be here. This was your intention and you did it. And so now following through with that intention and continuing to, to keep painting. Um, obviously most of you are still going to be working on this. Um, to, you know, who knows, some of you stay up late, you might be working on it tonight, tomorrow, over, um, the holiday weekend. But I'm just going to encourage you to make sure that you are taking that time for you. Be intentional about your time. Um, and what I mean by that is like looking at your calendar, marking down the time that you're going to commit. Let's just say over the next 7 days, we have all of next week that we're going to be painting again. You're finishing up this painting. So just reminding yourself why, why are you doing this? And maybe some of you guys can answer that question in the comments. What made you want to come and do this paint week with me? Did you come for time for yourself? Did you come to build confidence in your painting skills? Maybe it was just to de-stress. Right? Like, we're all here for different reasons, but I want you to start taking that time and, like, living with intention. And, you know, I tease my husband about this all the time because we're both very, like, driven people, and sometimes we can get caught up in our to-do lists. And I just want to make sure that we're, we're not becoming a slave to our never-ending to-do list. We all have so much to do. That's the same for every single person who's watching this tonight. We all have something that we could be doing instead of this, but you chose to take the time to slow down and take time for yourself, and that's important. You're pouring into you. So it's about you taking that time to do that. So don't, don't feel like you have to give that up. And I just want to encourage you to keep going, like, reflect on how many of you There may be some of you in the comments. We will have Debbie. We will have a place to share your paintings on the social easel page. So when this live is over, we'll make sure that we get a post up there so everyone can share their progress. And we may even do a slideshow of those. So yeah, please share your progress, share your finished paintings. But this kind of goes back into— I was talking about our planner that I have for our tribe sisters. And part of that is to reflect. I want you to reflect after you finish this painting, and I want you to think about the way you feel, and I want you to think about that accomplishment that you finished this painting, and I want you to be proud of yourself for stepping out of your comfort zone and trying something new and just remembering, like, this was just a taste, right? This is just in 2 sessions of painting with me. So I want you to just imagine if you continued, if you continued to build these skills, you got one painting with me, you're going to get another one next week. You're going to continue to build these skills. You're going to continue to feel proud of yourself. I want you to imagine the amount of progress you can make if you choose to become a part of Tribe. So doors close next week, but our early bird ends tomorrow. So I am going to throw that back up. Really quick, just to make sure for those of you that are new tonight that you saw this, that you know what the early bird is, because the early bird is only available through tomorrow at midnight. So if you've been on the fence, if you've been debating, you've been feeling that tug at your heart, like, I really want to do this. This is something that I know is going to bring joy to my life. I look forward to getting to know ladies and having other creative friends that I can talk to and and talk about paint to and talk about art with and, and, you know, continue learning. I want you to, you know, listen, listen to that inside, listen to that voice. So these are the early bird specials. Again, I have been teaching all of you. I've been teaching thousands of women for the past 12 years how to paint. And so we are doing 12 big bonuses. You are getting this back and front door porch leaner workshop. You are getting my Rustic Santa and Fall Chapel. Honestly, still 2 of my favorite holiday paintings. You are getting the Among the Wildflowers workshop where this one goes really in-depth, talks to you about color theory, texture, layers, depth, all those things. Like, we really dig into some art lessons in that one. So not all of these are just like paint this, follow this step. You're, you're getting some more detail and depth in here. Um, our, um, Sunflowers Galore, our Joy to the World— you saw my little magnet for that earlier, um, it's from this painting. You get 3, 4 different projects in this painting. Um, Go to the Pumpkin Patch, our Pumpkin with Sunflowers, our Fall Owl, and then how to edit and photograph your paintings. How to price your artwork, and then you get access to my mock setup of how I used to teach paint parties. So that's your big early bird bonus. Early bird ends tomorrow night at midnight. It's over a $450 value that I am giving you, and I handpicked all of these because I really wanted to give you— yes, it's a lot of fun things for holiday season. I love this time of year because everything is like fall, Christmas, and you're just thinking about all the things, right? So there's all that fun in there, but I wanted to give you some, some workshops and some lessons that are also going to really jumpstart you in your journey to painting. So not only are you going to get those, but you're going to be welcomed in to an awesome group of women. You're going to have me continue to teach you live lessons each month. You get access to the vault with over 200 paintings. If you missed my preview of the vault yesterday and seeing what all you get inside of Tribe, please go watch that replay. You can fast forward through parts if you want to, but it's really going to give you a behind-the-scenes look at everything you get as a Tribe sister. You can also go scroll down on this page. When you click on the lookbook, you can see all the different types of paintings that I teach. I don't just teach one style. So you're gonna get live tutorials with me, 2 new lessons every month. We do critiques, techniques. I do devotionals in the group. We have paint parties where you can get to know other women in the group and share in their joy and share in their life. And then you get instant access to over 200 painting tutorials in that vault. Of course, I include creative rights, so you have the ability to sell your finished pieces. You can sell them online, you can sell them in boutiques or craft shows, and you can also teach in-person paint parties with my designs. So you get all of this for $47 a month. You can cancel at any time when you join monthly, but you would not be able to join again until we open doors back up to new members. So there are again two different options. Um, $47 a month. And the way that it works is if you sign up today on the 28th, then September 28th, your $47 a month would deduct from your credit card, um, on that date and continue on, um, until you cancel. The other option, if you want bigger savings and you know this is something you want in your life— I have Tribe sisters, some who have been with me 5+ years And most of them do the annual subscription because it's giving them a bigger savings. So that's $470 for your entire year, and that's the equivalent of getting 2 months for free. However, I always tell people, like, if you're still on the fence and you're not sure, jump in monthly because you're not in any kind of commitment. Okay, so jump in monthly. You can join us for $47 a month. If you're like, I want to do this, I'm in love, this is so much fun, I want this to be a part of my life, you can do the annual subscription, but that is nonrefundable. So you can't, you know, email in, in a couple days and say, I changed my mind, or a couple months. That's a 1-year commitment. So those are your 2 choices for signing up. So really quick, I'm just going to field any questions if you guys have them before I jump off here. I'm going to pull myself back up so you can see me. Okay, move this out of the way. So who had fun tonight? I hope you guys did. Here's our finished painting. I can't wait to see yours. So we will have a post for you guys to be able to share these over on the Social Easel page. You can share your finished pieces, share your biggest takeaways with us. We love hearing those from you. I love hearing how you liked the workshops and what your big aha moment was. So, just let me know if you have any questions. And Joel said, do I teach these? Hold on, let me find it. Do I teach live the same day and time each week? I do not. So, our schedule is always all over the place because we travel a lot. We have 2 girls in college. So, So depending on what's going on in our life, that determines my painting schedule. So you get a calendar for the entire month on the 1st of each month, and then you can plan accordingly. So we do not expect everyone to join me live, but for those that can and want to, it's there for them. And for everyone else, you have access to the replays. And then after a month, it goes into the vault where all our other paintings for the last 7 years are. So you can watch them at any time on any schedule and don't feel like you have to be tied to those live times. Oh, also let me know. Hold on, I'm going to show you what I'm started on last night. This is something fun that I'm doing. Um, for this paint week. So we started this painting last night, very beginner, um, quick. Like, I literally taught it live, no, um, plan in place. But I don't know if you can see, there are names in these petals. And I'm going to continue adding flowers. I'm going to darken some of these flowers up and continue working on this painting tomorrow. Over the weekend, I'll be sharing the progress of this, but this new bouquet of flowers is a representation of everyone who has joined Tribe this week. So when you join Tribe, your name is going to be added to a flower, and we are going to bloom together. And I'm going to continue to share progress. I'm going to continue to add names to this, and I'll show you guys pictures and videos of this along the way. And then by the end of next week, um, we will have a finished painting that I'm going to be able to share with you guys of everyone who join Tribe during this week. So it's going to be a very special piece of art that's going to hang here in my studio. And who knows, maybe I'll end up teaching a full lesson on this inside of Tribe once I finalize everything. So your name will be added to this piece of art as well. It's such a fun idea we were coming up with a couple days ago, and I love it, and it's going to come together super cute. Um, Yvonne said, are Tribe paintings the same as other monthly subscriptions? So most paintings are exclusive to Tribe. Um, my other membership is Painting of the Month, Painting of the Month Club. You only get one painting per month for that. No community, no vault, none of the other stuff. You get one painting delivered to your membership library on the first of each month, and that membership is $20 a month. Month. So this month it's Sammy the Scarecrow. He's right up there. He's super cute. I love him. So he is included as a Tribe member, but that is also the Painting of the Month Club. Um, so everything in Painting of the Month Club, Tribe sisters get automatically, but it doesn't go the other way around. Painting of the Month Club is just one painting. Um, Cassandra said, are the early bird bonuses lifetime access or just while you're in Tribe? They are only while you're in Tribe. And the reason we do that is because in the past we have had people think they're sneaky and smart and they're like, oh, I'm just going to sign up and get this, you know, big bonus pack and then cancel. So, yeah, they're yours as long as you are a member. Just making sure I'm not missing any questions. Let's go back down here. Oh, one other thing I forgot while we're talking about Painting of the Month Club. This is another fun thing that we do inside of Tribe, because Painting of the Month Club paintings like Sammy the Scarecrow— I taught that last year in Tribe. So Tribe is, you get everything brand new that I teach. I won't say everything, sometimes I paint stuff for myself. Everything brand new that I teach for the Social Easel is meant for my Tribe, right? Painting of the Month Club, at the end of the year, we select those paintings for the next year. So there's quite a delay in that. So you're getting them a season later. But we, we love to do contests and giveaways inside a tribe. You can tell, like, I love doing that during my workshops as well. So we have a contest that tribe sisters get to enter every single month. And when they go back and paint the Painting of the Month Club painting that's getting ready to be released to the public, they get put into a drawing and win a $25 gift card to Amazon. So there's all these, and plus we do other contests like seasonal contests as well, but there's always something fun going on in there to encourage you to stick with your painting, stick with your consistency, and continue doing it. And we give you fun little perks along the way to help inspire you and keep you active. Um, Grace said, is there a lifetime membership? We do not have a lifetime membership option, no. Yes, Megan is okay. So I'm just going to go ahead and tell you the next, next release of Painting of the Month Club is a really fun one that we did from last year, and I think the Tribe Sisters are going to be really excited about it. So you guys are definitely going to want to do this next painting and enter that contest to win a $25 gift card. Um, Barbara, I'm not quite understanding your question. You said painting of the month is the painting like Van Gogh. So I pick a different painting every single month, and like I said, the one for this month is, um, Sammy the Scarecrow. Um, Allison said, is there pressure to get others to join you? Absolutely not. This is not— I'm not, I'm not trying to trick anyone, convince anyone to join me if they don't want to join me. This is a group of authentic precious women who truly is like a sisterhood. This is a very tight-knit community. If you have friends who are creative and they would like to join, sure. But like, we're not trying to like get you to go collect people. So no, like, you, you join for you. This is all about you. Allison said, can we watch the videos with friends like a paint and sip? Yeah, so like, if you want to have your friends over to the house, you can't share your account. You can't have multiple people log in to the same account, so that's not allowed. But you can certainly like have your girlfriends over, watch one of my videos, and you guys all do it together. So Cassandra said yes. So the peacock behind me, yes, that is part of Tribe. That is included in that. I'm pretty sure Every painting on my wall behind me, these are all in Tribe. Those are all included for you, or they're included in the bonuses that we are giving away right now. Okay. I think that is it for tonight. I'm going to jump off. We made it under 2 hours. That's great with answering questions and doing a giveaway. Oh, Barbara said, I like the Van Gogh painting. So I have 2 different ones. We have the Go to the Pumpkin Patch that is included if you sign up for Tribe. That bonus, that's the bonus that is one of the 12 that's included. You get when you sign up. Okay, other Tribe sisters who were members at that time, they already have that, but it's It's separate. So if you join after tomorrow, that will not be in your library. That is only a bonus for the big early bird bonus that we're giving away. Kathy said my large tree on the right into the whole pathway. How can I fix it? Kathy, it's really hard for me to answer that question without seeing. What you mean exactly. You're saying it blends into the pathway, then I would, I would think you just need to change your colors so that there's a clear difference between your path and your tree. Um, Jules said, do we get feedback on our art in Tribe? Yeah. So inside our Facebook group, this is a place for you to share your work. Um, you can tag myself or Megan. There are Tribe sisters in there who will give you feedback as well. And then, um, Quarterly, every couple of months, I also do critiques, and you have the option to submit your painting, ask your questions. It's submitted to me prior, and then I do individual critiques during a Christie's critique session. Allison said, how did I decide to do online versus a paint and sip? So, um, just a different period of my life. Um, when I started that, um, paint and sip when the Social Easel began 12 years ago, my girls were way younger and they didn't have a lot of activities. As they got older, my oldest two started playing volleyball and I was gone in the evenings. And then I started resenting that. I started being upset that I couldn't be there in the evenings or I missed their practice or I missed a game. And so I started trying to like figure out another way I could continue I can do this business without being away from my kids so much. And so I started looking into the online space and started taking training and courses on how to run an online business in this way. And that is, that's how I transitioned to online. And then once I went online, it has just opened so many doors for me because I'm not restricted to 2.5 hours in somebody space, and I can go so much more in depth with you. I can teach you things that I would never be able to teach at a paint night. So it's still fun, like you can still have a great time painting, but it's not the same vibe as like a paint and sip. I'm not there for entertainment. I'm there to actually teach you how to become a better artist and, you know, build your skills over time. So they are two different things, and this kind of has grown. Tribe is 7 years old, so I've been teaching in this group for 7 years and it has grown a lot. In the beginning, it started out like my paint and sips, and that's like all I thought it was in my head. But then once the more I got into it, the more I fell in love with what I was able to teach people, that I'm able to take everything that I've learned over all of my years of art school, over all my years of just teaching, and able to bundle all that up and share motivation and mindset and devotions with you guys. And really, it's, it's all-encompassing. I want you to become a better woman, a better mom, a better wife, and enjoy and find joy in being creative. And that has really been what has brought me joy as the teacher, is seeing all the women's lives that have changed simply because one day I decided to say yes I'm going to teach people how to paint, and I love paint, and I bet other people love how to paint too, right? Like, and I'm just feel very fortunate that that is what I get to do for a living, is I get to share art with all of you. I get to share my passion with it. I get to share my excitement about it, and that's what I love. So that's, that's really what my tribe is all about, is about pouring into you guys and continuing to help help you grow in every way possible. Oh, thank you so much, Allison. She said, you and this outlet for Sisters in Christ painting together is a blessing. It's so amazing. Planning to join, just have to talk to my hubby first. So that's funny that you brought that up. So I was thinking about this earlier. Ask the Tribe sisters if, if you guys are still here in the comments any of my Tribe sisters, I want you to speak to what your husbands think about Tribe. So many husbands have seen their wives turn into this happy, vibrant, confident person, and they're like, what is going on with you? Like, you are filled with more joy. Like, you're like happy. Like, you're really proud of your work. Like, they see the change in their wives and they fully support it. We have husbands who are giving it to their wives for Christmas or a birthday present, or they're like, hey, whatever you're doing that's making you this happy, whatever that costs, we're going to keep doing that. So for $47 a month, when I say it's therapy, I'm not kidding. Painting is therapy. Having this group of women is therapeutic. Having people to talk to and share our same interests together, it's special. It's a special place because I talk about this all the time. But, you know, in my life, this is why I like to geek out and I love going in Tribe and teaching and talking to everyone while I'm teaching, because because guess what? No one in my real life wants to talk about art. No one wants to talk about painting. You guys do. And so I come online and I talk to you about painting, and that's what makes it so fun. Lori said, mine is so happy. Kathy said, my husband buys too much fishing stuff, so he doesn't say a word to me. I love it. Pauline said, mine is so happy to see me happy and not bored watching TV. Kathy said it's cheaper than therapy. Mary said her husband loves it. Judy, to answer your question, yeah, so like I said, you can, you can join Tribe monthly. There's no commitment, and then you would just have to wait to join Painting of the Month Club if you want to go back to that when it's open again, because we don't have that open all, all month long. Brenda said, he encourages me in every possible way, and anything that I can do, he always says, please go do it. I love that. I love it, love it, love it. Nancy said, he is watching with me tonight and wants to know when I'm painting again. See, I love this. It makes me like teary-eyed because I love it when our husbands like see something that they're like, man, that is really making her happy, like that matters. That's so good. That's so good. Karen said he's getting a kick out of seeing me changing to be an artistic person and finding a hobby that brings me joy, gets me off my phone and playing games too, right? I know, like we're all guilty of that sometimes, but I think about like when people say they don't have time, I think about how much time we're on our phones How much time are you scrolling Facebook, looking at Pinterest, looking at YouTube, watching a show? Think about what we could do with those hours and invest in ourselves. Do something that's going to make us a happier, more joyful person. Do something that we actually get to say, I did this, like be proud of something. That's way better than watching a show, right? Still have a time and place for that, but you can have both. You can learn how to carve that time out for yourself. Laura said, my husband loves my participation in Tribe. He doesn't like all the supplies, but he loves my joy. Married 48 years. That's so funny. Kim said, my husband will say either go paint something or have you painted today, right? I'm not kidding when I say it's therapy. Marcy said, yet my husband hasn't ever once cranked over what I'm doing, and it's also driven me out of, uh, driven me to all the lives that I've attended to. Very sweet. Okay guys, thank you for the last minute chitchat. I love it. I love hearing from you guys. I'm gonna jump off for tonight. I may or may not pop in for an impromptu Facebook Live tomorrow. If I do, we'll send out a quick email and let you know. But tomorrow is probably going to be my day of rest, and I'm going to rest this weekend. And then we will come back next week. If you're watching and maybe you haven't signed up yet, again, it's free to sign up, but when you sign up, you get the full supply list and the agenda and everything. So we did a landscape tonight. Next week we start on this, and these flowers in this style of flowers hold a special place in my heart. I love them. I have one for every season, but this one is really gonna start forcing you guys to trust me a little bit more. There's no template, but I'm going to show you how to do this with paint. We're going to get messy, we're going to use our fingers, we're going to scribble in our paint, and you're gonna really learn how to stretch yourself and push yourself. So this is why I chose these two different paintings because they are taught in completely different ways and different techniques. And I want to give you guys a glimpse of, like I, like I said, I don't just teach in one way. I'm always coming up with new and fun things to keep you growing as an artist too. So this is coming next week. Work over the weekend on your painting. If you don't finish it up tomorrow, don't forget early bird ends tomorrow at midnight, not over the weekend. You have have till Friday at midnight, um, to get that early bird bonus that includes all of the things that I showed you earlier, including the Go to the Pumpkin Patch, the Van Gogh Go to the Pumpkin Patch. Okay, um, Michelle said, can I join for $47 for the first month and then switch to annual? Yes. So yeah, you can definitely do that. You can join for $47 a month, and then if you're like, okay, I love it, I want to save a little extra money, you just email in, and then from that month forward, you start on your, um, annual plan. All right, guys, I will see you later. Um, all replays are available on the Replay Hub. We do send out daily emails with those links for you, so check your email, check your spam folders if you're not seeing it in your inbox, and I will see you, um, next week. Bye.