How to Paint Animals with Emma Colbert

if you love animals if you love animals and you feel like you want to learn how to paint animals this is your lucky day because we have Emma Colbert all the way from Spain she's not from Spain but she lives in Spain and she's going to teach you how to do animals what are you going to teach us Emma well hopefully I'm going to show you a small animal portrait and give you a few useful hints and tips along the way okay so we need to come up with an animal uh let's see how about a monkey can you do a monkey that's perfect that suits me perfectly thank goodness you said a monkey yeah thank goodness I said a monkey well I kind of knew that you were goingon to do a monkey well okay so what's the key to uh painting animal portraits before we get started what what are the kind of things you're going to touch on well a lot of the time you're dealing with the expression of the animal of course fur is something that you you have to get to grips with if you want to paint animals but what I really want to show today is just how wonderful the medium of soft pastel is when you want to just capture the light and shade on something really quickly you can get that really 3D appearance in a much shorter time than you would imagine okay so sof soft pastel okay well terrific in case you guys are wondering Emma tell us where you're from from I'm from Northern Ireland and currently living in the south of Spain okay nice sound sounds good well I'll tell you what you get set up and we'll get the show officially started it's Art School live with Eric [Music] Rose Our Guest today is Emma Colbert and she is in the south of Spain and she's setting up as we speak and uh we're going to be learning how to paint a monkey I think monkey sounds like a lot of fun okay looks like Emma's all set up let's do this all right looks looks like you've already sketched it out a little bit okay we're set up okay got the reference image there Emma can you hear me I can no sorry I was just moving the camera okay good it looks good let's get started what's what is the surface I'm keeping this pretty small I'm using pastel mat and I'm going to keep this pretty small so that can show you the full effect rather than just working on one one tiny area of something I really wanted to try and show the full effect so I'm going to start with the background I want to create a a really moody and dark background but also very simple so I'm coming in with the black pigment first because if you can see my photo reference you can see that the the background is pretty dark and I want to use that to good effect I want to create nice contrast between the edges of the animal and the dark background so you could have also started with with a black paper correct I could have and I have actually done that before um with uh similar shots of this type of monkey but I really I really love working on the midtone papers sometimes I do work on a dark um color but there are times when I just start with a lighter colored paper and color my background dark so yeah both ways work and this this image in particular works really well on black people as well so yeah maybe that might have been a a good timesaving um idea for today but didn't take any time and well look how much it contrasts already just just with that midtone against that dark yeah and I really like to paint the backgrounds rather than use the color of the paper because I like to fill the tooth of the paper with the pigment so that when I come to add the little hairs out over the edges it's got other pigment to go on top of I find that if it's just the bare green of the paper that those little fine hairs can end up looking a little bit scratchy or rough so I actually quite like even if I'm making a white background I tend to paint a white background rather than just use the white of the paper and that's I think that's a lot to do with the um the texture then that I leave on the paper to allow those little detailed edges on the animal which are so important so this is a super quick background though it's not going to take me more than 1 minute hopefully so I'm just going to bring in a few little hints of lighter color just to create a bit of mood around the animal but I want the background to be pretty dark so I just bring in a little bit of like a Dusky blue violet color and the more you start to add add the layers of pigment to pastel mat the more you notice it it can blend really beautifully and well you can leave your marks showing in the background if you want a bit more interest but you can also create quite a quite a misty kind of dreamy background on pastel M which I really like dreamy that's really it dreamy backgrounds that's what I like I like a good um bouquet or out of focus background I really like to create those uh especially behind an animal so I'll often take reference images of the animals that I want to paint and if I don't well usually I don't manage to photograph them in their natural habitats especially wild animals so often I'm left having to create a background having to create a scene and I really enjoy that really enjoy putting the animals into a more appropriate background so I really I love painting backgrounds as much as I like painting animals some of the time so the first thing I'm doing on the monkey is I'm going to take that CM black that I used in the background and I'm going to just block in everything dark so my first layers often look like a bit of a muddy mess and I don't mind that because in order to capture the light and shade it's really important to get some dark contrast in there to begin with because later on when it comes to adding highlights you really want some of that dark pigment to what create your contrast and make your bright colors look even brighter so I'm I'm often asked how to make white look brighter and it's always about the colors that are next door so you it's only so bright you can go with a color but if you adjust the colors around it all of a sudden there's extra brightness in your white or it's just about creating the contrast really between the colors that's what I'm really interested in so I'm just furiously scribbling with the the black pastel at the moment and I don't have to worry about the the texture or the direction of the fur I'm really just looking almost squinting as I look at the photo reference and just searching out those dark areas and I can lean a bit heavier with the pastel stick in areas where it's it's really really dark um and then I can also like take this stick on its side and just give myself a little thin layer of pigment so I'm really darkening all of those dark areas to begin with and then of course we've got really contrasted light on this monkey's face I think that's why I like painting him so much he really posed so well when I was photographing and there was fantastic light how do you find a monkey to photograph I asked him very niely um no I I do go to a local um Zoo stroke Refuge uh they tend to deal with a lot of animals coming in illegally through customs theyve a lot of rescue animals from circuses so in essence it's a zoo but um it's also doing a lot of pretty good work as well so it it kind of makes me a bit sad to go to uh places where animals wild animals are in enclosures um so for for many years I sort of avoided doing that and stuck with more local Wildlife things that I could really see around me um but I I do enjoy going to this place and the Langer monkeys which is this type both monkey are a particular treat to watch they so how did you get such a good photograph it almost looks like you had a black background and a light it really it was just the back of the um the enclosure the way the light was coming in and it created very dark shadows in the back uh I was surprised actually when I looked at the photos because I was zoomed in quite close on the monkey of course and yeah it it picked up this very dramatic lighting in the background which was great so you ever shown a monkey portrait is what I would call sort of the dark blocking in and then I can start to come through those black areas with I mean something a little bit lighter I don't jump to light colors right away but we're talking dark tones um usually in black things I quite like to use dark Browns dark purples I mean I'm seeing a lot of purple in this monkey in those darker areas and one good trick actually if you're working from quite contrasted photo reference like this the shadow side of the monkey I can barely see any detail in there and sometimes on a bit of software editing software I will lighten this side of the monkey just a little bit so that I can at least make out the outline of the eye for example um so often I'll do that but at the same time I'm really trying to capture the light how it is and what I want to talk about on this Shadow side is how you can actually create the illusion of detail without creating any real detail and it's it's that idea that I really love you can put that little bit of extra detail into the sunlit side and sometimes you can just get away with so little within the shadows and of course because I work uh from dark to light so I'm always looking for the dark colors first and soft pastel is well I feel like it's quite similar to oil painting actually um in terms of being able to use the strength of the color a lot of pastel painters do oil and vice versa I bet yeah yeah I did oils uh quite a lot growing up as well as pastel um but I'm I'm quite messy so with oils you've got to deal with dirty paint brushes afterwards and also the smells that are associated with it as soon as I picked up soft pastel and I realized that these are my brushes and I can just throw them in a pile when I'm done I don't have to deal with um dirty brushes and cleaning up the studio yes there are other logistical things that you've got to do with your soft pastels but for me it was just such a joy to find this very immediate kind of medium that you just pick up and go you can set it down and you've got nothing to do until until next time you're ready to pick them up you know they're just so inviting and immed well that's what I love about it is I can just walk into my studio pick up The Pastels and start painting I don't have to put out any I think it's a really great medium for somebody who wants to learn to paint because they already have experience with crayons when they're little and even though this is a much more high quality version it's not chalk for who don't know but it's pure pigment so you get more brilliant color and you have incredible control that's why I love it so much um yes you it helps to know about mixing colors of course all of that is useful but for anyone starting out I always think this is just such a Hands-On get stuck in kind of medium there's nothing to stall you at the beginning no mixing colors uh just pick up the Pure Color and go it's so immediate so I'm just I'm blocking in shadow colors I'm just thinking of the colors that I can see through the hair on this side because I think what I'll do first is get some of the the outer edges blocked in because there's such a huge contrast in this right side of the monkey to this left side and I don't know about anyone else but I always really really look forward to creating a big area of sunlight like that to me those areas just instantly bring a painting to life when you get those lighter values coming in so I'm again using the the Dusky blue color that I used a little bit in the background so I try to bring in lots of the the background colors that I'm using um and just hopefully then create a little bit of color Harmony throughout the piece so if in doubt on what color of background to create for something my advice is always to try and choose some colors that you see within the animal or whatever the subject is and to try and marry the the background and the main subject together where possible so we've got a very uh back lit effect going on here so I can see the shape of his neck through all of that fur and it's reasonably dark in there again this area really wants to contrast the bright white side of the monkey and I feel like if I get that bright white side in now perhaps that will start to help me balance the light and shade here so you could almost you could almost leave the color of the paper it's got yeah it it already gives you a highlight there doesn't it but then if I take um it's not quite Pure White I'm going to take something that just has a little hint of yellow in it like it's really a very Peale tint and sometimes I like to use that instead of pure white which can sometimes be a little bit cold or a bit Stark so I'm just going to find this outer edge of the face and I just I love how solidly the soft passle sticks go onto the paper it's such a lovely feeling they just glide on and the lighter colors really really they they pop out from the darker backgrounds especially so even though I've used extremely dark colors in the background with a good quality soft pastel you'll get that strength of color it'll go right over those dark colors no problem so I'm just going to feather some of that lighter hair right the way around this sunlet side and we do get that white or brightest color continuing over the top of the head a little and we get the light that just catches the top of this ear just about and then of course below that we sink into the shadow so I've got to like constantly think to myself when I'm painting light and shade like this don't let this color creep down any lower or it's going to really flatten the lighting I'm going to lose that shadow effect and that sounds simple but sometimes it's really hard to keep this brightest value out of there because you just want to add some highlights in there but when you're adding highlights in there you've really got to think of darker colors so sometimes you're talking about highlights but it could be like a really dark color or a mid tone that you're using as a highlight so I'm just going to get all of this bright Edge blocked in so even though I said that I often don't come in with the brightest colors until later I kind of bend that rule for myself if there's a really prominent bright section and it kind of helps me to get it in early and then I can like measure everything else off of that brightest bright white area so I'm not being fussy with the hairs here I'm kind of making the marks in the general direction that the hairs are growing but I'm certainly not trying to replicate each individual little hair at this stage if you guys are just Tuning In Our Guest is Emma hbert she's in the south of Spain from she's from Northern Ireland and she's doing animal portraits today in pastel if you guys got questions comments make sure to put them in the comments we'd love to hear hear from you so one of the few times I will actually use some pastel pencil is in areas like this so where I want to create those believably fine little edges then I can start to pull those little hairs out from the light colored pigment and the pastel pencils I find don't tend to go on as strongly or as brightly as my soft sticks so a lot of the time I'm just picking up pencils that are the same color that I've just put down using the bigger sticks and then I can kind of use that and you see how I'm kind of dragging some of that light pigment out over the edges and the odd time just softening the effect with my fingers as well [Laughter] and this is where you can really spend a long time the edges are so important not just the outer edge but each little Edge where a different section comes in contact with another section all of those little dividing edges the softness of them or the the hardness of a line where it divides something that's something that I I spend a lot of time so just a few stray hairs coming up into the darkness here as well might as well just get that done while I have the pencil in my hand and even out here towards the edges but again I don't want to let the white color come down too far again we're just slipping into the Shadows there so I want to be sure that I use different colors in there to represent the Shadows so I'm not really starting from the the center of the face um it's different for every painting with me to be honest in this case there's just such a a glowing mass of hair that I felt like that's the best thing to to tackle first so I'm just going to add a little bit more dark pigment in here because again I want that really dark contrast for my next marks and we've also got even just a lovely little Slither of light coming down the back of the monkey here and to me that kind of little detail just completes the the lighting in a piece it's like I can understand that the the sun was coming from a particular direction maybe behind the monkey just coming like this and then it just catches this little edge of the back of the monkey as well I think that's the thing that interests me most when I'm painting anything it's usually what I hear a lot of painters talk about the same thing it could be absolutely anything that you're painting and what's most interesting often is what's the light doing how's that affecting it how's the light showing the structure of the subject but as I start to add more fur like marks then I want to be sure that I do a little bit of softening a little bit of smudging and blending because sometimes the marks look a little bit hard or a little bit um not as soft as I would like and so just a little bit of blending sometimes just with my fingertips usually and this is another reason why I stopped oil painting because I have a terrible habit of just putting my fingers in and going for it and so not only brushes but usually me and my face and my clothes and everything would be completely covered in soft P or in oil paints so it's I think I'm safer to stick with soft pastels washes off more easily so I'm just using the same Dusky blue color now and I'm kind of using it on its side we've got some thick hair coming down the neck and just by letting those darker colors shine through kind of starts to look like thick fur there as [Music] well and so I'm just finding the the outline of the face here where the hair comes into and again this is those little edges that you can come back and and work and so this is what I was saying about when you're working on the shadow sections of something there are times you can just be so suggestive with your marks it's not always totally necessary to replicate each little hair that you can see because you could you could with soft pastel it's such a great medium you can work in a really detailed way as well so just bringing some warmer colors into the Shadows too because although it makes sense to bring in cool colors in the shadows sometimes there's warmth in there too so I think I will get on and make a start on some of the the main features because I've made a good start on the the outer edges of the monkey but it's time to get a bit of detail I think in the face as well if you guys are digging this give her a thumbs up Applause Emma this is great so far thank you so much oh thank you so much for having me I've wanted to come on your show for so long and it's They Know About Us SP do they they do indeed well I do I do I'm a fan we get a lot of people from Spain watching a lot of people from Europe it's amazing to get such um such wonderful demos just by logging on to a channel nowadays it's just amazing that you can access so much so much information and so much direct tuition it's really even even when I was learning like there was none of that it was from books or someone that you met uh really didn't have access to the way things are now where you can pick a medium and then find someone who's showing you everything in that Medium it's so amazing yeah well we do these every day on YouTube and of course the the artists have their own cameras and sound but if if people want professionally produced in-depth art instruction videos we we have them at paint tube.tv ASL we have some of the world's leading artists and uh some of them are 20 30 hours in depth I mean really something you can't do we can't do in this environment exactly yeah there's just so much so much available to us now as artists yeah when I started there was there was nothing very little yeah in particular for soft pastel as well because um like I remember some of the things at the beginning like no one ever told me about different papers or to experiment you know to go beyond the the student grade stuff that I was using when I was in school no one really explained that you know once you actually try out different papers you can really a paper can make such a big difference to your entire process well that's why we do pastel live it's a uh an opportunity to just kind of download everybody's different ideas with top artists in the world you're on that that's exciting we're we're excited to have you coming I am on that this year last year was my first year taking part in pastel life and you know I was looking forward to it obviously because I I was demoing at it but what I did not foresee was that I was was going to need to take all of those days off to watch everyone else's demos and I learned so much I came away with things that I have put into practice since so you you never ever stop learning I picked up some really great great tips from some of my favorite artists you know we all talk about getting better and then we never take the time you know maybe we'll take a workshop or something once in a while but when you immerse yourself for three or four days like that it just is game-changing totally totally it makes you really focus on something for a while which I think in this day and age although the internet is obviously fantastic and it brings you so many options sometimes it can be a bit overwhelming as well like there's there's too much Choice sometimes so to really like commit to something and hone in on that thing and focus on it I think that's really good as well so I am I'm just trying to pick out now more of the the sunlight side and building my way up to the lighter colors on the face I love when there's such contrast in the light and shade because to me it it creates the whole effect for you if you just follow the tonal values that you're seeing that contrast in the light and shade really helps you create something that looks 3D whereas sometimes if you're painting from a slightly flatter looking photo it can really do you a disservice because it's actually quite difficult sometimes to pick out the the form of the animal whereas in this type of lighting you're really going for the sharp contrast so the shapes of your highlights that's always really something that describes the form of the animal so I'm I'm I pay a lot of attention to the the bigger shapes that I'm seeing so rather than get really carried away with tiny details um I'm really looking at the overall shapes of things and and just trying to place the bits of highlight where I think they're needed so picking out a bit of light coming around the lip and again sometimes just softening that with my fingertip when you're painting on a canvas or you're painting s such a a dark subject you could very easily touch your finger and put a bunch of light in where you don't want it you could yes I mean look at my fingertips they're an absolute mess and usually when I'm painting something with very contrasted light like this I will have like one light colored finger so I I try to remember okay blend dark colors with this finger and then save one for the lighter colors but sometimes that just doesn't work out the nice thing about soft pastel is you can you can clean up the the darks you can clean up the lights you know it's it's movable you know it's not set in stone so there's a lot you can do to um fix little eras like that because I make a mess a lot of the time but you can you can just keep working at it clean those areas up again and thankfully soft pastel wash us off so easily because I do end up with it like on my face and on light switches there are no clean light switches in my house so I'm going to switch to working on the eyes now for a second um just so we can get someone looking back at us yeah okay but as I often do I quite like to get a lot of the structure kind of worked on first um and that's just personal preference because I know a lot of artists do like to come in and work the the detail in the eyes first I hear a lot of people say that they just like to get that area looking good and know that they've got the that very important part of their portrait in place um but for me it's almost like something I really think about later on because if I've built the structure nicely of the face then the eyes will just slot into place they won't be a problem whereas if I if I spend ages working on the eyes it's quite possible that I can look at them later on in the process and think I wish I could just move that slightly or you know I really like to have the the structure going nicely before I commit to something as as definite as the eyes okay so I'm just going to zoom myself in a little bit on my photo reference and let's have a look at the eyes so this eye here is incredibly dark so I'm I'm hardly seeing any detail in there and the Temptation is well I could make it lighter in the painting um and as I said I have actually got a slightly lightened version of the photo reference to work from here for this eye and it's more just that so that I can initially see the shape of it but what I don't really want to do is make it brighter because we are over here in the shadows and I want to just let it be in the shadows I want to create the contrast between even the two eyes so that we get a sense that this eye is partially hidden within the Shadows so I'll come in with much more muted highlight colors in this eye I'm using that again it's that Dusky blue color that I've used a lot in this portrait so far and with eyes what I'll tend to do is just plop the pigment in there as close as I can get it and then I can always do a bit of shaping with the pastel pencil so this this is where I find pastel pencils really really useful and to be honest I really I don't want to make that eye very much brighter I'm going to put a bit of color around the rim of the eye just with a nice darker purple color so I can pick out the bottom rim of the eye and then you know I'll not do too much more to this eye I'll go and work the eye that's in the sunlight and sometimes once you do that you realize okay that that one in the shadows doesn't need anything more it reads as an eye in the Shadows so it can be surprising how little detail you actually need sometimes oh I can't tell you how many paintings I've screwed up because I decided to put more light in the eyes that are in the shadow oh wasn't there it it just doesn't feel right yeah yeah it seems like the right thing to do though at the time you know you think well that's not very clear in the photo reference and then obviously you can you have the freedom to take some artistic license and then sometimes you do that and you realize yeah some somehow that's that's lost something or yeah it's not always the right decision to make something clearer than you can see it in the reference I think I've got slightly better over the years at trusting what I see and letting that be enough you know not overdoing it so yeah I think I'll I'll work the other eye now and see is that even with just the black and two tiny bits of highlight let's see let's see if it's enough so I'm coming in with that um black stick that I used on the background and of course this eye we've got a we've got a little bit of uh light and color in this eye and I do like to get most of the color in there using the sticks I kind of start to talk a little differently here because I'm half holding my breath trying to just aim the the pigment in roughly the right place and just going to try and pick out a little rim of light so we've got some really nice bright bits of highlight on this side and again I'm coming in with the the light value that I used down the side of the V and again this is just about aing it as close close as I can get it and then if necessary you know I can smooth off the curved edge of something you can do a lot to the pigment when it's actually on the paper I think people ask that all the time how do you get such tiny details with the big sticks but a lot of the time I'm not really getting the detail with the big stick I'm putting the pigment as close as possible and then a lot of tweaking you can you can move the pigment around often with the eyes it's a little bit of tun and frowing just to to get all the marks where you want them because it's obviously quite a small little area to work but let's see if I can get no a bit of the nice warm brown pigment that's in the color of the eyes so I've got a lovely bit of broken pastel here I love my bits and pieces and all of the little shards of pastel that you collect as they naturally wear down and break over time so just get a little bit of that dotted in little bit of a lighter color I can see here this one's really catching the sunlight and again that's not in exactly the place I want it so I can just shap this a little more so sometimes the eyes go pretty quickly sometimes you find yourself coming back in a little bit of course as always the the position of a pupil can be quite important and of course the position of a very bright bit of highlight is pretty vital too so let's try and get in fact what I'm going to do is break a little piece of pastel here and just try to get a nice sharp corner so I've sacrificed a piece of pastel here just to get a little sharp edge somewhere so I will I will sacrifice pastels and uh break them down and then I'm left with lovely sharp shards that you can get the tiniest bits of detail with it's not too bad for the placement of it but again then I can come in and kind of shape that a bit better amazing how things come alive when you get those eyes in there it always makes a really big difference doesn't it just uh gives a portrait life and I think I just bring a little bit more of that warm tone so twoing and frowing just changing slightly the shape of the the pupil of the eye and a lot of the time which I'm probably not doing enough right now as I'm painting this but a lot of the time it's really important then to get a bit of a bit of distance from the painting um get a clearer view of it so when you sit back you're really trying to analyze from further away because we're all guilty of getting our nose is right up close to the painting and then you sit back and you realize things have gone a little bit a skew somewhere so it's always good to get a bit of distance and get a clearer perspective of what you're doing I've actually got a a mirror hanging behind me in the studio and that is something that I use all the time just to take a quick glance over my shoulder and sometimes it doesn't look like it's going well when I have my nose up close to it but when you glance over your shoulder at the mirror sometimes you see areas that are working or you can immediately see the area that's causing you problems just gives you like a weird other perspective of it so yeah I would probably need do a little bit of that right now just to to analyze where this is going have I got the the proportions and I think that's why I like to not commit to the tiniest details right away because still making adjustments I can still move things such a workable medium so just getting a a little bit of the texture of the skin over on this side and again just looking at the outer shape of the face but I think he's starting to come out of here so now I can I can filter that brightest highlight color into the animal little a little bit more just being careful as I said to not lose the overall lighting effect so try and be really sparing I suppose with your your brightest highlight color I like to think of it as saving it up for the special places really saving up the brightest colors just letting some of the light and texture come over this side even some little bits of texture with that Dusky blue color [Music] again but yeah I really don't feel like there's too much that I need to do on this Shadow side here I'm going to leave that pretty [Music] minimal and just hint at some of the texture so dark purples dark Browns dark Grays all sorts of colors that you can add through black areas just to liven them up a little bit I will use pure black as you've seen um but I I do like to layer up the colors then a little bit so the black the pure black will get broken up so let's just have a quick look at the top of the head I'm just going to add some of the the lovely detail of the hairs that are sprouting out from this area as I lighten certain areas then I can also come back in with the black and just strengthen some of the darks again so pushing and pulling the distance between the colors in terms of tonal value just creating more and more contrast as I go and I see this eye socket here it's really dark and then of course if you are a fan of pastel pencil as well there's a lot of work that you could do with the pencils here too just like I did with the the white Edge then I can also like feather these little hairy edges using the pencil as we come up the top here we've got well some crazy hair that's sprouting out of the top of his head or out of the top of his eyebrows and I'm going to use the black first of all which will show up against the the bright white top of his head and of course it's not showing up up here though where I want I want the hairs to continue up there so I may just take a little bit of a lighter pastel pencil then and I can kind of join in here perhaps went a little bit crazy with the first one not quite as tall so just getting those hairs to show up against the the dark background and I can continue with that um sort of liic colored pencil around this Edge as well cuz again we're down in the shadows here so I don't want to pick up my white pencil or anything close to White and even in this Shadow side this shadowy ear I can even some of that war warm color that came from the the eyeball can bringing some warmth here I'm seeing some real glowing colors coming down the ear but again I don't have to think in terms of individual hairs too much because I always feel like in the shadows we just see a little bit less of the detail and sometimes if you put less of the detail in there it just gives it this extra sense of realism because that's kind of how our eyes actually do see it if something's really in the shadows maybe we don't see it as [Music] clearly pretty amazing well Emma we're we're up against the clock here well I think I'm I'm almost there so I think you've done an amazing job um obviously like with everything couldn't you just spend like four more hours on it it's the same with everything but I think for the the purposes of the demo and what I wanted to uh show that s pastel can do um no I think I'm I think I'm reasonably happy with him now what do you guys think thumbs up and Applause well why don't you come back on camera so everybody can meet you if they didn't catch you in the beginning okay cool I will move the camera all right outstanding Our Guest today is Emma Colbert and she is in the south of Spain Emma you did an amazing job today thank you so much am I on camera no you are on camera I will try and uh oh a little too close too close there we go opposite direction there we go all good all right uh we put Emma's information all of her Instagram and all of her contact information in in the uh chat and uh thank you Emma for doing this today this was really amazing thank you very much for having me and uh yeah I hope that you guys enjoyed it all right well maybe we'll paint together in in the south of Spain one day I hope so or maybe I'll come your direction someday who knows yeah well you know we should come in our Direction I should mention that you're teaching on pastel live do you have any idea what you're going to be doing for pastel live I am doing another animal um it's C but also features a Spanish landscape something very much inspired by the place where I'm living oh nice okay well thank you again Emma and we'll see you soon much thank you very much all right bye bye well Emma coar is our uh Co Colbert uh Colbert Colbert that's it yeah okay uh she's going to be teaching at pastel live which is octob or September 18th through 20th it's 3 full days immerse yourself take the time off and if you can't take the time off you can always watch the replays and uh there's also an Essentials day for the basics and the beginners and the reminders on the 17th you want to do that that's optional but check it out we're getting close and we've had hundreds of people signing up from all over the world we would love to have you to it's a pretty incredible event coming up after pastel live we have realism live which is going to be in November with some of the top realist in the world and realism live really focuses on all things realistic but it tends to be uh all medium a little bit oil paint heavy and tends to be a lot of figure and portrait uh still life a little bit of landscape a little bit of everything and we've got some incredible artists uh teaching there as well then in in January we have watercolor live which is also we haven't got the full group of people posted here yet but some incredible painters from around the world and we always deliver on this this will be the fifth annual wow hard to believe that uh and then coming up in March we have acrylic live which is some of the top acrylic artists in the world okay well I just wanted to uh thank Emma one more time and remind you guys that we are um uh uh next week next week I'm going to be I'm disappearing again because I'm going to be hosting pastel live and uh so I'm going to have a guest host I don't know who that's going to be yet I think I I think I've heard something about that and uh then I'm heading out to uh returning to Texas then heading out to fall color week and I'm going to be gone for quite a while so you know who knows we we'll get some in this week and then we'll try to touch base on Instagram Facebook Etc in the meantime um we have an incredible event coming up painting in Paradise Lake Tahoe and Reno uh the 12th annual plan air convention coming up in may need to get signed up for that it's already like I don't know 80 80% 70% sold out already and that's uh pretty amazing uh I'm also going to be doing fall color week uh my Coastal adventure and we got extra seats even though we sold out we've sold all of those except for two from my understanding and so you might still be able to get one of those just go to fall color week.com okay guys uh thank you again and thank you to Emma we'll see you byebye