Morning class and welcome to the final part of the palette knife painting. So we put in the darks to start with the burnt umber, and we laid in the lights with the palette knife and the titanium white, cool blues into the mountains into the distance, brought in the warmth to really bring your eye forward, and then we're working between the fine brush and the palette knife to bring details and bring our painting to the fish. It makes up a bit more black. Again, just for some of these angles more than anything, just from your flowery with the palette knife, you've just gone out anywhere, you can just help to put back those shapes in. I feel like it's all okay, a bit warmer on this roof. Just a touch. So this little changes can seem, you know, so little changes you know, so little, but they often, what make the difference in your painting, just to help to bring all the different elements together. So even here where I've got this little bit of white, just so I sharpen that edge up and continue it, just helps give the illusion that the mountain continues on. Still think that could be a bit cleaner colour, but cooler. So if you notice what I've got here is the muted purple with the muted yellow, and then on this angle here I've got a stronger purple and a stronger yellow, so that causes more of a vibrancy in the picture and the focuses are more on there, but still balances with the rest of the landscape. Okay, I could keep on tinkling with this, but I think as a study just to get you used to painting thicker with your acrylics using the palette knife is a great way just to free up a bit and not worry too much about getting all the details in, the details can come just with that fine brush right at the end, and you don't need very many details to make a lovely painting. This is Wilkham, from Wilkham Art School.