Now, my palette here is drying out. I've got a lump here which we'll just have a look at. I'll tap it with my knife and you can see that's in fairly good condition. I'm not going to do anything more with that lump. I'm going to leave it covered. But the reservoir of paint, which is down here, has dried out while I was setting up this conversation with you. So it's straight away I'm taking my hake and I'm holding it up towards the shaft, towards the ferrule where the hairs are. Because that is in fact where the balance is really good. If I hold it up there, I feel the weight far more. Now, isn't that interesting? Of course it's common sense where you hold it all. When there's balance, there's just less to carry. So I'm holding it up there. I've got to, you see, I could hold it between those two fingers and then the thumb comes in to stabilize it. Now, your fingers will be different length. So you'll do it in a different way. But all I'm saying to you is when you pick up your hake, consider where you hold it. So I'm going to bring it in and I'm dipping the tip. Because I want a certain amount of liquid to be on my hake, dip the tip and what I want to do now is not use the hake to mix the paint. So I'm not going to be pushing down and swirling like that. All I want to be using the hake to do is deposit a film of water from the tip onto the palette so that I can then come in with the palette knife and do the really heavy duty work. So that is what's happening here. So look, I'm going to come in as gently as I can because I don't want dark paint on my hake. I come in gently and just deposit water like that, just deposit water. So I'm trying not to abrade the paint that's there. I'm just depositing a film of water because now when I put this down as I shall, I can take my knife securely like this. You see, I love a handle like this. It's just under an inch wide. I can really grip it. The blade is about five inches. So four and a half inches, something like that. Again, it's about it. It's just, it's about it. There's a little wider than the handle, but I can really grip it well. It feels like a proper tool. It's got, you know, the shaft, this handle, feels substantially in my hand. I know I'm gripping it. It's quite a smooth thing. So there are no, you know, my hand goes around it really well. I'm just going to, this has got dried paint on the edge all around the palette knife. So I'm going to dip that because I don't want dried paint flicking off into the air. So I'm dipping that, shaking off the excess because there's plenty of paint here, plenty of water here. And now I'm going to get grinding. So it's, I want to pulverize this half awakened reservoir of paint. I want to pulverize it and turn it into a lovely thick, it's all thick and runny paste, which I can then use for all my painting. So look now at what I'm doing. See the grip now? This blade is up in my hand and I'm pushing down. So I can really get a good pressure down on the paint and give it a thorough, thorough grinding. Now, of course, when I do it like this with the full face of the palette knife down on the palette, what happens is it squeezes out to the sides. So the next thing I must do, I must gather it all up, which means I have to go at an angle because I can't go down on the side because it will simply squeeze out all over the place. So now I have to turn my angle and move it to the side and move it quickly because I want to get on with painting. I don't want to hang around doing this, taking any longer than I need. So you see how quickly I gathered it all together. And now I can pulverize it again. And then I gather it all together. And now I can pulverize it all together. That this is what I do. What you do is completely separate. But what I do is this. And it is nice and creamy now. However, it is quite thick. So I'm scraping off the excess from my knife because I don't want to waste it in here. And now I take some more water and mix that in. So I use my palette knife in order to transfer water over to my palette. And now you can see how that is runnier than it was. And it's also restored. So I've used my palette knife with this really solid grip. And there's a lot of pressure coming out through my top pot of my arm, down into my forearm, and out into my wrist, and then down into the paint to pulverize it and mix it and make it into this lovely smooth, creamy, beautiful thick reservoir of paint. And now it's back to the hake again. So this area here is where I'm going to make an undercoat. So that's what we're going to look at now. I'm using the hake. I want to transform this into an undercoat. Get my breath back. All this talking and pushing and pushing and talking. Now what is happening here? I want to take the hake, what I'm very careful about, very, very careful, you can see the grip here. I want the whole of the hake to be loaded with paint. I don't want the top half towards the wooden part to be watery and the bottom half to be glass paint. I want it all to be loaded with paint so that it's homogenous throughout the hake. So to do that, I push down quite hard. So let's go at the side. If I go at the side like that, it's pushing down like that. It's pushing down. So the whole of the brush makes contact with the pallet. And that's an important thing because I can come down now with the whole weight of my arm. I can come down with the whole weight of my arm and push down like that. So all of the hairs right up to the top, from the tips to the base, get paint loaded on them. Now look at this. What do I do? And so with the grip that I've got here, I can just turn it over very quickly and load the other side. Really important to be good at that kind of movement, I believe. And then it is loaded all the way up, even the all the way up with glass paint and on both sides. And now the loading is full pressure. See like that. Now notice what happens when I come and paint the undercoat itself. I paint with the tip again. So it's a bit like when I was restoring the pallet, I just used the tip of the hat to deposit water onto the dried up pallet. Here I'm going to work with the tip just to lay down paint. And the reason is, the reason is, if you put a lot of pressure down, I mean sometimes you do, but in general if you put a lot of pressure down, then so much of the brush is making contact with the glass. It's going to be less even chances are because there's the base of the hair that makes contact with the glass first. And then you pull it and then the tip comes along afterwards. So all of that, the whole length of the hair is making contact with the glass, which is fine if that's what you want. But the point I'm making to is in general myself, the consistency of the paint is made in such a way that I can paint just with the tip of the hat. And to that end, it is far more upright because then I know it's just the tip of the hat that is making contact with the glass. So when I'm loading, there's a lot of pressure. I could almost load it like that. So all of it, all of the hairs are constantly in contact with the pallet because I'm I want that paint to be going all the way up. On the other hand, when I'm painting, when I'm doing an undercoat, or when I'm doing a secondary wash, quite often, and it's just the thing to think about, how much of the brush do you want to be in contact with the glass? Obvious point. Typically though, me with the hake, I just want the tip to be in contact with the glass. So I'm going to load this again because I'm talking so much I must keep the paint in good order. I'm talking so much, but it's really important things I'm turning you because we're addressing it from the point of view of grip, aren't we? And that grip, and you see the angle is almost upright. And now let's do those strokes. So one, two, put this down. They're a little bit dry, so I've got to quickly come in and blend. And I'll talk about blending it again in a moment. I've just got to get that job done before they dry, and I will do all of that again. But look, I have picked up my blender right down here.