I chose a textured paper look for my painting in the last section. But now we're going to move on to the final stage of our painting, which is to fine tune it. So we're going to use all the different adjustments that we use when you were editing any photograph, but they're going to have an effect on exactly how your painting looks and the amount of paint the color all of those other things. Right. You could wash it out totally if you wanted to, you could make a darker contrast. I like to add a little contrast in because it brings out the details and the color not too much.

Because then it just looks harsh. But some, I think I'm going to tone that brightness down a bit to saturation. I don't think they really need much saturation in this particular photo, but if you want it to you can go up like that you can go down like that. Again, you're getting different shades different tones and values of the colors and just pick the one that you think is the most beautiful. Density actually gives more substance to the brushstrokes. So you can make something look much more intense, much darker colors.

So it's the density of the paint and the brushstrokes that's changed in this one can go all that way and make it a very sort of surreal, almost like neon looking and then go back to something that's a little bit subtler vibrance, that's another one of my favorites was because you can really sort of perk up the colors with this in this one, it's going to make the bleed more bold, all throughout the whole painting. Again, do as much or as little as you would like. I always kind of want to be in the middle somewhere, you know, but then sometimes you want to do something really bold and rageous exposure again has to do with the light, I don't think this really needs that much. But play with it and play with each one and see what effects you get. You have shadows and highlights.

Again, because of the particular subject matter the colors that you've chosen, each one of these adjustments is going to have more or less effect. temperature, you could take the cool on this down a little bit so that there's more blue less red. You can go up in the other direction and make it just totally hot. hundred degrees. I again I kind of like somewhere in between, but I like that bold blue on that particular flower. So let's go with that.

This one is not when we use we can use for flowers, but if you have a photo that you're doing a painting of and there are people in it, you can use that to sort of adjust the faces and you Make them a little more distinct or, you know, make them look a little less some bumpy or whatever, you know, just whatever you want to do with that one. thickness of this is directly the kind of brushstrokes. So here I am on 100 and it gets really thick, heavy wet brushstrokes. And if you go the other way, it's going to take away some of that now it's not too much because this is already pretty bold painting. But just play with it again, see what you like, see what's the best sharpness, try that one out. But usually I find that it's not really needed when you're doing something with flower because you don't want it to be like, you know, a super sharp detail, especially for a painting.

And if you don't like what you've done, there's a reset button right there, you can go back and start over again. And just play with all the tools. I think that's the most important thing about brushstroke is that you can just play with every single one of these adjustments. come up with something Different every single time you do a painting. Okay, now on to the very last stage