Now on our sunrise painting, it's relying on incredibly intense pigment. There are some areas where we want to tone it down a bit, fade it somewhat and for that we're going to be using our white pigment here, our titanium white. Now what I'm simply doing is I'm taking the brush, the round brush, which I've been using to apply a lot of these colors with, and just a little bit of white to the top of it, just a little bit. I'm going to start applying this, and I'm going to apply some very different fashions with some other colors. Now if you're going to dab, like right there. I also want to make it a little brighter right there, and down in here, and actually in a couple areas right in here. Now with this dabbing in mind, like what on earth am I doing? Well I'm doing it so I'm not going to make any of these areas too intense, and don't worry I'm not going to leave it like this, unless you want to have unidentified flying objects in your sunrise painting. So after I've applied these I'm going to go back through and then start whisking it in. Remember because some of our cloud shapes we were trying to do earlier. Now do that kind of similar, and you're going to notice really fast. Look at this! Where did those guys go? They're gone. When you start spreading this out over a large area it just becomes much, much, much more diffuse. You can barely even see it, but now if you pull back, take a step back you can see now, okay, now these areas definitely are more faded than they were before. They're less intense. Now I do not advocate doing this over a lot of the big spots of your painting otherwise you're going to get a very, very dull sunrise. But there's a couple areas that are naturally more faded, more often than not in your photograph. Look for them and make sure they're accounted for because if you do it just right where you have a couple areas which are faded it's going to bring out those more intense areas all the more.
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