Dad Learns to Paint Final [Video]

By Dad, how do I?

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Transcript provided by YouTube:

0:00
hey kids so we’re back for our third episode now of painting with Adam I do
0:05
have a dad joke for you so uh what was that Dad joke uh
0:12
oh I know uh why did the golfer need a new pair of socks
0:19
because he got a hole in one ah so yeah that is pretty funny that was
0:26
actually compliments of my wife your wife yeah yeah Amber we got to give her credit for that anyway so today we’re
0:31
gonna actually get into actually starting to paint a little scary because I’m going to show how uh scary for both
0:38
of us so we’ll see see what ends up happening so Adam go ahead and tell us what we’re
0:43
gonna do here yeah so I just wanted to briefly talk about the colors that uh I’m having us paint with today so I
0:49
think the easiest way if you’re just beginning is to start with white uh this is titanium zinc white you could
0:57
just get titanium white if you wanted to this is a cadmium yellow a cadmium red and the ultramarine blue and then down
1:03
here at the bottom is Van Dyke brown and this is just if we have some some spots that are a little darker and so these
1:09
are our primary colors all other colors can come from these the reason I laid them out like this if you’re wondering is because I want to make it easy to
1:17
think of things in terms of light to dark in terms of our primary colors okay I want to leave some space to mix colors
1:23
if we need to mix colors and then I want to also think in terms of light to dark
1:28
this way as well so that you can introduce you could have like a a light yellow here if you mix some white with
1:34
yellow but you could also have a more of a brownish yellow if you needed one down here so we’ll we’ll kind of cover that
1:40
as as we get into it I also did get myself a stiff drink of uh oil here
1:49
so uh it can be difficult for starters to just start putting paint on a canvas
1:55
even if it’s primed right you want it primed anyways oil can help with that you can even put oil straight onto the
2:01
canvas to sort of make it easier to paint onto just to kind of get that canvas nice and ready to accept
2:08
paint oh I’m so happy this we just got some sun yeah it’s kind of warmed up it’s been hit or miss today so this uh
2:14
and this is just a glass jar you can you can use uh just put your oil straight in the glass jar this is linseed oil okay you can also if you
2:21
wanted to if if you don’t want it too thick you can add a little bit of uh odorless mineral spirits a solvent to
2:28
this and it’ll it’ll kind of thin out the oil a little bit me and your dad went out fishing last uh Saturday
2:34
morning and it was just so beautiful I was like oh this would be a nice painting but I wasn’t smart enough to actually take a picture of it so yeah so
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I’ve got a still of that I took you know a screen capture and Rick and I are in
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it um I kind of don’t necessarily want to especially now I don’t want to learn how to paint humans right because it’s
2:53
tough that won’t go very well sure uh I just kind of want the and I but I just like the colors and I thought it was
2:58
just peaceful and calm so we’re gonna have to work around us being in the picture yeah so that’s going to be part
3:04
of the experience too I think sometimes you you are painting a scene yeah and something’s in it and you’re like I
3:10
don’t want that in it and so you have to use a little bit of imagination to take it out so we’re going to try to challenge ourselves in that way and I
3:16
think we can do it and we’ll kind of just I’ll hopefully be able to walk us through that I’m relying on you yeah so so we’re just going to dive in and uh
3:22
when it comes to painting especially painting with oils really important just to get your basic groundwork laid in
3:30
right it’s like building a house or something okay so what that usually consists of is figuring out what your
3:35
biggest shapes are going to be when I look at our picture that we’re painting from we see the sky we see the lake we see
3:43
the dock a little bit in the dock and we see this big group of trees sort of like flowing through the middle of the uh
3:50
composition first thing we want to do is figure out where our horizon line is and it seems like it’s through the
3:55
middle of the trees so I’m just going to lead off here okay I’m going to take a little bit of blue okay and what brush are you using now really at this point
4:02
you can use any brush you want okay I would say actually start with the round who’s the round because what we’re really doing is just drawing in the
4:08
basic shapes sorry the round is this one yeah okay so what I’m doing when I’m getting this paint on my brush is I’m
4:15
not worried about loading it up with a bunch of paint I’m more so wanting to
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get kind of a thinned out amount of paint where I’m really it’s a lot of just pigment so I’m just going to kind
4:26
of draw in my basic horizon line okay and at this point it’s just really light you might not even be able to see it on
4:32
the camera I’m just kind of getting a so lying here we’re not worried about perfection we’re just getting a line in
4:39
there just so we know where our trees are going to be how do you hold the brush like a pencil that’s a great question yeah some people
4:46
do when they’re when they’re starting they’ll hold a brush like a pencil I’d say you got to be flexible with it oil paint brushes are longer
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the reason why is because oftentimes traditionally oil painters will stand back from what they’re they’re looking
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at and what their canvas is to try to get their proportions correct and they will sort of look measure that’s
5:04
interesting though I I was going to ask why are they so long yeah yeah that’s that is why and also you get this nice
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sort of range of motion with it so you’ve got our basic horizon line in there horizon line is just where sort of
5:16
the earth meets the sky okay so but we see that there are trees so we might
5:21
start to throw in some some Tree Tops and this is just getting that basic shape of that so yeah and you’re still
5:28
using the blue though I’m still using the blue because I’m not worried too too much about I’m not putting a ton of paint down right yeah I haven’t even
5:33
loaded up any more paint oh you haven’t but you can if you want to okay I was getting felt like I was kind of getting
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light so if you see here I’m I’m just getting this basic sort of like if you think this is the earth these are the
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trees and for me the trees are sort of larger on the left side yeah and then as
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they recede into the distance they are smaller so I’ve kind of got this basic shape and you don’t Adam do you ever
5:57
um sketch it first you can you can use a pencil some people do that some people do that okay yeah and uh but I usually
6:05
just sketch with paint yeah okay so now I’m going to sort of get the then the reflection because we got this big
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Reflection In The Water reflection mirrors things right right so we don’t even really have to look at our reference too closely to know that these
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trees are going to be pretty similar on the water surface as they are in yeah
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the actuality of the staff right okay we’re not worried about details at this
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point we’re just worrying about basic shapes how are we looking that looks really good yeah it looks really good
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it’s beautiful okay so we’re going to start to make this look even better this is where we’re going to use a little bit
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more paint we’re gonna take some blue let me take some white and we’re going to start to mix up that
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sort of Sky color you know what I’m going to suggest for you is using a larger brush here we’re going to color
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in a lot more of this Sky okay so which brush do you would you recommend I would recommend your flat which is your large
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long this guy yeah and so now you’re gonna be able to pick up a lot more paint okay yeah oh look at
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that you’re doing great look at that this is easy as that um and I’m actually going to use a
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little bit of oil and you can use a little as well if you want and I just I’ll show you I just dip a little bit
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my brushing around just a little bit yep just like that and then I’ll bring it back to the palette
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mix up some paint and now we’re going to start to throw that down in the sky come on and I like
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to work sort of left to right you can do however you want with the right to left now the reason Bob Ross uses those big
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brushes he makes it a lot faster for himself to do this right he gets a lot more paint down
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so you could if you wanted to you could grab that Bob Ross brush that you haven’t used in 20 years so we’re just
7:41
going to get some working quickly that’s looking really good
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it’s a little intimidating you know what though I would guess that Bob Rossi’s real name
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is Robert Ross oh and I think you’re living up to it and your middle name’s Robert it is
8:00
Robert that’s good you got a good nice even blue happening here okay across the top across the top and now we’re gonna
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make it a little lighter a little lighter and uh start to bring
8:13
the sort of lighter parts of that sort of the middle of the sky there into mine it’s my painting my arm’s
8:21
actually getting tight yeah I’m kind of surprised by that oh yeah oh
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yeah especially if you’re working and are we trying to get lighter all the way down all the way down to the to the
8:32
tops of these trees okay yeah um because what’s going to happen is then the trees are going to come in and
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bring in their own colors and their own Shadows we look at the
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circle is going to happen this is sort of the inverse of what we’re doing once we get beyond the reflections of
8:48
the trees is it’s going to get from light Almost White and get darker it’s actually going to be a darker shade than
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the sky and now we’re doing kind of the reverse on the bottom right yep
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okay how’s your arm doing my shoulders is sore surprisingly yeah
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it will uh it will get easier this is this is we’re covering a lot of ground
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so I’m gonna try to actually take a little bit of Van Dyke brown so some some paint some parts of
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painting is experimented yeah I’m going to introduce a little bit of Van Dyke brown to my blue
9:29
and I’m going to try to introduce that into that bottom part of the painting because
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uh because it is a bit darker down there if I’m trying to change this tone a little bit change this value yeah or
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change the hue I’m painting into this blue it’s making it harder so I can actually take a little bit of my paper
9:48
towel clean that off and that removes some of the paint so it
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makes a little easier to then get the color or the tone that I want okay plus it kind of Blends it yeah now you can
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totally you can totally use a paper towel plan I would never have thought to add Brown
10:05
in order to make that but that looks like a nice dark yeah color there yeah and you can you can absolutely adjust
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that if you’re like oh it’s getting too warm because Brown tends to be kind of it can be warm yeah you can just bring
10:17
more blue in there well one thing I’ll say too um with your
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dad with uh cabinet making that’s one of the things I learned from him was
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you’re really not going to get yourself into such a spot unless you’re completely careless but you there’s so
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many workarounds you can go huh well let’s just pivot and do it this way then right we’ll just do this and and that
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kind of takes the fear out of it because you go oh okay well we can solve this and kind of the same thing with this you put this down and they’re like I don’t
10:47
really like that color you can kind of paint over the top of it and now that Crow’s laughing at me for making a
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comment so well I think he agreed with it um yeah you can totally uh make the
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adjustments as you work and uh it takes a lot of the fear out of it if
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you’re a failure the fear of messing it up how you how are you looking there I’m not sure
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I think that I think that works okay what I would maybe do is take a little more blue because you’ve got this uh pretty dark
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kind of Muddy looking yeah there you go that’s perfect and then like put that like right through here it’s it can act
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as kind of a transitional a transitional uh
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or color yeah and then that can help make that feel less uh make the whole
11:35
the whole area feel less brown yeah you can already see it doing that okay yeah we could probably sit here all day and
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work on this water but what we want to do at this point we’ve laid in our basic
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blues right yeah right now they’re just relative to themselves and what I mean by that is we have no other things to
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compare them to yeah and so the more paint you can get down and the more variety of
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objects or part of your subject you can get down the more you can start to relate things to each other yeah and so
12:04
I think we’re going to move on okay from the water okay and we’re going to start looking at because we can always come
12:10
back exactly yeah we’re gonna work dark to light but basically what’s happening is the trees that are closer to us yeah
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they’re a little bit more vibrant yeah and it’s not just because the sun is hitting them a little bit more although that’s part of it but it’s also just
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because they’re closer to us the further things recede into the distance the more cool they become the less vibrant they
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are and so we’re going to start actually with some darks uh some dark kind of
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I would say blue Greens in here and uh and we can use a little bit of the Van Dyke brown if we need to okay uh it’s a
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little tough to read the colors off of this so we’re just going to kind of make it up a little bit okay so I’m gonna take a
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little Van Dyke brown mix it in to this blue and we’re just going to try to introduce
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that in kind of a basic shape over here on this side
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and we’re not worried about the Treetops we’re just getting
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sort of a darker color and don’t don’t be afraid to be a little sketchy here it can be fun for your little sketchy
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doing some of this color through here and then I’m going to say switch to your
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fill boot which is the rounded okay
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and you’re going to take the filbert and you’re going to this is the filbert yeah filbert you’ve got it I’ve got it okay
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and you’re just going to take uh essentially the same colors you’re
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working with but what I would do is introduce a little yellow into that into here yeah because we’re dealing with trees now and trees are Green Mix it in
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here mix it into that yeah too much no not too much okay you take
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it vertically hold it hold it vertically and now we’re going to start to place in some little sort of trees
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and we’re not just because we can’t really see a reference that easily we’re just we’re kind of
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right I’m not expecting it to look exactly like that I am you probably are
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I’m definitely not so I’m trying to keep this straight up and down what if I turned it that way that’s that’s fine
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too the only reason I say to hold it vertically is because those Treetops are vertical right so so you can uh
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so it gives you a better chance if you’re holding it horizontally then those trees get a little fatter yeah
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so I’m not worried too much about the detail I’m just trying to get some darks in there that I can then lay my my
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lights over the top yeah if I was working with my own sort of uh
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color choices or color palette yeah I probably use some burnt sienna in some of these because it’s a little bit more of an earthy red okay and there is some
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earthy red in here but based on what we have I’m actually going to just kind of make
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it underneath the red of cadmium and yellow
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um so you just cleaned yours off my brush paper towel and what did you do
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over here I’m just kind of getting some shadowy shapes in here okay
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and then you’ll fill in with them over the top with the lighter stuff and then I can also work in Darker things over
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time with it as well okay um I’m gonna go Rogue here and start filling in some stuff go Rogue just to
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see what I what I can do here I think that’s actually part of the
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not just the fun but the challenge of oil painting is knowing when to sort of Veer yeah and
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also knowing where when something is like not quite right try and figure that out
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it’s kind of puzzle but if you think in terms of just general uh
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shapes of color that makes it a lot easier you just
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um think like oh this is a big orange shape well I don’t know if people are actually following along with this
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hopefully somebody is but uh just uh
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you know trust your gut try some things and if it doesn’t turn
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out exactly like you hope that’s okay there’s always
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it’s kind of fun I like the pivoting idea and like Bob Ross always does you
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know with the um making you feel like it’s not a mistake he can just kind of run with it and I remember uh the first time that I
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started uh working with like uh with art on Corel Dora yeah
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and the first time you did it and then I saw the undo command you
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ah it didn’t look good undo and so it’s kind of the same with this is you’re able to kind of paint over what you did
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as you go along I don’t like that I’ll paint over the top of it yeah in this yeah you’ve made a nice
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color there I don’t think that’s red and that is red and yellow okay it creates that orange okay
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and uh and there’s variations of of red
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yellow yellow green orange in in these trees
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and that’s kind of where it becomes kind of fun wind’s picking up it is
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and now I’ve got these things Landing in my painting little seeds or yeah
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so I’m just kind of trying to cover ground still this is still kind of Base layered when
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you think about it yeah because there’s still a lot of blank canvas
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and uh this is coming together that’s one of the other things that I’ve learned doing art is just that sometimes
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you feel like giving up if you just give it a little more time you know it can actually really come
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together yeah yeah yours is looking pretty good if you have any questions
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did I just see it uh I kind of like I mean mine’s kind of bland and I do see kind of some different subtle colors
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that you got going on are you just kind of throwing those up uh like because you got a little bit more yellow a little
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more Brown a little red I like to mix a color start to put it in
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makes a similar color put that in okay I’m not tied to like okay I have this
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orange and I have this yellow yeah it’s more like okay maybe this would be more interesting if I feel a little bit
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redder yeah you know so it’s a little bit more free okay um because life is like that yeah you
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know things are more organic yeah I am different angles of brush stroke
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so that’s what’s going on yeah I’m going up and you’re going very vertical yeah okay so if you think about it a tree
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while being vertical in chain General silhouette yeah those branches really uh catch the Sun
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and and that’s really what is making that tree feel more of a tree is that we’re seeing the sort of horizontal
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shapes that come out of those trees right now another little
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bit of hot knowledge is that green and red are complementary colors means that
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they vibrate basically when they’re against each other and they they compete and so uh
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if you’ve ever looked at a color wheel where you see yellow on the top and then
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you have Violet at the bottom and you have all the colors sort of down one side and the other
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if you draw lines directly across from each other on the colors wheel you will
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have complementary colors so orange is complementary to Blue all that
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is to say that I’m working a little bit more red in here because it bounce it pops off of that green I think I’m actually at a
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point where I’m going to bring a little bit more I might bring that dock in here I forgot that there’s a bit of a dock
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okay and I might actually just go straight Van Dyke brown for the and then you’re not going to use uh one of them
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things what’s that thing called palette knife palette knife no no you’re just going to use that okay yeah I’m just
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going to kind of get the general shape in here so sometimes having a one color mixed with another color can
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be an even darker colors than just the two of them by themselves and so blue and brown were really going
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to be nice almost like a black and I’m just going to kind of introduce a little bit of
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contrast here in life as an art
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um the uh the closer something is to you the more
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uh the larger its value range is so what
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that means is the darker the darks are and the lighter the lights are so if you think of a mountain in the distance
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there’s not a huge amount of difference between the the values it’s often very gray or blue sure the actual lights and
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darks are all very similar but the closer something is to the more variation you have the darker the dark
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side you shouldn’t have a really dark spot in the background if you don’t have a really dark spot in the foreground yeah the darker spot yeah does that make
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sense yeah the sort of light reflection that kind of runs along the water
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kind of dividing the land from the water a little bit here so it’s going to take a little bravery this is going to be the
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one of your like Bob Ross uh oh he painted a branch in front of his entire building he’s just done
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um honestly I just started adding a little bit of red to this note it looks kind of cool uh yeah because and I was
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speaking of oh I was a little nervous to do it but it actually kind of makes things pop like
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you said so how are you feeling about your first time trying this whole painting thing I think
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it’s cool I uh I think it’s taking longer than I thought yeah because Bob
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Ross makes it goes so fast yeah yeah but um actually it’s kind of fun
21:59
yeah I don’t know what I’m doing but like you said I think with me I’m I’m
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kind of worried about the details I think you’re not so much which I’m
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and I’m overly concerned about that details I had to work through that a lot
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but the more the more art you look at the more informed you are of like what matters
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and what doesn’t matter yeah John Singer sergeant if you look at this art it’s really masterful
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but you also get you know you get close to it and start to see okay like I see his brush Strokes it’s not
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it’s not a photo you know yeah I’ve studied a little bit of psychology of creativity and stuff and there is a
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thing called a flow state that you start to get into [Music] which is good for your brain where you
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start to just sort of do things without thinking too much about it right and that’s kind of where
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you want to be what’s that that’s that’s a great question
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um it’s wonderful uh you know I’ve heard people talk about
23:07
playing guitar like that yeah it’s like and I can’t I occasionally I can get to that but usually it’s like okay you got
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to be just well versed with it yeah right you get so familiar with it that you’re not thinking you’re just playing
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and if I wanted to I could pouring a little bit more dark in here
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and really build up those Shadows a little bit more
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which I think I’m going to do I think also as you paint
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I start to kind of get a feel for um how much paint should be on the brush
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and a bug flying on your canvas oh yeah what do you do about that
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you just write about your stitching that way
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maybe it’s like a fish jumper is that what that is yeah so if we weren’t doing this as a
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as a video yeah I could just kind of come out here for a few hours and just kind of play around and
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you’re not so worried about your little mistakes as you’re going almost kind of keep adding to it so okay
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so Adam I’m looking for some pointers here because I didn’t know what I was doing and you did kind of help me a
24:25
little bit but so what what would you suggest that I I do a little bit different I think he’s doing really well first of all with uh creating some nice
24:33
depth with the sort of less vibrant colors over here and it really reflects
24:38
the the uh the reference pretty well we actually backed up from them and looked at them and we’re pretty happy with how
24:43
things are turning out yeah but I did notice in here just as some constructive feedback the trees in here feel very
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similar to the trees in here in terms of sort of their size which doesn’t make that much sense in reality as these
24:55
trees are closer to us if you chose some areas to sort of actually in insert the tree sort of like Define the
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tree shapes he might be able to get a little bit more depth to this from there
25:07
start to think about okay what are the forms of the trees in this area I have
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these sort of a little bit more defined shapes of trees as they sort of recede closer and closer into these less
25:19
defined tree shapes in the distance I think that could benefit his painting yeah I think it makes a lot of sense
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because it does kind of look like a blob where they’re just kind of blurry because that is definitely closer and it kind of goes back yeah yeah in the
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distance so yeah so you know you work General to specific okay and so you’ve
25:38
got your general shapes in you’ve got your general major uh landmarks of your painting of
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your composition and now at this point this is when you start to look at where do I introduce Shadows where do I
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introduce highlights how do I Define these forms a little bit more and that’s kind of what we’re going to get into
25:55
okay okay so here we go we’re back at it I see that some bugs flew onto my
26:01
painting so I have to deal with them it makes it more lifelike there you go looks immersive for the viewer
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I’m going to be bringing in more highlights and I’m going to be darkening some of the Shadow areas to bring a
26:13
little more contrast to it so we might there might be stretches of Silence yeah because I’m kind of at a point where I’m
26:20
starting to focus a little bit more on on the sort of nuance Community wants
26:27
its shapes here yep I like it I was uh talking the your dad too because we were
26:34
at we were out fishing and part of the enjoyment of fishing is just hanging out together too it isn’t necessarily
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spending time talking the whole time you know if you’re if you’re enjoying the company of the person you can even just
26:47
kind of hang out together yeah I agree and one of my favorite parts of a classroom setting is when
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everybody’s painting and it’s just kind of this quiet or or you have some light music playing and
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it’s just people are focused and yeah doing the things that they are
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just into the into what they’re working on a good way to sort of read values and
27:13
again values are lights and darks is to sort of squint your eyes at something and you can kind of then start to
27:19
compare how how dark something is against something that’s light are there variations in the darkness and the
27:25
lightness of what you are mm-hmm of what you’re observing it’s kind of nice to actually see the
27:32
painting I or to see the photo yeah for sure oh man so that’s kind of fun to
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actually and just play around with it
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something I’m going to be trying to do here is with the trees in particular I really like when you can get to a point where
27:50
you can start to paint the sky through the trees a little bit if that makes sense what kind of
27:58
funny little holes between branches and stuff and you can put
28:03
on uh autopilot well I’m just gonna play
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around with it I think and that’s part of it I just trying to I’m trying to learn but um if I if I’m overthinking it
28:15
then it’s kind of taken away from it I think yeah I agree the way that I found works best in my classroom is if I just
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talk briefly yeah and then just let them work yeah and they’re going to run into
28:28
problems but that’s how they’re gonna uh solve problems you know I can’t be
28:33
there solving all the problems so they have to process some of that themselves right mixing colors is interesting too there’s
28:40
definitely a learning curve in for sure yeah
28:46
yeah do you have any questions about you feel like there’s certain colors you’re trying to get you’re struggling
28:52
with uh no I think it just definitely comes through trial and error though
28:57
yeah and I’m not the most like organized color mixer I think you’ve got a good
29:03
eye though I think you’ve got a good eye for what the what color you’re trying to
29:08
create I have noticed that I’m trying to get kind of a darker green
29:15
so how do you get a darker green I end up with kind of an olive army green that’s what I’m into but so just add
29:22
more I think what you’re going to want to do like if you’re looking for a more pure green I’m trying to look yeah I’m
29:27
trying to get something kind of long there so I would start with the blue and your yellow okay mix those okay and then
29:34
slowly introduce Brown if you need it okay
29:42
oh really yeah okay good that’s one of the challenges of things and
29:49
really art in general is differentiating between what’s called local color and what color you’re
29:56
actually seeing yeah you know something like a fire hydrant is red you know
30:02
that’s its local color you look at it you’re like oh that’s red yeah but in the right lighting or in different
30:07
lighting you know it might not be that pure red you know because it might have the Shadows on it or it might not
30:14
maybe it’s in a certain type of Twilight or something so you’re really kind of also trying having to pay attention to the path too
30:20
fun stuff Adam yeah this is pretty yeah
30:26
it’s relaxing yeah and it’s uh I’ve heard that I’ve heard that you know
30:34
it’s interesting kind of get into a Zone where you’re just kind of enjoying being outside and painting yeah
30:43
but it is interesting to when you step back from it it’s like man that looks great yeah but the closer you
30:50
get home maybe not so much
31:02
it is there’s a lot of quietness on this huh
31:09
the soft music over this yeah let’s relax
31:16
[Music] there are times where you know
31:25
so wet maybe it is better to take a couple days off from it and so again the electric
31:31
super dry set up and then come back I think if you’re finding it difficult to work with paint because
31:37
yeah to because anything you might just smear it around yeah it might be better
31:42
just to take a break
31:50
[Music]
32:01
[Music]
32:08
foreign
32:13
[Music]
32:37
foreign [Music]
32:49
[Music]
33:09
[Music] foreign [Music]
33:24
[Music]
33:35
[Music]
33:42
foreign [Music]
33:54
you know enjoying the experience and hanging out with you right and that so that’s part of the Bob Ross appeal is
34:01
you’re just gonna you know hanging out okay you have any of the last thoughts or I was just gonna say I think the most
34:07
enjoyable part of this for me there was a lot of enjoyable uh aspects of it but the most enjoyable part was towards the
34:13
middle end where we were just like quiet yeah and just painting and you’re
34:19
in our own Zone you didn’t have me talking in I was like please stop nice no more questions
34:25
but you were experimenting and I was trying to fix things and change things and and it was just at some point when
34:32
you’re painting you will hit if you’re if you’re if you’re able to silence the inner critic a little bit and just be
34:38
able to to enjoy it you’ll hit a point in which you’re just kind of painting and it’s nice everything else kind of
34:44
Fades away a little bit and I think we hit that a little bit so I really enjoyed it yeah yeah cool it’s a lot of fun well cool thank you for joining us
34:50
for this experience and I’ll be definitely painting more now that I kind of know what to do and I can refer back
34:56
to this uh video series so I can try to remember all that Adam pumped my brain
35:01
full of uh with all this information so but it’s been a lot of fun so Adam thank you a lot I really enjoyed it so and
35:08
thank you for watching and God bless you

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This post was previously published on YouTube.

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