Hi, I’m Mary Gallagher Stout, and today we are at the Lorton Workhouse Center where my studio is, and we are creating a very stony lion. Now that our lion is completely dry, it’s time to over glaze. We’re at the over glazing stage of our project. And I’m going to over glaze it with a Golden, with Golden’s fresco cream and some burnt amber very diluted, okay, so, let’s get started. We’re just gonna roll the fresco cream on, and, and then we’re gonna do a little sponging. And you can see that our lion is very stony and those dramatic highlights that we put in are now muted and you wouldn’t be able to see them if they weren’t so dramatic. So like I said, when you’re putting them on, even I get nervous when I’m looking, I’m like aah, oh my goodness, it’s too light, it’s just too bolt. You really needed to have that, to get the dimension and to have the depth on to the over glaze it, you really, really, really, really need to keep your highlights light and your darks dark. And I wanna go in with a little sea sponge, I’m gonna wet it, I’m gonna wet my little sea sponge, and I’m just gonna… just go over it to give it just a little bit more texture within the glaze itself. And then I’m gonna do a little bit of flicking, gonna flick him again, like we did before. And then he’s all done. We painted our stony lion, we just build it up in matter of glazes and greening, and I think the most important thing is that you paint how you like and, coz it’s all about artistic license. And you can paint with a reference or without a reference. The important thing is to have a good time and to not stop trying. And don’t see it as a mistake, just look at it as a new beginning if your brush doesn’t go where you want it to go. Maybe it’s a new path way for you.