And I was just wondering if when you say pastiche, is it also synonymous with imprimatura?

um actually the way i'm using pastiche is more like a um uh an imitation so like uh it's an imitation of like first we do the master copy then we do uh an imitation of that style uh based off a real person so like um oh i think it's more of like yeah to kind of hammer home whatever like if because that bridging the gap between the master copy and doing your own thing is a pretty wide gap you know and like if you do a master copy it'll be like oh wow i'm so good you know like no matter because it's so much better than you can do even if it's like and even if it's not great and then you go try to do your own thing and it's like oh no i didn't learn anything so it's like Bridging that gap, I think, is really important with, like, now applying the lesson from what you did.

Yeah.

But to talk more, like, I think, technically about it, like, indirect to me is, like, it really just means transparent.

And I think, really, the most strict... way of painting really is direct where it has to be basically opaque, you know, like for it to be direct, um, and indirect being transparent.

Any, any time a transparency effect happens, I would call that indirect.

So like, uh we don't really always think of it that way like say you're rubbing burnt umber or whatever onto a white uh canvas so tone it like that's a glaze you know that's a glaze to me like there's no there's an in there's an indirect thing happening the white of the canvas is uh uh interacting with the burnt umber and uh it's raising the chroma of the burnt umber uh, making it, uh, lighter and, uh, changing its sort of final effect.

And I'm a little bit like, Oh man, am I just going down the road to crazy here?