Color Wheel Mandala - Part Four | Chris Carter | Skillshare

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Color Wheel Mandala - Part Four

teacher avatar Chris Carter, artist, illustrator and explorer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (46m)
    • 1. Introduction

    • 2. Mandala Sketchbook

    • 3. Bonus Color Mixing Lesson

    • 4. Create Kaleidoscope Mandala

    • 5. Adding Color

    • 6. Conclusion

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About This Class


This class is Part Four of the Color Wheel Mandala Series.  In this class you will learn how to construct a complex mandala based on a six-pointed star. With six pigments, a warm and cool of each primary you will create an extraordinary design of color and value variations, either following my example or stretching your imagination and testing your new understanding of color mixing.  you will see many examples of color wheel mandalas, as well as a variety of drawings and paintings, both in watercolor and in oil, using a limited palette of six primary pigments. 


Meet Your Teacher

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Chris Carter

artist, illustrator and explorer


Welcome to Skillshare. I'm Chris Carter.

I love exploring the world with pen and brush whether it be by land, sea or air! Here on Skillshare, in tiny bites, I present tips and techniques I've learned over a lifetime of sketching, drawing and painting. My classes are designed with two purposes in mind: to present tips and techniques that help you learn new skills and master current skills; and as quick reference for those of you who have attended one of my live workshops.

I create large, abstract watercolors and oil paintings in my studio.  When traveling, which I do for more than half the year, I work realistically, mostly in sketchbooks.  I sketch from reality daily to keep my eye, hand and brain coordination well-honed.See full profile

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1. Introduction: welcome to part four of color wheel mandalas. This is the fourth in a series of mandalas that focus on creating Mondal Aziz color wheels . It's a fun way to learn more about color and to create some beautiful pieces of artwork for your wall. If you so desire to Matt, hang them in the 1st 2 parts. In part one and two, we used only three primary colors. We used a warm or cool yellow, a warm or cool red and warm and cool, warm or cool blue in Part three and now in part for we are using six pigments. We're using a warm and cool read, a warm and cool yellow and a warm and cool blue. In this last part of the Siri's, I'll be doing a slightly more complicated Mondal Allah showing you how to create it, and it will create a lot more sections for you. A lot more, um, shapes to paint. If you're having any problems painting in the colors, keeping them transparent, mixing the right consistency to paint in the shapes, then check one of my other classes. I have another Siri's called pulling the puddle on that will teach you exactly how to mix your paints so that you get beautiful, beautiful washes. And in the earlier classes in the earlier Siri's, so many of the artists were really creative with the Mondal is that they made and they used the pulling the puddle technique and graduated the washes so that they went from light to dark and dark to light. And then they were really wonderfully experimental with their designs creating fantastic borders, um, adding, having designed into the mandala on learning an enormous amount about the colors that they can make with a very limited palate. So take a look at the earlier sessions to Part one, Part two and part three and the projects that the other artists have posted on our continuing to post in those classes. And just a reminder every time you post a project and you can post many within the same class and you can just keep posting them if you want, any new projects posted will automatically earn you an entry into the current monthly contest, so pull out your paints, cloud your pens, your paper and let's get started 2. Mandala Sketchbook: I'd like to start off by sharing a sketchbook I shared in another earlier part of this series. It's the first Mondal, a sketchbook that I ever created. And it's what led to to my addiction to creating his wonderful color wheel, Montella's and $1 that incorporated drawing, Um, that that actually led eventually to the dollar art that that I'm rather well known for now , Ah, a lot of other artists have become completely addicted to to create a news wonderful circular, Mondal Aziz and Dollar Art. You'll also find the bonus color mixing lesson in this class to just a zit waas In Part three. I feel that it's really important to share this with you. Fact so important that I've also created it as a standalone class here in school share because I wanted to be easy for you to reference, to go back to, to look at again and and really understand the very basics of color theory and how it isn't nearly as hard as I thought it was to begin with. I struggled with it for 30 years, and after some intense relearning, teaching myself about colored when the economy was not so great, and I stopped doing exhibitions and flipping my paintings around, and instead I just buried myself in my studio and talk myself color. I discovered that it was really so simple, and I didn't need a lot of pigments, and I I knew which pigments I needed to buy separately, the ones that I could not make with a limited palette of six and on those that are just gorgeous and fund play with. But I can makes almost everything with six pigments, which makes traveling very easy and just makes it more affordable to paint. Uh, so anyway, I've included that again, and I probably will included in almost all of the classes because I've distilled it down into a relatively short lesson, considering that it's normally a 2 to 3 day life workshop. So even though you get a lot more in the life workshop, this is really what you need to get going. I call it the kickstart to mixing gorgeous color, and that's what this. So we're gonna start with just a sharing of the Mondal, a sketchbook, and in the sketchbook, I've used Reeves B F K printmaking paper. It's not a watercolor paper It's a printmaking paper, and though I didn't really like it very much at first, I've also become very fond of it for this kind of water color. It does not do well with great super wet and wet techniques were stumbling. It's terrible if you erase, but I just love the way grabs the color and it it's almost. It's almost as if it brings the color back to the brilliance of when it's wet before dries . So if you wonder how I got that color, it's the Reeves B F K pic. I was watching the Winter Olympics, and I created this dollar on bond. This is not a color wheel dollar, really, But it gave me the idea that 12345 secs ahead of yellow, green, blue, violet, red, orange so that this is so much more fun than creating color wheels. And I have been creating color wheels nonstop for two years because I was re teaching myself color. I wanted to be a master of color, and color was one of my weaknesses. So that huh I'm gonna make color, and that's what I started doing. I made my way around the color wheel, yellow, green, blue, violet, red, orange, yellow on the outside, yellow to green to blue to violet, red, orange, yellow, yellow to green to boot to violet, orange to yellow. And then then I would switch my pigments, and I kept learning more more about color. Having an awful lot of fun making these delightful Mangala's, I started adding in drawing Okay, plants all kinds of so you can see that these air not color wheelman dollars, but it was totally hooked on learning more about design patterns, values and color schemes. This started my coast, so there was really no end to it. It's It's only limited by your imagination, that's it. 3. Bonus Color Mixing Lesson: This is the bonus color mixing lesson that I promised you in the beginning of this class, and I mentioned that you will also find this is a standalone class on my skill share page. I call it Color mixing 101 It's the kick start to mastering color In this video, I'm going to share with you the method that I've used to teach color mixing and color theory in my life workshops. The method that I'm gonna teach you is a way of thinking about color and thinking about color, determined by where each pigment rests on the color wheel as to whether it's warm or cool, this is more a way of thinking in a way of doing rather than a way of understanding from the scientific point of view off how color works through lightwaves. Normally I get a little carried away with the science behind it. In this video, I'm not going to bring science into it. I'm simply going to show you what happens when you mix colors that are either closer together on the color wheel or further apart, and from there you'll understand how to create beautiful, intense, fully saturated, brilliant colors, and you'll understand why. Mixing other colors that are considered to be fairly primary, we'll give you neutrals, and then you can mix beautiful neutrals. You'll learn why some of your primary, such as a warm red and a cool blue, won't give you a violet, but we'll give you a brown or somewhat of a grey instead. So let's begin. In this demonstration, I'm using a standard 12 section color wheel. I have three primaries, a yellow blue, red. I have three secondaries, a green, a violet and orange, and I have six. Tertiary is a yellow, green, blue, green, blue, violet, red, violet, red, orange and yellow orange. Each of the primaries is divided into either being warm or cool, so I have two of each primary. I have a cool yellow. I have a warm yellow. I have a cool blue, which is a halo and a warm blue. I have a cool red and warm red for my cool yellow. I'm using Windsor Yellow for my warm yellow. I'm using Hansa Yellow deep for my cool blue. I'm using a Joe's Blue, which is a halo for my warm blue. I'm using ultra marine blue for my cool red. I'm using a lizard crimson from my warm red. I'm using cadmium red light. Now I have squeezed those colors out into pains. I can remove this and then place my pigments right on this template. The template I laminate with clear contact paper. That way I can use this when I am painting to keep my paints straight so that I am sure that I'm not mixing them up, especially the blues, because sometimes they look the same and I don't want to by mistake makes a cool blue in with my red If I'm trying to get the violent So I use both of these templates will use this as reference. And I use this to actually keep track of my paints when I'm actually mixing my pigments. I'll be using this palette and placing these right on here. I will only mix to pigments at a time. I will never mixed three pigments to make sure that I'm imprinting my brain with the information that I wanted to retain. I always have my yellow at the top My color wheel. When I lay my oil paints out, I do the same thing I lay my paints out in a circular pattern. I start with yellow at the top, going clockwise. I moved to blue, continuing clockwise, I moved to read and then back to yellow. Some artists flip it around the other way. They have their blue here in the red. Here I am consistent with the way I'm exit so that I don't confuse myself. It's easy enough to do when you're painting intuitively and dipping here and dipping their and you want to make sure that you've programmed your brain correctly for your own way of working in terms of warm and cool. What does that mean? My cool yellow? I think of it because it's closer to blue than it is to read. I think of it is having a little bit of blue in it. I think of a warm yellow as a yellow with a touch of red. I think of my cool blue as blue with the touch of yellow. I think of my warm blue as blue with a touch of bread. I think of my cool red as a red with a touch of blue. I think of my warm red as a red with a touch of yellow. When I'm teaching color mixing, I begin by mixing violet. I believe that that will illustrate in the best way possible the idea of mixing pigments that air closer together and mixing pigments fetter further apart to mix my violet, I'm only going to use two pigments, one red and one blue. There are four possible combinations of these pigments. In order to get a violet, I can mix my cool red and my warm blue. Or I can mix my cool red and my cool blue. Or I can mix my warm red and my warm blue four, my warm red and my cold blood. I've duplicated those possibilities on this sheet. I've made four columns, one for each of the combinations. This is my cool red and warm blue. This is my cool red and cool blue. This is my warm red and cool blue. This is my warm red and warm blue, So I'm going to mix the two together and we'll see what possibilities we have. We'll see how violent we get and how violent we don't get Notice that the cool red and the warm blue are closest together on the color wheel going back to this color wheel. The warm blue and the cool red are the closest. Together. The warm red and the cool blue, warm red, cool blue are the furthest apart. The warm red and the warm blue are the same distance away from each other as the cool red and the cool blue. Now that the results will, of course, depend on which pigments you've chosen. But I think that you will clearly see when I make these strips the point that I'm trying to make the first combination. All mix will be cool red, which is the illusion crimson and the warm blue, which for me is the ultra marine blue To make sure that I keep my colors clean, I'll put some of the color in the wells, and I'll make sure not to dip back into my pigment with the brush that has any other color on it. I will wash that brush up first. When I make these strips, I want as much information as possible, so I'm going to see what it's like full strength and also in dilutions. In making these strips you you learn a lot about the pigments I know that the lizard in crimson is very staining, so I'm going to be careful that I don't use to much lizard crimson to start with. It's not always half in half fact. It hardly ever is half one color and half the other to make the one in between. By diluting it, you get to see more of the character, the nature of the colors you're mixing. So I'm seeing violets. I'm seeing red Violet's an awful lot of red violet, so I'll go back in and add some more at the blue, going to switch now to my cool blue. So I'm using the listen crimson on the Jos blue. When this dries, you'll see more clearly the differences between these two mixes. I'll begin mixing the warm red, and the warm blue noticed that they're not the furthest away. Ah, getting much of a violet here, am I? I looted a bit to see the nature of move. What do you think about that? All right, well, let's move around to the warm red on the cool blue. Here we have the warm red and the cool blue. Those are the furthest away. Let's see what happens with even less of a violet. And no matter how much blue I add or how much red I add, I don't get anywhere close to a violent. We'll let that dry and take a look at it again. Let's take a look at our results very early on, probably in elementary school. Most of us are taught that to make violet for purple, whichever you want to call it, you mix a red in the blue, and basically that's true. However, we're also taught that the way you bake a neutral A brown or grey is to mix all three primaries together, and that's also true. So what are we doing here with the cool red? We don't have any yellow at all. Let's put our yellows back or just one young. In the beginning, I said that the warm red has yellow in it, and the cool blue has yellow in it, whereas the cool red is closer to the blue so it doesn't have any yellow in it. It has a little blue in it, and the warm blue is closer to the red, so it has some red in it, but it doesn't have any yellow in it. So when we mixed the cool red and the warm blue close to each other, this one has a little blue. This one has a little red. Neither one has any yellow. So when you mix the two, it's true. You mix red and blue and you get violent. And that's what happened right here. Okay, but what happens when we mix these two? Well, this has a little bit of yellow in it. So we're adding all three primaries. It looks like we're mixing red and blue, but we're mixing red and blue with a tiny bit of yellow, so therefore it's neutralizing. What is the complement of yellow? How is it that we're taught? Oh, to make a neutral? You mix the compliment. So to make a neutral either a brown or grey from a violet, you would add yellow. Well, that's what we did by adding the warm red. We added a little bit of yellow, so we neutralized it at these two are these two and we neutralized it. If we mix the warm red and the cool blue, we're mixing some yellow in with this one and some yellow in with this one, because these both have yellow, so we're neutralizing it even more. And what happened there? We have a warm red and a cool blue and look at how neutral that is. We don't have anything close to Violet there. Why? Because there's a little bit of the other win that there's a little bit of yellow in this. When we mixed the cool red and the cool blue, there's no yellow in the cool red, but there iss yellow in the cool blue. So we're neutralizing. We're adding a little bit of yellow to the violet that we might be able to get, and that one is here and here. We've got a tiny bit of violet, but not like we do here. That's the basis of all of it, and this illustrates it the most. Clearly. Let's move on and mix and greens. Based on what we just learned, I think you can predict what's gonna happen. Will we get a saturated bright green by mixing the cool yellow and the cool blue, the two pigments that are closest to each other on the color wheel? Will we get a bright clear green by mixing the warm yellow and the warm blue. The two pigments that air furthest away from each other on the color wheel, the warm yellow that has a little bit of red in it, the warm blue that has a little bit of red in it. What happens when you add red to green? I think you know the answer. Let's take a look. A bit of a warning when it comes to mixing your colors with the yellows. Yellow is not very strong, so it will turn into a green almost immediately. Hard to talk and do this at the same time. I put my yellow I met to mix this one first and see how quickly it mixes. You do want to see all the greens you can get. How dark? How like, Well, that's still somewhat wet. I'll do this trip very different green on my screen, but it's more of a neutral green. Let's take a look at the 1st 2 strips. The cool yellow and the cool blue. That's the cool yellow and the cool blue. They're the closest together, and they give a bright green. Then we have the cool yellow and the warm blue. They still give you a nice screen. It's not as brilliant as that green and look where they are. They're a little further away from one another on the color wheel. Remember the yellow. The cool yellow has some blue in. It doesn't have any red in it. It has blue in it. Okay, The warm blue has a little bit of red in it. So when you add the warm blue and the cool yellow, you're adding a little bit of red. You're neutralizing it a little bit. Let's move on to the other two possibilities. Using the warm yellow. Remember, the warm yellow has a little bit of red. And so what do you think is going to happen? Let's take a look at our results. Ask ourselves a few questions. Let's look first at the two pigments that are closest to each other. What do we think? Probably will get the most intense prince. Is that true? This is the cool blue. This is the yellow cool Yellow? Yes, indeed. Definitely the most brilliant, most saturated greens. These aren't neutralized in any way. You've got a yellow, yellow, green, blue green, a blue. You don't have any indication of a brown or grey. Now look at the ones that are furthest apart, the warm yellow and the warm blue over here. And what do we have here? We have a lot of neutralization in here. It looks like a charcoal gray. Even the neutralised greens are very olive, a green. It looks more like full colors. Beautiful neutrals, great for shadows and foliage. All kinds of things were for you have greens, and you want a nice, rich form of a change of planes of light, and you don't want it to be grey or brown or black and to go flat. Look at all these beautiful, rich deeps. These are all neutralized. So why is that? It's because the cool yellow and the cool blue don't have any red in the middle. The warm yellow and the warm blue, our closer to read. They have a little bit of red in them, so you've neutralized the green that you're trying to make with the tiny bits of red that air in your warm yellow and your warm blue. But there's none at all in the cool yellow and cool blue, so you get a pure, brilliant green. Let's move on to the oranges. Now the oranges air harder to discern. The ones closer together will give you a brighter orange than the ones further away. Let's see if that's true. Let's take a look at our results. The brightest orange on this page is this one. It's the most saturated orange, the least neutralized. That's the warm red and the warm yellow, the warm yellow, the warm red, their closest together on the color wheel and which might be the most neutralized. Now, this is a little bit tough. I can see the differences, but I've been looking at this for so many years that the differences jump out at me. But I know that it was very difficult for me to see, say, the differences between this and this, although now it's pretty clear this is the most neutralized. Which two colors of those the cool yellow and the cool red Okay, the two that are furthest away on the color wheel. And then these two are those in between ones where you have a little bit of distance, but not the whole distance. Why the warm red and the warm yellow don't have any blue in the middle. The compliment off orange is blue, so if you add a little bit of blue, you're going to neutralize the orange. You're going to make it less orange doesn't mean that it's going to be ugly and dreary. It just means it's going to be neutralized. The warm red and the warm yellow do not have any blue in them. The cool red has a little bit of blue in it. The cool yellow has a little bit of blue in it. So when you take a warm yellow and a cool red warm yellow cool red, the cool red is adding a little bit of blue to it so it gets neutralized when you have a cool yellow and a warm red. The cool yellow has a little bit of blue in it, so it gets neutralized. I don't see it as being terribly neutral here, but it's definitely more neutral than it is there. Hey, and over here, there you have a cool yellow and a cool read. The cool yellow has blue in it, and the cool red has blue in it, so you're neutralizing it even more so with these six pigments. Look at what you can make. You could make all of those beautiful colors, so it's easy to use just six pigments and paint full color paintings. You've got your browns, you cut your grey's got your primaries, your secondaries return, she Aires and all the neutrals. You could want the example here. These strips are only just a fraction of the beautiful colors you can make with those six pigments that concludes the concentrated color mixing plus that combined a two day, sometimes a three day workshop into one short class. I know it was a lot to process, but it was distilled down to the real essence of why mixing different pigments works the way it does. If you wonder how your pigments are going to react, discover where the pigment lies on the color wheel and with a little bit of practice, it will become totally intuitive. And you'll be mixing gorgeous colors, both neutrals and saturated colors in no time at all. And you won't have to reach for 12 other tubes of colored to get exactly what he wants. There are definitely some pigments that you cannot make with these six. I carried turquoise, cobalt turquoise with me because I can't mix that and usually a cobalt violet on their there. Some rents like a permanent rose that I can't get from anything else. But overall, I can really makes everything I want, especially when I'm traveling or landscapes. It's it's easy, and when you limit your palate, you learn even more about color, and you get stronger and stronger. And then when you do get one of those very special pigments that you can't make, you know how to make it sing and glow in a way that it and can't If you're just mixing and in how passively with your other pigments. I hope you enjoyed this dose of color mixing theory. I tried not to get scientific about it, and I hope I succeeded. So enjoy your exploration of color. It's a world that can delight you each and every day of your life. I'm Chris Carter 4. Create Kaleidoscope Mandala: first draws circles says you want your Mondal A to B next, going to mark the top and the bottom of that circle and make sure that the line that connects the two passes through the center of the circle using the same setting you're going to mark off six equal segments of the circumference of the circle. I do this by marking it from the bottom point, and from the top point you're setting is the same on the compass. It is the size of the radius. The radius is 1/2 the diameter of the circle. Next you'll create a six pointed star by connecting as I'm showing you in the video, the six points on the circumference of the circle. The more careful you are in lining up the points, the better your Mondal A will turn out. You now have a six pointed star made of two triangle. Adjust your compass so that it passes through the points where the two adjacent points of the star can it now create another triangle in the center of your star, placing the point of your compass back in the center of the circle. Adjust your compass to make yet another smaller circle that will touch the edges of the triangle that you just created. Theo Place point of your compass in a point of one of the smaller inner triangles. As I'm showing you in the video, adjust the compass down so that the lead touches the line of the inner triangle. Draw another partial circle as I'm showing you in the video. Repeat. This process is shown. Place your compass point in the center of the circle on. Make your compass larger again so that it's almost but not quite the size of your outer circle. Draw a circle, creating a thin border around the points of the star, Avoiding crossing over the points of the stars. Make sure the three points I'm showing you line up and mark the partial circle in the outer triangles. Repeat this two more times. Place your point of your compass as I'm showing you draw a partial circle connecting the points that you just created on that inner circle way. Now divide the outer segments as I'm showing you. I'm looking at the design as it's being created and deciding what smaller segments to make . At this point, you can go off on your own or you can follow. What I'm doing to describe it with words can be very confusing. So I suggest that you just watch the video, follow along with the video and stop it when you need to, so that you work one step at a time. There really no mistakes to be made as long as you're consistent. Even with your inconsistency, the Mondal a will be gorgeous, and I usually forget a line somewhere along the way. But when I'm thinking this, I'll discover the missing line and I can have it then sometimes I don't even discover the missing line until I'm adding color. And then I had it. I progressed slowly, considering how the pattern is feeling to me, The design I like today may not be the design I like tomorrow. - I've now decided to add one more smaller triangle in the center of the star. I think it pulls it all together. Here's the completed Mondal, a drawn in pencil, and here is the completed Mondal a kinks 5. Adding Color: in this lesson, I'll be adding color. I begin with my primaries. In this case, I started with yellow. The choice of where I put the yellow is pretty arbitrary at this point. Next I add my red and then I add my blue. I've chosen to use my cool yellow, my warm red and my cool blue for my primaries, and now I'll add my warm yellow. I'm adding my cool red and now my warm blue. At this point, I begin to concentrate a bit more and mix my colors with intention. I'm moving into my secondary colors, my oranges, my greens and my violence. Because this is a color wheel mandala, I'm going to try to make sense of the color choices in terms of color wheel. I'll be attempting to keep my eye moving around either clockwise or counterclockwise, according to the spectrum. In other words, I'll be going from yellows into greens into blues, into violets, into reds and oranges and back to yellows. In some cases, I will jump to use complementary colors to make it more interesting. I also want to include the tertiary colors, which are the yellow, green, green, blue, the blue, violet, red, violet, the red orange and the yellow, orange, and perhaps some variations of those. Because I'm using six pigments, I'm going to be able to get neutralized tertiary covers as well as neutralized secondary colors. I'm not sure yet what my choices will be. I will not talk you through all of my choices and paying this mandala. This is part for of the color wheel Mondal a Siri's. At this point, if you've done part one Part two and Part three, you're pretty much on your own to make some decisions and begin to ask yourself questions on why they either work or whether don't work, why they look neutralized and why they look saturated. This is about learning more and more about color, color, value and color saturation ins. This is about mastering cover. Here is my completed mandala. Take some time to look at it. Carefully look and see where I am, moving smoothly around the spectrum, transitioning slowly between Hughes and look at how I reverse that and work in the opposite direction, also transitioning slowly between Hughes using my tertiary XYZ and my secondaries as stepping box and see how incredibly strong those use and values are when juxtaposed against each other. Asking the questions about your choices is as essential, if not more essential, than mixing beautiful colors when it comes to mastering color. The idea is to mix your pigments with intention, and in order to do that, you need to have the intention. What's fun about these color wheel mandalas? Is it? Even if you're totally confused by what you're doing, they end up beautiful, and eventually you won't be confused anymore. You'll just be playing and bringing the joy of color into your work. 6. Conclusion: This brings us to the end of the four part series of Color Bayamon dollars. I hope you've enjoyed this class, and I hope that you've learned a great deal about design about color, mixing about color schemes and how you can hone your color skills by making these beautiful designs patterns. If you enjoyed this class, please follow me on skill share. And when you do, you'll get notification every time I post a new class. If you would like another class in color mandalas, maybe not color Real Montel has been maybe color scheme. Mondal is like the ones that you saw earlier in my sketchbook. Let me know. Contact me. Make a comment here and perhaps in a couple of months or so, I'll put together another Mondal a class. It's it's great fun. And don't forget that you can continue to post new projects in these classes. And for every project that you post, whether it's in this class or the pulling the puddle class or any of my other classes, you will earn another entry for each project posted each new project posted. You'll earn an entry for that current contest, and the contest run for a month at a time. They begin on the first of the month, and they end on the last day. I'm continually creating new classes for skill share. I have a class on making your own travel kit, a wee bit E travel kit that can fit in your pocket. I have a class on a standing easel, standing body easily You can make for yourself so that you can actually paint and sketch while standing in line or in a crowd, Um, or really, anywhere you can do plan air sketching standing out in the middle of your yard without carrying big bulky easels round. I have the pulling the puddle class and several more. At this point, um, and I will continue to post more. So if there's anything that you're specifically interested in, let me know. Thanks again. Have a great day. Explore the world with pen and brush. I'm Chris Carter