Mixing Gorgeous Greens using only Blacks, Grays and Yellows | Chris Carter | Skillshare

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Mixing Gorgeous Greens using only Blacks, Grays and Yellows

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (54m)
    • 1. Mixing Greens Black (Gray) and Yellow

    • 2. Course Materials

    • 3. Testing Blacks and Grays

    • 4. Mixing Greens Blacks and Aureolin

    • 5. Mixing Greens 3 Blacks 7 yellows

    • 6. Mixing Greens Sampling the Yellows

    • 7. Example - Landscape I and II

    • 8. Example - Monster Aloe

    • 9. Example - Albert Dock Dala Art

    • 10. Mixing Greens - Review

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About This Class

Mixing Gorgeous Greens using only Blacks, Grays and Yellows is the first course of the Mixing Gorgeous Greens Series. You will be guided through making sample strips to discover the characteristics of your pigments as well as samples of various pigments mixtures using only two pigments for each mixture.  The final videos are demos of painting line sketches using only two pigments, a black or a gray and a yellow. At the end of the course you will have created valuable color charts for future reference as well as experimented with creating your own painted line sketch using only two pigments, one black or gray and one yellow.

All of the pdf templates and line drawings can be found in the Project Section of the Course.


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. Mixing Greens Black (Gray) and Yellow: welcome to my skill share many bite classes. I'm Chris Carter in my mixing gorgeous greens. Siri's. I'll be showing you how to make really wonderful greens with just two pigments, and I will focus each class on a different Siris of pigments and will be reviewing many of the ways that I've shown you in other classes how to make color wheels, color strips and you can choose whichever method works for you. But I will be reviewing each one of them. In case you haven't watched the other videos in this course, I'll be showing you how to mix greens using just a black and yellow. So I'll be playing with cool yellows, warm yellows and a variety of different blacks and grays. And we'll end up, of course, what's, um, neutralized greens. But you'll see that they could be very beautiful, and you can even do entire paintings just with two pigments, a black and yellow. So let's get started 2. Course Materials: I'm going to go over the supplies that you need for this course Now you may not have as many tubes of paint lying around as Ideo. Whatever you have, pull out your blacks and pull out your yellows. I'm hoping that you have to paints, but if you have Pam paints, that's fine. To just make sure that they're very clean. And if not, then use water and a brush to clean them off so that you're not polluting your mixtures with any other pigments. The other things you'll need. You'll need a water container. You will need one or two brushes, I suggest. Let's see, this is a 12 and this is a four. Uh, whatever you have, don't go out and buy them, See what you have. You need a little palate for mixing piece of scrap paper, a paper towel. You need some sort of way of moistening your paints I use, and I drop her when I'm traveling or a tiny tinier than this spray bottle or this. Pipe it that way, you're not using your brush and polluting your paints. I use empty half pans and pans to squeeze my tubes into, and you'll see, what I do is I put them like that and then I'm only using those two and I make mixtures. Then I can shift them out and used to other ones. But again, if you don't have these, you can squeeze your pain out. You just have to make sure that you wash your palate extremely well. So that again, you're really seeing what the pigments are going to do, and you're not having previous pigments interfere with the mixture. I like to use thes because then I don't waste any paint. I haven't squeezed out a lot and then have to wash it all off. Then the other thing you'll need is you'll need some watercolor paper. Now. I cut mine into 8.5 by 11 and then I print out the templates. They're the PdF files for these templates that are available to you and I have used in this course. I've used the sixth circle. I used the nine egg. I used the 12 circle. I used the seven script. Use the 14 strip. Now you don't need to use all of those, but I wanted to show you different ways of making color strips the other thing, which is an option. You can either draw your own paintings that you paint in, or you can print out the PDF file of the four paintings that I did in examples, they're too landscapes and al Oh, and Albert Dock. These pdf files can be printed out on a thin watercolor paper up to 140. I wouldn't use 90. It's really too thin, but 1 40 is excellent, and it will go through your printer. 3. Testing Blacks and Grays: I find it really useful to keep information on the same page. In this case, I'm testing out the different blacks that I found in my collection. Some are very, very old. In fact, all of them are very old because I don't really use black. Nor do I use grey. I usually mix my own. I'm going to be showing you what happens when you mix the Da Vinci's aureole in yellow with these blacks and you'll see what greens you get. First, I want to show you how the character of the blacks differ and how they're the same. Rather than just show you the final product, I'm gonna show you exactly how I'm making all of these strips, and I'm making them in the same way. If it'll possible, I take clean water. I wet the bottom section from about 4/4 of the way up, down. I leave the top dry because I want to be able to put pure pigment of there to see how dark it can be. I will put water on my brush, but not too much, and I'm getting black from inside of my tube. It's not really diluted at all then I bring it down into the water so that I can see how it responds. Okay, now add a little bit more if I want. I want to bring it down a little more. Now you can see that this is reacting very differently from this. My point was to show that this the Mars black is very different in that it does have granule ation going on. And that's because the nature of the pigment. So if you don't want that granule ation, you wouldn't use Mars black. You can see here the blue black is a lot cooler than the lamp black on. I'll come back and compare all of these when I made my way across. These are the four blacks that I'm testing out. The next is a charcoal gray than a pains great and a Davies gray. And I think you're gonna be very, very surprised when you see what happens with Payne's gray. Here we go with the Paynes Grey during this on video just because it's a delightful surprise. I have for gotten how beautiful Payne's gray it's and how incredibly blew it. ISS Look at that. That is indeed going to make for a beautiful green gorgeous. Here the final results. We have blue black lamp, black Mars, black ivory, black charcoal, grey, Payne's gray and Davies gray. What I look for is I look for opacity. I look for transparency. I look for granule ation, which is where the pigment separates away from the water and falls down, settles into the crevices. This is cold press paper, so there crevices. It's not real smooth. I look for warm or coolness. This black is cool. Lamp black is warm. Mars black is cool. Every black is warm, grim bucker. Charcoal gray is cool. I would say it's kind of in between, but I'd say it's cool. And the Paynes Grey Windsor Newton is definitely cool. It's actually blue, and the Davies gray Windsor Newton is definitely warm. Those are the tests of the blacks that I will be mixing with the Aureole in the DaVinci Permanent Artists, Aureole and Mixture. Number 201 And we'll see what kind of greens weekend 4. Mixing Greens Blacks and Aureolin: I remember the first time that I heard that you could make green by mixing yellow and black . I was astonished. So I'm going to show you another way to make a different chart. And this is going to use Aureole in for all of them. And I'm using a blue black, a lamp, black, a mars black, an ivory black, a charcoal gray, a Payne's gray that Davies Great. And we're going to see what happens. Start with the yellow. Make it kind of wet so that it will slow. So the black with love and then this is the blue black, which is a color that we haven't used that much water calorie. I used to use a lot of oil. So over here, going to put the pure version, he's gonna go pretty fast. So see the great kind of an olive, a sort of green get its money, different shades as I can, and then over here, being careful not to go into this area. And I'm gonna dilute it a little bit. There's my blue black. I'm gonna work my way across, and when I'm all done, we'll show you another picture and we'll see if there are variations. I have three strips done. And because I've just gathered some very old tubes together to give you a whole range of experiments. I have this tube ivory, black and I I rarely, if ever, used black. So this is very hard cap to get done. And I tried with the pliers, and I was going to end up breaking the tube open if I turned it too far. So I'm going to take this opportunity to show you another trick, which is how to loosen the caps when they're kind of stuck on. So you take a match being very careful, of course. And you put the flame underneath tube you want Be careful that that you don't melt too much of it. And then carefully, hopefully this works. Sometimes you have to do it twice. Three times Do it again, does work. You just have to be patient. And I do this with my oil paints, too. Thumbs don't work as well as they used to. There we go. Okay. That was really crusty stuff, all right. And the tube, the pain is still soft. So still. Okay, straight that off when it's trying maybe a few surprises here for you. The's air. Oh, fairly the same, but not exactly the same. And then we get into the Greys. This charcoal grey is very similar to the Blacks, but look at this Payne's gray. Now that Payne's gray looked almost blue coming out, you would think that that would be a blue black. Where is this blue black look pretty much black like the other blacks, Um, and then this Davies graze really soft, warm yellow. Great start and look at the greens that you get from that Now there. There are a couple of things to look at, the other separation here. So in the Mars Black, there's more what we call granule ation going on. And that's what you may want in a painting. So it there just are no rial rules. Now this Payne's gray. Let's just explore this a little bit more. If you're not familiar with Payne's Gray and I've kind of forgotten about the beauty of Payne's gray, let's just see what that's about. Go this way. Look at that. That is pretty beautiful. They call it a grey, but that's really a beautiful, beautiful, neutralized blue. Let's see, I dipped into the yellow in my bucket because they don't have clean water and look at how that's already changing the color just because of the dirty water. It was back to what I said before, but it's kind of nice. The point of this whole lesson is to become familiar with the way color acts, and you can really work with a limited palate. Could also explore new pigments that you may want to do different things with this. Payne's gray is a beautiful pigment to bring if you can only bring one pigment with you somewhere. This is pretty nice. One gives you really good dirt, gorgeous color, and you can just Oh, uh, I see I used to play that will use this his palate. Say you got a house, then neighbors trees around it bushes. It's mountains in the background. There's a whole little landscape done just with that pressure blue, then, huh? OK, so I'm getting really off track here. It's a Rapeseed field as you come out of the tunnel from the airport in France. Okay, Well, I most certainly got distracted, but that is how I learned to paint a Z I would be doing exercises or practice things, and then I would just experiment and try. And, um all right, I just couldn't resist playing. And I learned far more by playing. So here we have this little landscape. Andi was made just with the Paynes grey and the Oriole and yellow. So getting back to the point of it, what we did here was we mixed several blacks all with Oriol in, and we got green in every case, different variations, please. And the next video I will be working with all of the blacks again. But I'm going to be playing with mixing several different kinds of yellow, some warm yellows, some cool yellows, Hansa yellows, um, all different, all different kinds of yellows and making a lot of different color wheels, followed by the final video in which I will paint, uh, paintings from maybe little sketches like this, but also paint in some of the ink drawings using just the mixes of one black and one yellow , but varying it so that you can see the combination and you, too, can do the same thing. Uh, on you can cluster them all together to make a nice wolf arrangement with you. Pay me so let's see what happens 5. Mixing Greens 3 Blacks 7 yellows: I'll be putting the yellow down first because the yellow turns very, very quickly. I'll just be putting a spot of the black and and adding black as a zay and moved to do so. I'm using the Mars black first on this one, starting with nickel a Zo. I'm starting with the Mars Black because I find it so fascinating the way that it granulated it's no, I'm really going for green, so I don't really care that much about the black being solved. I don't see what kinds of variations of greens I can get. I'm even going to leave a little bit there so that I'll see how the edge looks. Comey and lemon. Very different kind of green that's yellow in. I can do whatever I want with it. To find out the information that I need moving on to new GAM bows, I will be careful this time that I'm using the right tubes. Finding that the new gumbos Daniel Smith New GAM Bos is much more orange than the other new Gambo says. I've used all right Hansa yellow light. Next one is handsome medium moving on to hands of deep again. This is very much like the GAM pose, so I'm predicting that the color will be similar. It's important to know what the color does, too, when it dries. I've mentioned before in other videos how that Reeves B. F. K paper, which is printmaking paper, not a watercolor paper, will hold the color a lot better than many of the watercolor papers. And I'm so used to working on the Reeves that I expect the colors to be more brilliant when they try. So it's good for me to be going back and doing these the sheets, because now I remember how dull the color can be when it dries on regular watercolor paper . Okay, now the yellow ochre. This will be different and see the yellow over. It doesn't have a lot of power to it. A lot of the Earth colors are not as powerful as the mineral colors. Do we get much of a green at all? Get real murky green tone around neutral good stone colors, that is the color sheet for the Mars black. I'm going Teoh, do one with you, using the Paynes Grey on one with you using the Davies Gray where I will be showing what goes on the others. I will finish up and show you the results of But I won't have that on video because it can be pretty boring. Watching somebody else do this, I think, would be much better if you just go and do yours. And then you can compare yours with mine. But your colors air probably going to be different. So let's just move on. And I'll use the Paynes Grey with all of the yellows and the Davies gray with all of the Here we go with the Paynes Grey and the seven yellows. Once again start with clean water and I start by adding the yellow. And this time because the Paynes Grey has so much blue in it, we might get a little bit more of Ah, green. Definitely more, but nice rock color for dying plans. All right, so there is the Paynes Grey with our seven yellows. This is our sheet of Davies gray mixed with the seven different yellows once again starting with nickel Hamza. Now the reason I have Davies Gray is because I inherited them from from the woman who really introduced me to the joys of watercolor, and she had boxes of Gray of Davies gray, so it was clearly one of her favorites. As I've said before, I don't really use blacks or graze. No, let those dry and then we can compare them. 6. Mixing Greens Sampling the Yellows: welcome back to mixing gorgeous greens using blacks and yellows. In the last video, we made some color guards using vertical strips with our different blacks across the top blacks and grays and then adding just the oriole and yellow, which is a cool yellow. We also did some tests just of our blacks to see the characteristics of the blacks that we were using, because in this strip we don't really see what the black is that we're working with. We can see the result, the different results, the different greens that we get. But we don't really see how the character of the black and gray is different. So now in this video, I'm going to move on, going to stay with the same variety of blacks and grays, and we're going to play with different yellows, all different yellows. And in this case, where we did the vertical, we may do one or two verticals, but we're going to work on egg shapes, home and circles because there are some people that are going to be more open toe learning if they're working with linear shapes such as this on there. Some people like myself who are much more open toe learning. If we're dealing with organic ships for round shapes, can soft shapes? No, no sharp edges. Now I like linear too. But I prefer organic kind of amorphous shapes with, um, kind of no end to no beginning, no. And circles, you're great. So let's begin the yellows that I'm gonna be using our nickel Iso Yellow by Daniel Smith Cadmium Lemon by Windsor Newton Hansa Yellow Light Daniel Smith Hansa Yellow Medium Daniel Smith Hansa Yellow Deep Daniel Smith, New Gambo sh Daniel Smith, Andi Windsor, Newton Yellow Over. The reason I'm using so many Daniel Smith is that I've just been introduced to them, and I and I like them quite a bit. Eso I'm I'm testing these out and I am attempting to replace the Ori Ahlen, um, as well as the cab mum's with paints that are not quite as toxic and our light fast. So I will be experimenting with the Hansa yellow light, medium and deep. And I do hope that I can use those rather than the Aureole in, and I still like the new Gambo. But look, we'll just see how it goes. I'm gonna go ahead on test the different personality or the characteristics of each of these paints and the vertical linear boxes just same way as I did with blacks, and then will mix the two together, dampen the bottom 4/5 of the block. I'm using it directly from the to carefully. I want to still make sure that I'm not using it in an opaque way and putting a full strength the top where it's still dry, pulling it down into the water where I can then see what the characteristics are that is nickel azo, yellow. Now I'm going to go through each one so that you can actually see how it works. I've now written the names of the pigments across the top and the manufacturer across the body. And if you make a mistake like I did, so you cross it out. We're not framing this and hanging it on the wall did the nickel A's. Oh, and now I'm ready to do the cadmium yellow first 4/5 of the way up. Dampen it and see right away that the cadmium is more opaque. Next up is hamza yellow light, and now you can see the color is very similar to the cadmium lemon. So in terms of color, it's going to respond very similar way. It looks to me as if it's a bit more transparent, so that's something I'll keep in mind. If I were to do a glaze over another layer of paint and a painting, I would definitely glaze with the Hansa yellow rather than the cadmium Levin, because the canyon lemon will not allow the under the layers beneath. Just show through is beautifully. That's why I do these little test strips so that I can see how they work. If I change manufacturers, I will make more strips because there are so many different kinds of example yellow ogres. Some pigments are more consistent than others across manufacturers. Summer drastically different Cerulean blue is so different, depending on who is making that. It's a nice, very nice orange that was hands a yellow deep. These mix ups happen to me all the time. I don't worry about it. I just make a change now. We'll work with media. I thought that was a little dramatic. Wow, it must haven't in between. They dio nice nice coverage, a strong yellow but also more transparent than the cab meals. Now the new gambo, which is one of my favorites I love the transparency of the new Campos looks very similar in color to the hands of deep is a little bit more of a glow to it. All right, in the last one will be very different. But it will be fun to see what happens with the blacks. This is you OK, which is a very earth color, very opaque. It's great color. You can certainly mix it on your own without buying it in a tube, but it is convenient to have it in the tube. There we have our seven yellows that will be using throughout the rest of this class nickel a Zo cadmium, lemon hansa, yellow light. This is the hands a yellow medium hansa, yellow deep new gambo and yellow 7. Example - Landscape I and II: I'll be painting this entire painting just with combinations of nickel iso Yellow by Daniel Smith on the Davies Gray by winter in June, and I'm pulling the puddle here. There's another one of my skill share classes that shows you had to pull the puddle explains a little bit more about it. In this case, I'm varying the color a little bit as I pull it, keeping the pedal where this is a sketch that I photographed and then turned into a digital file, printed it out on watercolor paper with my inkjet printer. This sketch will also be available to you to paint in this course. I turned the page so that I can just keep pulling the puddle and that I'm working with gravity so that the puddle goes in the right direction. Not much to work up there, right? So nice variations. There's my field on, Let's see. Make this one a little bit dark. I think I'll make this guy gray, and I'm going to squeeze a little bit more out so that it's not green. I I have colluded my gray there and still gonna be a little green because it has a green tone to for a change in value. I want to keep the sky pretty light and maybe, ah, even put in the illusion of some clouds just for fun. Yes, I would have some cure yet Good how it glows when it's diluted. I'm gonna force some blooms what we call balloons and you'll see what that does when this drives really working with values. Here. I already got my colors figured out just using the two, so I can't really go wrong there. - I think I'll put a wash of greener 10 time that I think you can see the value of the color chart here. I used this as my sample and this is the result. Now you can see that if I chose this, the results will be very different. So by making this chart, I don't end up with something Along that line, I will show you other paintings using different combinations. This landscape was painted in using only the nickel a Zo and the Paynes grey. So those two pigments are this one. This is the Paynes Grey and this is the nickel a Szot as oh, I have to find out how to save I'd like to compare the two landscapes. This landscape was painted with the Davies gray and the nickel is so this one was painted with the Paynes grey and the Nicholas. So the only difference is in the black. This is a Davies gray, which is a very warm kind of green tone, great again with and a much lighter value than the Paynes grey, which also gives you a really nice dark uh, so you can really see the different tone. This is much more of, Ah, an overcast day. Maybe that's why the gray worked really well for the sky there. And this is maybe an afternoon. But you can see that you would never get this kind of a feel if you chose the Davies Gray. So it's really important to have a feel for what your colors can do. And the next video I'll be showing you 1/3 option of doing a painting with just black and yellow and I will be showing you this painting. This is my monster alot and in this case I use the hands of yellow light on the Paynes Grey Look at the difference 8. Example - Monster Aloe: This is a sketch from my sketchbook that I did quite a while ago. It's a monster aloe plant, and I've photograph did fixed the digital file so that I could print it on watercolor paper and then use it for examples of different color schemes and color mixtures. I am going to paint this in using black and yellow again. I'll be using the Paynes Grey. This one has that nice blue to hint to it, and I'll be using the hands a yellow light right here by Daniel Smith. And it gives beautiful greens that you work out really well in the monster. Al doesn't really matter where I start. I can just start right here, and I really do like varying the colors in my washes. And I'm not being very realistic because I'm not looking at the aloe plant, but I'm just varying the green because is it as the leaf turns, the planes of the leaf are a little different on, and that means that the light is striking it differently. 9. Example - Albert Dock Dala Art: for the last example of a painting done totally in black or grey and yellow. I'm going to use the lamp black with new GAM bows, and the reason for my choice is that the lamp black is a cooler black. The ivory black is a warmer black. So what that means is that the ivory black tens more toward the red side, the orange side and the lamp black tends more towards the green side. The blue. Sir, Since we're going for greens, I just think that it's smarter to go with the cool black that tends toward a green anyway, rather than a warm black that tends toward the red and red being the complement of green, it's going to neutralize it right away. So even though we do have greens, some lovely greens mixing our seven yellows except the yellow, we don't have anything going with the yellow over except rocks. But in these six, we do have tents, agree, and in the six we have tens of green again. Nothing but rocks, kind of boring rocks down there with the yellow over. I'm gonna show you. Since I've demonstrated things in the greener greens, we're going to go with the more neutralized greens and see what happens. This was a sketch that I did on plain air in Liverpool, England. It was Albert Dock on a very windy cold day. Remember that the lamp black is really strong. I'm working on the Reeves B F K paper that I've mentioned before pulling the puddle, making sure that all of the edges of the puddle stay wet. There's no puddle to pull. You can't pull it. You will, when it stays, what it flows really beautifully, doesn't this drawing was also digitalized and printed out? Thank you. Remember, there's no way to get a dark yellow yellow will turn either to orange in tow A red or it will turn to green, but it will no longer be yellow. The design of this sketch is in dolla format. I do dollars where I draw a circle first draw a just a free form line, and then I design all of these shapes within those spaces. If you're interested in this contact may, there is a very comprehensive dollar art course available to you. - I don't want the black to be so black that it looks like a hole in the paper. I want there to be a bit of color within the black. Within the darkest are. That's what creates a sense of movement, A sense of space. Have that sense of space? Fine. If you want a poster like flat surface, that's that's what you want. That would be your goal. But if you want movement and I like movement personally, then even if there are flat areas, you still one movement or I want movement in my art. 2 May life is movement movement his life. I'm adding another layer to change the value of this so that it shows up more against the background on the Reeves B. F K is great for being able to had further layers without streaks. 10. Mixing Greens - Review: I'd like to review what we did in this class. This class was part of the mixing gorgeous green Siri's Andi in this course, what we did was we played with blacks, grays and yellows. And when you mix yellows with grace for yellows, with blacks, you get some variation of green, which can sometimes be surprising. First thing we did was test the characteristics of the blacks that we chose to play with. We wanted to see if they were opaque, if they were transparent, if they granulated and how they reacted with water on how they lay on the paper. The next thing we did was to use Aureole in which is a yellow, and we tested how Aureole in mixed with our seven different blacks. Then we moved on to test our yellows. Once again, we went back toward Chart Onda. We listed the yellows and did a little test strip, diluting them to see the characteristics of yellows again, whether they were transparent, whether they were opaque, if they were a warm yellow or cool yellow. Then we tried a different kind of for math, for testing out pigment mixes, and we'll use the circles where the eggs, and with these we chose one black and mixed that black with all of our yellows. In this case, it was the Davies Gray in this case was the Mars black. In this case was the Paynes Grey. Those were the ones that I walked you through on my own. I did one of the lamp block and of the ivory black on. Then, using those you had a choice. You could either do your own drawing, which you did with either a permanent marker or a fountain pen with permanent ink. Not any kind of India ink, because that will ruin your fountain pen. You don't want to use any shellacking your fountain pen. I used new dealers black or platinum carbon ink in my fountain pens so you could either have drawn your own or you could have printed up the sheets. I I gave you two landscapes. Monster Hello and a dollar Albert's go. So we use different combinations of black and yellow to come up with four variations. You know of paintings done only with two pigments, a black or grey, and the yellow for the purpose of this is to experiment with your paints to find out what they can dio and to see the range of what they can do. Your pain supplies conf it so easily into your pocket. Wherever you go, you can take to pigments put into a tiny altri Tim a water brush and paper, and you're good to go. I'm encouraging you to use this method to experiment with other combinations of pigments. Ah, warm in a cool whatever it iss a blue and a yellow, blue and brown, um, a red and a green, red and blue, Any two for black and red. Just see what you can do and you don't have to do all of these tests. You can you can just play. I mean, that's That's how I learned how to pay was I played and I played a lot and I played everything. So I hope that you enjoyed this class, and I hope that you attend the other classes, which will be on mixing gorgeous greens. I will go into mixing blue and yellow, which is the typical way to make greens, and we'll play a little bit with those. So thank you for spending time on my skill share class I look forward to making more courses for you. Have a great day. Happy sketching. Happy painting this Cris Carter with skills here.