Beginner Guide to Oil Painting Part 1: Mixing Color | Adele McFarlane Wile | Skillshare

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Beginner Guide to Oil Painting Part 1: Mixing Color

teacher avatar Adele McFarlane Wile, Visual Artist, Educator

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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

9 Lessons (1h 59m)
    • 1. Introduction

    • 2. Materials

    • 3. Colors

    • 4. Color Bias

    • 5. Color Wheel

    • 6. Color Temperature

    • 7. Color Mixing Grid

    • 8. Clean up

    • 9. Overview

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About This Class

Is it color or colour? Apparently I can't decide. This class is the first in a three part series that will explore the characteristics of oil paint through learning basic color theory.

Join me in this deep dive into understanding color, where you will learn about oil paint colors and brands, color bias, the twelve-step color wheel, and color temperature.

Music used in this series of videos is Inspired by Kevin MacLeod (
Licensed under Creative Commons: By Attribution 3.0 License

Meet Your Teacher

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Adele McFarlane Wile

Visual Artist, Educator


I am a Canadian visual artist and educator based out of Nova Scotia. I have a Bachelor of Fine Art from the Nova Scotia Collage of Art and Design University and a Bachelor of Education from St. Thomas University. I currently teach in the Art Department at St. Francis Xavier University and maintain a studio practice out of my home in northeastern Nova Scotia.  

My medium of choice is oil paint but my work also includes drawing, collage, and sculpture. A significant amount of my life has been spent living rurally and my art practice is heavily influenced by the forest, tidal waters, and changing seasons of my environment. I am particularly interested in how the stimuli of the natural world connects deeply with image making and storytelling. The subject of my work often fo... See full profile

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1. Introduction: Hello. My name is Adele Me Carlin while and I'm a visual artist and educator and I am talking to you today from my studio in Scotia, Canada. This class is the first class in a three part series that is a beginner guide, Teoh using oil paint. I teach a color theory class at a local university, and in that cost, we actually use acrylic paint. However, since I am an oil painter myself and I love using oil and color theory is a huge part of understanding how to work with paint and to become a better painter. I thought it would be really interesting to teach a beginner oil class with a really focus on understanding color. So we're gonna go through some common colors and brands. We will look at understanding color bias. We're going to make a 12 step color wheel. We're gonna also look at color temperature, and then we're gonna round it all off with a little assignment on how to make your own color mixing grid. Now, I know oil paint can be a little bit intimidating. And if you are at all concerned about the toxicity of oil paint, I recommend that you look at my class on non toxic oil methods, Thank you for joining me and let's get into working with oil paints and learning about color. 2. Materials: Okay, So in this video, we are going to be discussing the materials that you're going to need to complete the class . You're going to need a palette. This is a glass palette. But you can use any palate, any surface that you think is gonna work for you. I really doesn't matter if you don't have anything at all, you can honestly use any surface and put like Saran wrap over it. You can use wax paper is excellent. Um, glass palates You can have made, actually. So if you're really interested in working with oil paint, I do recommend having a glass palette made. You can get it made at any place that does like windshield glass. Um, alternatively, you know what art supply stores. There's lots of different options for you, so get yourself, Ah, surface that you can mix paint on you. You're probably gonna need or want a pencil eraser sharpener, that kind of thing. That would be useful. You're going to need some palette knives for mixing your colors. You're going to need a pallet scraper. If you are working with glass just for cleanup, you'll want a scraper. You're going to need some brushes to work with. And for these assignments, I would recommend working with brushes that have a flat edge on them. So thes are all either flat. This is a flat, um, or brights on, and they have, like, a square edge on them, and that will be really useful. I'm just in terms of brushes. These are a natural bristle brush, and this one is actually a synthetic Russia. It's a little bit softer. Natural bristle brushes pick up and hold a lot of paint. They absorb a lot of paint, and they're very firm and a synthetic brushes a lot softer. Better for working with, you know, smoother quality, less visible brushstrokes. But for these activities, certainly a hog bristle brush will work fine to get yourself some brush to see. Because we're working with oil paint, you're going to need some jars with some oil. Uh, now I work with oil paint without any paint thinner or solvent. So I just use walnut oil to clean my brushes and also add into my paint. So I like to keep a dirty jar and a clean jar, and it's just walnut oil that I'm using. You could also use a linseed oil if you prefer on bond, depending on how comfortable you are with your materials. You could also use a towel, teen or paint thinner, too. You know, washing Russia's than you paint that kind of thing. But I don't like to use that. I like to kind of keep things as non toxic as possible, so I'm just using just walnut oil. As I mentioned in the previous video, If you're interested in learning a little bit more about painting with oils in a non toxic way, you can check out my other class that was specifically made for that for a non toxic painting methods. Okay, so you're also going to need some pain to work with. So I have a couple different brands of paint here on different colors, and in the next video I'm I'm going to get into talking a little bit about the actual colors, but in terms of materials, what I would suggest for this particular exercise, it's nice to have two different reds and two different yellows, two different blues on Dwight and really, you know, if you're just starting out and say you fought a oil kit, you'll probably end up with, you know, two different yellows, two different reds in two different please, anyway. And in the next video, we're really gonna get into talking about pigments a little bit further. And beyond that, we're going to look at color bias, which is really gonna explain how to deal with all of the different sort of variations of, you know, red deals and blues and other colors. You will also need a surface to work on. So today I'm working with a oil paper. So this isn't arches oil paper, and this paper has already been treated, and it's ready to be used with oil paint. However, you can use whatever you know, painting surface you want. You can just use paper and treat that paper with Jess. Oh, so you would cry that with Jess? Oh, ah, curling just so paint You could also use, like a even Justin acrylic medium painted over paper would work fine. And he you know this. Actually, what I have this taped onto is a a little piece of flying would like a thin piece of plywood, and you could absolutely just paint. Uh, just so a piece of board and use that. Or alternatively, you know, if you go to an art supply store, you there's, you know, lots of different alternatives to canvas paper Teoh. You know little stretched canvases are or whatever, but let's you know, let's keep easy. Let's keep it simple and you use what you can find with oil paint. You do have to work with a surface that has been treated that husband primed because, you know, with acrylic paints you could actually work directly on paper if you wanted Teoh. But with oil is you do have toe treat the surface that you're gonna be working on you are. You are also going to need some paper towel or, uh, rags of some sort. Teoh help you with cleanup and washing your brushes. Oil paint can be pretty messy. So, you know, I also recommend you could wear latex gloves if you want, But just make sure that you have, you know, rags or something to work with toe help you tidy up. All right, Stay tuned for the next video, where we are going to talk about color 3. Colors: we're going to be looking at our primary colors and I've chosen out of my paints. Two blues, two reds on and two yellows. No, when it comes to looking at color bias when you choose your two different yellows and you different reds and your two different blues, you want them to be a sort of dissimilar as possible. Now, if we're just looking at our blues, I've chosen to Blue is here. This is an ultra marine blue and, um, Agnese blue thes air, both gambling oil colors. But I just wanted to show you I'm some other colors. Other brands. So these are the gambling or an artist quality paint. This is a cerulean blue failure, which is, you know, gonna be similar to this mag unease. Blue. They, you know, have a similar look. This is an example of Windsor Newton. This is an artisan water mix herbal color, and it's a cobalt blue, which is kind of similar to the ultra marine blue. This is a cerulean blue ones or noon artist's oil colors now, and that's again, it's it's sort of similar to these blues over here, basically what I'm trying to get across is that when you go Teoh the art supply store and you're choosing paints, you are gonna have You know, they're gonna be many different blues to choose from. There are gonna be many different reds, many different yellows to choose from. And so this exercise that we're gonna do today is going to kind of help to show you a little bit about the qualities and maybe the differences between these two, I guess, like families of blues that we're seeing now it's important to note that, you know, there is a difference between a cobalt blue and an ultra marine blue. And there isn't, you know, a huge difference from even a so really in blue fail Oto like an actual cerulean blue. So, you know, all of these blues are different, but these colors are gonna be a little closer together, and these colors are gonna be a little closer together. So depending on the blue, depending on the brand of paint you're going, Teoh end up with different paint mixing results. But that's what's really great about this activity is it is one that can kind of guide you through understanding the differences and how thes blues are gonna, you know, react with different reds and how they're gonna react with different yellows. Eso Let's take a look at some of the fellows that we have So this is Ah, Windsor yellow. This is a cadmium yellow pale. Hugh, this is a Hansa yellow right, And I also have I guess I don't have a lot of different examples of yellow paint. This is a yellow Oakar. So when we're looking at these colors, uh, my cadmium yellow pale Hugh is, you know, mawr closer to like an orangy yellow. And so is this yellow curso yellow Oakar is actually it's It's an earth tone, so it's kind of closer to a neutral rather than a very bright yellow. But for this example today Oh, I'll kind of talk a little bit about those, uh, the Windsor yellow is mawr of a yellow that is kind of green light closer to green. And this Hansa yellow is another one that's pretty, very light closer to green rather than orange. Even though these yellows are kind of similar, they they do have color bias. The yellow Oakar is a color that you'll often see. So if you buy a paint kit that has set colors already that you didn't get to choose. Often you'll get some colors that are neutral. Neutrally colors are earth tones on this yellow car is one of those. But you can do this color bias wheel with, you know, a yellow car. If you wanted to, that would be That would be fine today for this assignment. I think I'm gonna choose my cadmium yellow pale hue as as well as the Hansa yellow. Those were, you know, kind of to that air dissimilar. And those are the ones we're gonna use. Just a note about brands, I guess. Here so again, the gambling oil is a artist Quality oil. It's one of my favorite brands. Windsor and Newton is also really, really excellent. Uh, Brenda's well, and Thies, this is actual. He'll water soluble our water mixing oil color the Windsor Newton artisan, and it's pretty excellent to now. It's pigment is actually not gonna be a strong as the gambling oil. The gambling oil's a little bit, you know, higher quality than the Windsor and Newton. So this one doesn't necessarily have as much pigment as maybe this paint would often that's what you'll see when it comes to the spectrum of sort of, from student grade to admit level, which is this is sort of a mid level paint, and this is the higher end, like artist oil colors. Or you'll notice they're sort of a difference between the amount of I guess or how strong the pigment is. But that's okay. And actually, I mean, I think you know, working with student grade or like that kind of mid range is totally fine. Oil painting can be really expensive, so I think you start with what you can start with. Just a za note, because I am going to be using the water mix herbal oil here just because I want to use this color. When you're working with water Mexico Oil, you can. It is interchangeable with regular oil paints like I can mix these two together. That's not gonna matter. And the only thing that will happen as a soon as I start to mix my water, mix herbal oils with regular oils or, you know, any kind of, uh, oil medium at all, it is gonna lose its water Mexico all quality, and that that's fine for for me today because I'm gonna be working with some regular oils anyway, so Oh, good. Eso looking at my two different reds, this is Ah, lizard, crimson red and a nap fell red. And these two are, you know, pretty dissimilar talking about color bias. You know, this red leans a little bit more towards Violet, and this red means a little bit more towards orange. Some other reds that you might see you are going to the art supply store. This is a matter Lake deep, and it's really quite similar. I think it actually says on here a lizard is also likely. There's a lizard crimson also called matter like deep. Um, so very, very similar colors. And I don't actually have another read that is similar to this snap. Feel red, but but a cadmium red is probably similar. It's like more of an orangey red. So, you know, there are there differences between between the reds that you're gonna see on they're gonna react with other colors differently. So it's just really important to get an understanding of color bias, how that works and how that's gonna affect your paint mixing. And ultimately I believe even activity like this eyes going, Teoh really help your in terms of choosing, you know, pain. It's colors that you want to use or even experimenting with colors that you might not have . You know, if you haven't heard of them before or whatever. Yeah, so let's get started. 4. Color Bias: we could have space. He's owed a little bit better, but that's OK. So for this, I'm gonna make a little bit of a diagram. So this is called a color by the wheel, and I'm gonna start off by creating this little broken line. I just heard up how a chart kind of deal. And from here we went to put two boxes on either side of the broken lines a little bit. Okay, so it's OK if it's a little bit messy not looking for perfect here. Just going for functional. Okay. All right. So now the reason why I have two boxes on either side of the broken line has to do with the fact that I am going to be putting my primary colors into these boxes. And then we're gonna be experimenting with mixing the primary colors together to get secondary colors. No secondary colors are gonna go in the center here and those air. So I wanna have four boxes, and these are gonna be greens and our oranges and their violence. Now, when it comes to college theory and talking about primary secondary tertiary colors, we're gonna do a color wheel in the next video, and that's gonna explain those terms a little bit further. But for now, with this, what I want to explain is when it comes to oil paints and the colors that are available to us, there are no true primary reds or blues or yellows. So what? We have our colors that are made from pigments that have what's called a color bias. And that means that they each primary color sort of has a bias that leans towards their secondary one secondary color or another secondary color. So earlier, when I was talking about a red that's more orange or red, that's more violent, that's what I'm referring Teoh. So when I start to put my primary colors into these boxes, I really want to think about that idea of color bias now which Red is gonna be closer, you know, Toe orange and which red is gonna be closer. Teoh Violet eso Let's actually start with our reds, and I'll explain as I go along for this today in terms of your brushes. It's nice to have three brushes, you know, one for each primary, and that's gonna kind of help us when you're working with oil paints. It's not as simple is kind of like washing your brushes and going to the next color. We do have to use, you know, oil or paint thinner to clean our brushes out. I'm just using oil today. As I said previous, I just I don't use paint thinners, so I just use oil open these upstart one that's really dirty. And that's what I used to clean my brushes. And I have one. That's my clean oil that I used to just add into the brush. Okay, so I'm gonna start actually with my reds, and I'm just gonna dip my brush into the oil. Just that I get my brush kind of covered in oil, and I'm gonna dab it in to my oil paint and kind of just get a feel for this paint. Now, one thing if you're doing this assignment that I want you to think about, especially if you're just starting out working with oils is to really think about the quality of each of the colors. So every paint, you know, they're made from different pigments, and they all have their own characteristics. Each of them, you know, some are going to be more transparent. That means that you can kind of see through them more than others. Some are more opaque. That means that you you know that you can't. They don't have as much transparency. Some are going to feel thicker. Some are gonna have more flow. So each of them sort of has their own own quality, you know, And they are also different from brand to brand. And, uh, so it's one thing to kind of pay attention to when you're working with the oil paints something that I find interesting. So this Eliza in crimson is, you know, quite transparent on it also has a really, really nice flow. It's very liquidy, Um, and so that's what I notice about that. I'm gonna take some of this and I'm just going to add it here to my box. All right, so what I'm seeing is that this red is very, very dark. Another thing to consider when you're working with the oil is sort of how you apply the paint and working with your brush. I think it's really important that you kind of load your brush up with paint and then you draw it across your your painting surface so that the paint, you know, leaves the brush your sort of laying, laying it down on the surface as opposed to sort of pressing in. That's going to give you more of our understanding of brushstroke. The other thing it will do is actually save your brushes. The more you kind of press your brushes into a surface, you know, the more you kind of get away those Brussels So you can see here. I'm just going Teoh, trying to get as much of that red pigment off as I can. I'm not gonna dip my brush in this whale. You can see the pigment just kind of pouring out of there. Hopefully, you can see that. All right. And certainly this isn't at this stage a very deep clean of this brush. But for what we're working on today, that will be fine. Um okay, so I'm gonna put down my next read. I'm gonna add in a little bit of this oil to my brush on. I'm going. Teoh, grab a little bit of this red right away. The quality of this red is much more solid, and I guess it's like chunkier um, definitely a different texture. And it's definitely a lot more opaque, so I can't see through it as much as I can with my Eliza in crimson. What's that down? All right. Okay, so now I'm gonna go onto the next color on the color bias wheel. And before I do that, I want to come back. I want to look at these colors, and I want to think about you know which one is closer to violate which one is closer to orange. So obviously, this the napped already is much closer to the orange. And this a lizard Crimson is a lot closer to violet Looks more violet. So when I lay down my next primary colors, I want to be thinking about that. So I'm going to lay down my yellows and I want to choose a yellow. That's closer, Teoh, closer to orange, as opposed to green. So my cadmium yellow isn't is a lot like it looks more orange to me than it does green. When I look at this Hansa yellow, it definitely has, you know, more of a lean towards green. So that is how I'm going to lay them out on my color bias. Well, so I'm gonna get a little bit of oil on my brush. I'm gonna grab some of this cad yellow you and you can definitely see, you know, this has a way thicker quality. It's similar to, uh, the capsule red in that it's, you know, you almost have to, like, cut it. It's a lot thicker. It's a little more transparent. And I'm kind of moving the paint around a little bit because I want to get a really nice flow, sort of a consistent texture that's gonna flow on on my paper. Uh, really nicely. Okay, great. All right. I'm gonna go for my next yellow. Just that Hansa yellow. This one has definitely more liquidy texture. I'm gonna lay that one down here. Not the very transparent color you can see right away. As I start to add it. I'm to my paper. It almost feels like a stain or something. Okay. Right. And my ultra marine blue. Okay, so from here, I want to start mixing my secondary colors, so we do our oranges first. What I want to do is I'm gonna take my pencil, and I'm gonna line up how I want my mixing toe work, so I'm going to mix these two first. I'm just gonna grab my palette knife to do some of this mixing. So I'm looking at this Snapple red and my cadmium yellow hue. And when it comes to mixing your reds in your yellows, you're really not going to need as much red as you will need. Yellow. The red is a lot stronger, and it's gonna take over really, really quickly. So if I want to get a nice orange, you know, I'm definitely gonna be using more of the yellow. That's really nice, strong, vibrant orange. Okay, I'm gonna lay it down. That spot the next ah is going to be. I want to mix this red with this yellow. Okay, so that is my naps. All red and my handsome yellow. - Okay , now we're going. Teoh, Move on, Teoh The leisure and crimson and cad yellow mixture. - So the last mixture that I'm going to see here is the lizard in crimson on the Hansa yellow. - And this is come up. It's sort of a nice burnt. We're rest color. Okay, so now we have all of our secondary mixtures here the different combinations. So what we have are some really, really vibrant oranges and then some more like earthy, more neutral for inches here from those mixtures. Okay, so we're gonna now work with our violets and I'm gonna fill in the mixture with the violets here. And I might take this one a little bit faster. We'll speed it up just so that you're not watching me paint really slowly And you could definitely see here with my oranges how I've lined everything up. So the first mixture I'm going to do here so that ultramarine blue is such a dark color that both of these mixtures have turned out looking almost black. The differences I see here really are the ultra marine blue and the low reserve in crimson have that violet color bias. And so this is, you know, much more vibrant looking deep violet. Whereas the ultra marine blue and this nap Ethelred comes out really almost black, like it has a gray or quality to it. It's a lot more neutral and not as vibrant. - Okay , so even though these are all pretty dark and the way they're showing up in the camera is that they might all look black, but I might talk to you just about the characteristics that I'm seeing. Definitely. What I notice is any of the violets mixed with the Eliza in crimson are a lot more vibrant . And the violets mixed with the natural red tend to be a little bit more brown. They look a little bit more earthy, a little bit more neutral. All right, so let's do our greens way, way. I'm just gonna draw us. I'm here because I got to put it in. Okay, so we now have this color bias wheel complete, and this type of exercise can really show you a lot about the characteristics of color and how they're going to interact with each other. So when you are looking for paint when you were choosing your color palette, keep the idea of color, bias and mind, and this is going to really help when it comes to understanding how those colors air going to interact with each other. What types of you know secondary colors you're going to get when you mix them together? Basically, what you need to know is that if you mix colors together that have the same bias. They're gonna be more vibrant. If you're mixing colors together that have different biases, they are going to be more neutral, a little bit more earthy than the more vibrant colors. So I think as you choose a color palette and you do experimenting with mixing color, you're gonna find a palette that works for you. You're gonna find colors that you that are like your go to colors, ones that you want to use all the time. But understanding this idea of color bias is really going to help you along. 5. Color Wheel: so the next activity that we are going to be doing is a color wheel. Now the color wheel is really important tool when it comes to understanding color theory, the color real shows us how our primary colors the red, the yellow and the blue come together to mixed secondary colors and tertiary colors. Who color real also shows us about color relationships and can help us to explore color, harmony and understand the characteristics of color on. And so it is a really excellent activity to do, and it's also just very handy toe have a color wheel around now. The way that I'm gonna do this is I'm going to create really loose circle. It doesn't have to be perfect. What I really want is just something that's going Teoh kind of work. So don't worry about that. Just make the best circle that you can make now kind of done mine free hand, and then I can come back in and erase some of the lines that I don't want. If you want to find something to trace to make your circle or if you have a I think hope her tractors or a compass, something to help you make a circle, then that's great news. Whatever tools will work for you for this. I'm not really concerned about it being perfect. So when I'm splitting up my color wheel, I wanted to have 12 different spaces. I wanted to be a 12 step color wheel. I'm going to think about it really similar to a cloth and in a number, and that's gonna help me kind of split up my wheel, and it might end up being a little bit wonky. But that's OK, so good to kind of throw spot in the center that I'm gonna work from, and I'm just going to cut out these sort of pie shapes for each of my numbers way. Basically, what you want is that you're kind of pie. Slices for your color wheel are roughly equal, but again, it doesn't have to be perfect. You can if you want, use a ruler, measure things that use a protractor if you would like, but it's definitely not necessary as long as you have a circle and you grab 12 spaces to kind of put in color than your good all right. The next thing I'm going to do is to label my primary colors. So I'm gonna start up top here and put it Are you can see I just end up erasing my numbers around the outside, and then I want to count three spaces over to three, and I'm gonna put a B for blue and then I'm gonna count 123 and I'm going to put a Y for yellow. So those are my primary colors and I'm going Teoh, add those in now. So after doing my color bias, well, I have a pretty good idea of the colors that I want to use for my pro primary colors here and really there colors that I'm comfortable using its the limited palette that I like to work with. But depending on your color bias wheel and what you've discovered, you might want to use different colors mean also depends on the colors that you have available. So really, for this color wheel, you can use any red, any blue, any yellow, and then, if you were color mixtures aren't a super super vibrant. That's okay because we have an understanding of why that is, and it has to do with the color bias eso the colors that I'm going to use our my Eliza in crimson, this Hansa yellow and my ultra marine blue. No, I'm not going to paint the entire slice here. I'm just gonna paint heard of it. And that's because for this color wheel, I am going Teoh, add in a little bit of white paint into each of the sections so that we can see how these colors aren't going. Teoh interact with white, especially when we get into mixing our violets because those with these oil colors end up looking really, really dark. And we can kind of see the violet as much. But if you add in the white, then you can really see those violets. And it's also nice to just kind of see how the white is gonna interact with these colors. So I'm gonna grab a little bit of my white and a little bit of my blue. That might actually just take a bit of this on the palette knife and added here so we can kind of see So I have my altering blue and a little swatch where I added the white. Next I'm going Teoh, add in my red. I'm going to use the Elysian Crimson. I don't know what it is about the listener or in crimson in terms of a red that I like. But I just love this color the same with the French ultra Marine blue like I can't get away from using those colors. I really, really like them. I mean, they don't necessarily always create the best mixtures. Definitely. When we get into mixing our greens on this color wheel, some of them will be, you know, a little less vibrant than the colors that we were seeing on the color bias wheel when we were mixing the magnesite blue and the yellows together. Definitely, those greens were much more vibrant. However, I'm not a huge fan of the other mixtures that I get with that magnesia blue. And so for me, it's one of those colors that I like to have on hand. It's really, really useful when painting blue skies or water things like that. It's really nice to have that different lighter blue to make certain braise and different neutrals as well. But in general, if I'm working with a limited palette where I Onley have one primary red one primary blue. And when yellow. These are my go to colors and definitely choosing this Hansa yellow. But I think the cat yellow is also fine. Ah, lemon yellow on winds or yellow. Any of those yellows air are really ultimately fine. I just prefer this really light bright one. Okay, so now I'm gonna do a little bit of the white here and add in some red just so I can see how that is gonna look. Yeah, I thought of this. We're just gonna do a little color Swatch here with the power of life. We'll go with a little bit way. So I have my three primary colors Now I'm going to mix my secondary colors So we're secondary Colors are green, orange and violet If I mix my blue and my yellow together, I'm going to get my green If I mix my red and my yellow together I'm going to get my orange And if I makes me blue and my red together I am going to get my violet And so that's what I'm gonna do on my palette to get those secondary colors. I have my green. No, I'm going to makes my orange way. I'm going next. Now that I have my secondary colors, I am going to mix my tertiary colors. So these are the colors that are in between the primaries and the secondaries. One thing to note about how we name them is that the primary color always comes first. So it's always going to be yellow, green for yellow, orange, never orange, yellow, blue, green or blue Violet. And we have a red violet and red orange. So those are tertiary colors. So these colors are mixtures that tend to lead closer to the primary color. So are blue. Green is obviously gonna have ah, more blue in it than green and are yellow. Orange is going to have more yellow in it than orange, and that's kind of how you work out how to mix these tertiary colors. So let's get into that. So I'm gonna mix my yellow green. I need a little bit more yellow, and so really for the yellow green. I want to make sure that I have definitely more yellow and green, so I'm gonna take a big hunk of yellow and just like a dab of blue. So I really want that tertiary color to be much more yellow than the actual green. And I can kind of tested out, So I know it's a lot closer to the yellow than the green. Now we're gonna be working on the blue green toe We want this mixture. Tiu have more blue in it than green. We're gonna take our ultra marine blue and we're just going to use, like, a very small amount of the yellow so that we have a green But the green is much more blue We're gonna add a little bit of the white Very cool. So moving on we're going Teoh, try the blue violet. So in this case, we really want our blue violet to be much more blue than violent So we're gonna take some blue and just like the tiniest amount of red way, It's always hard to tell because our ultra marine blue is so dark. But if we do add in a bit of the white here, then we'll kind of get to see a little bit more of what that pigment mixture looks like. Blue violet for the red violet. We want to take our red, and I'm just gonna grab what I have here, and I'm going to take a tiny amount of blue just a little. And of course, we want this mixture to be much more red. Then, Violet, take a tiny bit more. You can see him just adding really small amounts of the blue to the red so that it doesn't take over because they still wanted to read more red than violent. So I'm just gonna do little bits of the time until I see that the color looks correct and that looks good to me. Way, way are going, Teoh, get into our red oranges and are yellow oranges just wanting to have a little bit more of this Eliza in prison. So for red orange, we want lots of red and a very tiny amount of yellow. And again here, I'm just adding very small amounts of yellow to the red until I see the color that I want to use. It's nice here on my palate because I can see my orange that I mixed up earlier, and I can kind of compare them so that they're not too similar, that I definitely see that there's a step between the two. I think I like. Now we are going to mix up our yellow orange, and I'm just going to actually use the orange that I mixed up earlier, and I'm gonna add some more yellow to it. Actually, in laying this down, I really feel like I want to add some more yellow here. I might just take a bit of this and makes it over here, because I want there to be a really good step between that orange on my yellow orange. E think I'm a lot happier with that mixture again, We want it to look more yellow and orange. Wait, Teoh, my red orange here that on my white, too. The orange to complete my cup real. So now that you're color real is complete, it is something that you can keep on hand to help you understand. Color Teoh as a reminder of how to mix color and how color interacts with one another, it's a very, very useful tool. The fascinating thing about the color wheel is how much it can tell us a about color, and this very simple exercise starts to open up a window into the possibilities of color, mixing In this case, we're only using three different colors on were able to mix a full spectrum of bright hues , bright colors. So, really, when we're talking about understanding, color and color theory, this is sort of our first stage. I really wanted to complete the color bias before so that you could have an understanding of the differences between the primary colors and that you know, within each color that's labeled either red, blue or yellow. There are all of the use different variations, and that has to do with the pigments that are used to make up these paints. So you could create a color wheel with a completely different set of primaries, and you would still have the same effect. You would still have your red oranges in your oranges in your yellow oranges and your yellow, green and blue greens and all of that. You would still be able to create the same thing. Except those variations are going to look a little bit different, depending on the colors that you're using. And using the color bias can help you understand how to get the most vibrant colors and also why some of your colors wouldn't be as vibrant because those mixtures and a lot of that has to do with what is in the pigment. The third video in this video series is going to be a boat complementary colors and about how to create neutral colors. Greys, browns, earth tones. And we create those colors by mixing complementary colors together and complementary colors are colors that are across from each other on the color wheel. So, for example, red and green or violet and yellow or orange and blue. This is just a side note. Another reason why the color wheel is so fascinating because it can tell us so much about color relationships, even just beyond how we mix them together. To get the secondary and tertiary colors, We can also start to learn about complementary and about. Harmonies that will mix are complementary colors. Together, we start to get neutral colors, so I'm going back to our color biased wheel from the previous video. If you were mixing two primary colors together that end up making a grey or brown color as opposed to a bright, vibrant orange or a bright, vibrant violet, the reason for that is that the pigment in either one of those primary colors probably has a little bit too much of another color. For example, if we're working with creating a violet and that violent ends up being really money, it could be that the other the blue were using has too much yellow in it or the red were using has too much yellow in it. And it's going to create a neutral color as opposed to a vibrant color, because yellow is the opposite of violet. And if we mix those opposite colors together than we end up getting a muddy or color neutral color, which isn't necessarily a bad thing, it's just important to understand why that happens. And so it's great to kind of tackle and do all of these color theory assignments because it really starts to open our eyes as to why we get certain color mixtures. Why we have certain effects when we mix colors together, and it also helps us move towards really being able to master and create the colors that we want to create. So in some cases you might want a Maurer thier neutral color, and you'll be able to do that if you understand your colors. The other thing that going through the these color theory exercises with your oil paint that it will do is that is going to make you much more confident in problem solving when it comes to color. So if you are mixing something like a skin tone and the skin tone is maybe looking to orange, then you're going to know what you have to mix to that orange in order to make it look more balanced, more neutral. And really, the goal here is to just set you up so that you are really confident in your color mixing. You're gonna understand how to explore the colors that you buy from the store, or the colors that you get in your oil paint kit and how to get the most out of them. So for our next activity, we are going to be talking about color temperature, and that's gonna take our understanding of color bias and how we can use our color wheel a little bit further. 6. Color Temperature: in this video, we're going to be discussing color temperature. You are going to make a little diagram like this where you're going to split up warm colors and pool colors. We're gonna start out looking at our color real so that I can explain to you about warm and cool colors. So there are two sides of the color wheel one side that it's warm colors on one side that is considered cooler colors. This is fairly easy to understand because color temperature is really related, Teoh Howell color feels and what our relationship to those colors are. So, for example, warmer colors such as the red sent into the yellows make us think of warm things. Certainly fire sunshine. We see those colors as really representing warm the cool colors such as the green, the players and the violets. Those colors would often be related to cooler feelings or things. Such is ice water. In general, they have cooler feeling, and so we relate colors to their temperatures. Interestingly, enough color temperature. It relates to color, frequency or wavelength, with red being the highest, and then it lowers all the way to violet being the lowest frequency. So we can think about color in that way that it moves from, you know, from warm to cool. Our color wheel is actually sort of a visual representation of the visible spectrum in looking at warm and cool colors. What I would like to do is to start mixing up some colors and putting them into your the categories. So beginning with my yellows and I've brought back all of the colors for this exercise I two yellows, my two reds on my to blues and I'm just gonna grab my cod yellow I'm gonna make a little swatch in the warm category and I'm gonna grab some of my hand to yellow on added in to the warm And I'm going to grab a little bit My lizard Goodwin and my nap still red. And now I'd like to get some of my secondary colors in there, so I'm gonna get in with mixing up some oranges way. I just kind of played around with mighty two different reds, only two different yellows here and mixed up a bunch of different oranges from the red orange, Teoh, yellow, orange and just going Teoh. Add those in as well, warm category E So I have a nice little variation here of some warm colors, and now I'm gonna look at my cool colors. So I'm going to be mixing my blues with some yellows to get some greens and with the reds to get violet first, I'm going to start with my ultra marine way . - So I mixed up some violets and some greens that I'm going Teoh, add to my cool category some of these air more blue violets I'm gonna add in some of the green to get some clear is a blue violet, violets and greens in there. And now the tricky ones are sort of these colors that are on the edges of those temperature changes. So colors like red, violet and yellow green so green that has a lot more of that warmer yellow in it, or violets that have ah lot more red in them. So those ones are trickier to kind of put in warmer cool. So you you think kind of decide depending on how much red is in the violet. If we take a look at some of these, there's a fair amount of red in that red violet and even If I were to come here and grab a little bit more of this and do a little mixture, the's could definitely be warm. Whereas if I take you know, some of this red violet and just add a little bit more violent to it, that might actually be more on the cool side and then four or greens. You know, we have a green like this. It might definitely be, You know, more on the warm side because there's so much yellow in it. We add just a little bit more of the blue mixture. Then it would be more considered on the cool side, so yellow greens and red violets. And if we look at our come back to our color wheel, the yellow greens and the red violets kind of are on that, like in the zone of kind of Penis, so it could go either or because our mixtures. Today we're working with the kind of the color wheel colors. Those like original Hughes. Everything is like, really, really bright were not working with a lot of neutrals, but we will come back to this warm, cool grid for our third class in this color. Siri's and we're gonna look then at warm and cool neutrals and temperature when it comes to more neutral mixed colors or earth tones. For now, we're going to stick with these bright colors of the other thing that I wanted to talk about. It is how each primary color that we have could also be put in a category of warmer cool. I find that putting our primary colors in the category of warm and cool, depending on how each of them feels to be a little bit tricky and it's a little bit hard to explain. I really prefer looking at it in terms of color bias. So coming back Teoh are color bias wheel. You know, we kind of have these different camps of color we have. You know, there's two yellows that we have in. Each of them has a bias, you know when one is biased, more towards grain and the other is bias more towards orange. The reds, of course, we have read. That is more bias towards orange in the red. That is more bias towards violence and then with the blues. Same thing ones has the bias for Violet and the other blue has the bias for Green, so I really prefer to categorize my paints in this way, so understanding my blues in my reds of my yellows. In this particular way, however, you can also think about color bias in terms of temperature. So, for example, I have my two blues in. If I look at these to blues and I try to put them in a category of temperature and really thinking about color temperature, I would say my magnesite blue that has a lot more yellow in it. It's definitely leaning away more towards the green. This mag unease blue would be considered Ah, warmer blue. This ultra marine blue that is very close to Violet would be considered more of a cool blue . If I'm going to look at my reds, the reds air fairly easy. We look at these reds. This napped all. Red definitely is in the warm category. It has, you know, it's leaning towards the orange. It has a lot of yellow in it, definitely a warm read this read. The Eliza in crimson is considered a cool red. It has a lot of that violet in it. We think about that violet color is being the lowest, having the lowest frequency. It's the coolest color, so definitely that Eliza in crimson would also be considered a really cool red. Now the yellows I find to be actually fairly tricky to understand when it comes to temperature because I always just see yellow as as very warm is a very warm color. No matter how it looks, I would say this cadmium yellow is more warm because it has more orange and it and this Hansa yellow because it's it leans towards the green. I would see this yellow as a little bit more cool again. I will come back to the color bias Well, because I think this is a little bit easier to understand when it comes to knowing what families thes kind of colors belong. Teoh. So I like to refer to it more, with the color biased those my warm and cool colors stay tuned for the next video, where we're going to make a color mixing grid, and that is actually going to be your assignment for this class. So ultimately, up until now, you wouldn't necessarily have to do the color bias wheel. The color real were this warm and cool. Really, I just wanted Thio Thio. Use thes projects as tools for really explaining the color theory for your actual assignment. For this class, we are going Teoh. Just be completing a really simple color mixing grid that's going to be your guide to use with all of the colors that you have, so that you can get an understanding of how they're going. Teoh interact with one another, so stay tuned, and we will get into that in a moment. 7. Color Mixing Grid: we're gonna do a different color mixing exercise for your final assignment here. This is an exercise that I would recommend you do when you're starting out with new paints , new colors. It's just a way of understanding how your particular colors are going to mix with each other, how they're gonna interact with each other here. So for this activity, you're you are gonna need a ruler. Did forget to mention that. And when I was talking about materials. But if you don't have a ruler, you can definitely use just a book or anything with a straight edge. That's fine. What we're gonna do is measure off eight sections. So I wanna have eight different squares here to work with. So I'm gonna measure from the top just eight inches little take with a pencil for every every inch. I'm in America at the top, and I'm also gonna measure the bottom, and I'm just going Teoh this line there and then e want to measure my sides as well and again and I'm just working with this particular paper that I have, But you can really use any painting surface for this activity. You can even just Primor, Jess. Oh, a piece of paper, if you like. So now I'm connecting my lines here. Then I'm gonna do the same thing. I'm making a grid. This is following Teoh. Help me with my color mixing. Have the script, and I actually need to create a little space where it can number across. And I think I have a little tiny bit of extra space here. It's not much, e. I mean, you do whatever it is you need to do with the surface that you have in order to get this eight by eight grid way. Go. OK, tonight in this little section across here that's gonna help me, because I'm gonna but in numbers. So I'm gonna number this 28 and then once extend these lines here. Okay, so now I have an eight by eight grid where I'm going to be putting color swatches, and I havent numbered from 1 to 8 of the top. And then I have these eight sections here where I'm going to be putting the names of my paints. So I have the six colors that I've been working with for the other three exercises, and I also added in to earth tones into the Great because I wanted to show you that you can really use any colors that you have for this. So whatever colors you have on hand, you can do this grid for so you can actually make the grade, you know, much bigger if you have a larger piece of paper and you have a lot of oil paint that you want to experiment with a lot of different colors. You could make the grid as big as you want. Teoh on. Do as much mixing as you want to with this activity. So I added into earth tones because typically it is nice toe have some earth tones in your palate in your color repertoire. So I added in a burnt sienna and a yellow Oakar, some other popular earth tones are like a van dyke black or a burnt number or raw number. Once you have your colors already to go, Theun, you're gonna you're going to make a list of them and you're also gonna number this list. And what's gonna happen is you're going Teoh the corresponding you to the numbers with a color and from there will sort of be mixing and matching as we go along and you'll get to see as I go through this exercise how it's going to be completed, I'm going to start at the top with my cadmium yellow just because it's I'm gonna I just work the way that I have everything lined up on my palate. You can line your colors up however you want, so I'm gonna put a one and I'm gonna put cad yellow. And then my number two is going to be my Hansa yellow right? But now I kind of have everything organized. We can get into mixing the way that I want you to do. This mixing is that you are gonna be lining up each of the numbers corresponding fear. So, for example, I am going to be in this first square. I have cadmium yellow, and it's also a one which represents cadmium yellow. So what that means is that in the square, I'm just gonna have my original color. So when the number of your color lines up with the number of your color on the grid, then that is just the original color, and what you'll end up with is that the original colors are going to kind of go in a diagonal across your grid. So in this for square, I'm going to be mixing my cadmium yellow on. And then in the second square, I'm gonna be mixing my cadmium yellow with my hansa yellow light. Now, as we get into this mixing in this first row where I'm mixing my cadmium yellows with all the other colors, I want to have more cadmium yellow in my mixture than these other colors. So it's not even a 50 50. I'd like to see more of this color, then the other colors just so that I know how this color is gonna interact with each of those mixtures. But with this as the more dominant color and, you know, just to keep going. So in the on the second line, I have my hands, a yellow light and eso in this row. When I'm mixing this hands a yellow light with all of these colors. I want that to be the dominant, so more of this yellow tham, the other colors. So I'm adding those colors kind of into this and hopefully this will start to make sense, as you see me start to get into this. So I'm going to start with this cadmium yellow and it's gonna go here. There's a little fuzzy in their little fuzzy guy here. You don't have to completely fill your box with your color. You can kind of just a little dove like this because eventually, once it's all full, your colors will and of kind of touching and maybe blending. And we don't necessarily want that another way that you can do this grid if you have a large enough board or sheet of paper, is that you can actually tape it off with masking tape. And then you can completely fill your square rate up to the masking date for them when everything's dry, can pull that off and you'll have these nice to meet little squares. Today I just have a pencil grid, and that's okay. All right, so I have my first mixture here, which is the cadmium yellow. It's not even a mixture straight out of the tube, cad yellow. Then we have the Hansa light mixture here, so I'm going to see how these two yellows interact with each other, and I'm just gonna so I have my cadmium yellow here, and I'm just gonna take a tiny amount. And so for this next thing today, I'm probably not gonna get into using my palate knife. I might just use my brushes. We'll see how it goes. And so you can decide how you looks like there's a little bit greener. That's I'm gonna just that. So I have a little bit of this yellow and more of my of my cadmium yellow here, and I'm gonna make some ticket, Adam too box. And I'm not seeing a huge difference in this mixture here. But what, uh, it might feel like a little bit stronger or something. But also, the texture is a little bit different because the texture between the cat yellow you and the Hansa yellow, they have different textures. So you're mixing them together, and you're getting sort of different consistencies. So it's little things like that that you might want to note. As you're working away on this project, the more you experiment, the more you're going to become comfortable. Then we're gonna know about each of your colors that you're using. All right. So in our next mixture were doing number three, which is a lizard crimson. So I'm going to I take off my brush a little there, and I'm gonna take some of this cat yellow on the tiniest bit of Eliza in crimson. I really wanted to take over, um, and do about all next year. So from there, we're going with number four, which is the natural red with God. Yeah, you take a good chunk of that and a little bit of that guy. That's the Napa fall Red. This is sort of nice, because you get to see, you know, from the other videos where I was using the palette knife to now, which is just mixing with the brush I'm seeking. Kind of just see the difference. Certainly, if you're mixing any amount of color, it's good to to use your palette knife. Okay, so I'm gonna kind of speed this up and keep going. Just that you get the idea, and I might stop halfway through and just do a little check in with what's going on with my color mixing. So stay with me along way . Okay, So now I'm second row. I'm gonna be working with the Hansa yellow light and continuing in the same way. So I'm going to be using mawr of the Hansa yellow light than any of the other colors. Other colors I'm going to be adding small amounts into this one's. We'll start with my hands a yellow on and number one is the cad yellow. So I'm gonna be mixing a little bit of my cadmium yellow in with my hands so this one will be similar to this one, except it's gonna have more of that hands together. And then in the second box, I am going Teoh be just putting enhancing. So now that I'm about halfway through, I'm just going toe stop and chat a little bit about what's going on and how this is coming together. Some of the issues that might come up for you as you're working rate with my lizard crimson . I actually made a mistake and put in my pure Eliza in crimson in the second space instead of the third space. So I just have to scrape away and then re add again. So, you know, if you find that you make a mistake, you can use a palette knife and kind of pull the paint up and then just re apply another coat on. That should be fine for this. Other than that, I think it's coming along nicely. It's really great Teoh. Just see how the colors air interacting with one another. This is a much more in depth exploration of mixing than just doing a traditional color wheel or even the color bias. Well, even though those are important for understanding the color theory, I think this exercise is really gonna help you, especially with all of the different paints that you're using. As I mentioned before, you can make this great a lot bigger and use whatever colors you want to. I'm gonna go ahead and speed things up again and finish this and I'll talk to you once I'm done way . Once you are complete, you have this mixing guide that I would recommend you let dry, and you can save as a guide for color mixing later. Hopefully, you learned a lot from doing this exercise. No, only about mixing the actual color but also discovering the different characteristics of the oil paint. How each of the colors behaves. It's just a lovely document. All of the different interactions and relationships between the colors 8. Clean up: Now that we have everything, all of our exercise is completed. We are going to do a little bit of a cleanup and I kind of just like to show how this is done, especially if you are new to oils. I'm just going to close up my clean jar and I have my dirty jar here. So if you depending on what you are working with four materials if you are working with water soluble soils, you're probably your dirty jar is gonna be actually water if you are working with oils and a towel, teen or paint thinner or ERP annoyed mineral spirits, that kind of thing, then that's what your cleaning solution will be made of. I would recommend if you are working with, ah solution of mineral spirits that you, for this part of the cleanup, wear gloves because the mineral spirits are really, really toxic, and it's not great to get it on your skin. The effects of something like that aren't immediate, but over time that stuff can kind of build up in your system. It's super not good for you. So I do recommend, you know, if you are using solvents that you use gloves on with them. This is just walnut oil that I'm gonna use today, Andi. So to clean my brushes what I want to do. And this is sort of what I've been doing all along is I'm dipping and kind of moving the brush along the bottom. And then I press it to decide to get a much oil office. I can. And then I'm going to pull as much of that pigment an oil off of my brush with a paper towel as I can. You might do that again this time just dipping, impressing to the side. I'm gonna pull as much off as I can. So to save your brushes, I never recommend leaving them brushed down insolvent or oil or anything like that. So never just leaving them in the solvent because what that does is put pressure on the end of the bristle on that can damage your brushes. So it's best to just to kind of clean them right away. So once I've pulled as much as I can of the pigment and oil out of my brush with a paper tell, I'm gonna send it aside and I'm gonna wash this in the sink with what I like to use is a a bar of white ivory. So and that for me, works really well. You can get, you know, brush cleansers and that type of seeing that and certain soaps for washing brushes that work really well too. But I find that just ivory soap is an excellent brush washer. And you can see I like to really drag my brush across the paper towel, making sure to go in one direction. I'm never kind of pushing down with my brush, because again, I want to save my brush and keep the nice edge as much as possible. So I am very careful when I clean my brushes, I'm gonna do the same thing here, and I'm just gonna drag across. And so a lot of this pigment, you see, kind of coming out in the paper towel is from the dirty oil, and that's totally fine. That's that is, you know, pigment that so diluted that it's gonna it's gonna really wash away quite easily. When I washed these in the things I feel like, what I'm really looking for is the really dark, like colorful pigments like the violets and blues and stuff that are that are coming out of there. And that's what I really want to get out. Certainly, if you are using mineral spirits for this, it's gonna be easier. It will clean your brushes a lot quicker, so there is that. But for me, I find this works just fine. And the key with this to that I will mention is that is really is important to wash these brushes with soap and warm water. Once you're done this stage because eventually that walnut oil will dry and you don't want it to dry on your brushes, it will make them stiff. Okay, so that one's come out really nice and clean. So that's good. So that's what I do for my brushes. Now I will take them to the sink, and I will wash them with soap. As for my palate, depending what you're using for a palette, you know, you might have wax paper, in which case you're just going to, you know, fold stuff up and throw it away. I'm using blasts. You know, you could be using plastic. You might scrape things up with a palette knife, so it really just depends on your palate situation. You know, some people use wooden pallets and they kind of never clean them off. And they keep a really organized way of laying down the color, so it's always really similar. You can see this is all very, you know, pretty random what I've done here, so I'm gonna clean it off. But I will leave my colors here, most likely because there's a lot of oil that's still really useful here. This stuff I'm probably not going to use, so I will kind of just get rid of it. And so this just gives you a sense of how easy it is to clean the palate with your palate scraper. If you're using glass, if you let the oil dry, it's a little bit more difficult to scrape it off. If you do use paint thinner and you look your palate dry, then you can use a little bit of that of the mineral spirits. Paint thinner Teoh. Loosen up the paint a little bit, and then it makes it really easy to clean off when it comes to your paper towels or rags or whatever it is you're using, Teoh put you know your paint in your oil and everything when you're washing your brushes, really make sure that you're letting this stuff dry and that you're not piling it up on top of each other in a regular garbage can. I recommend. I have, like a big ceramic container that I put these things in. You can use a metal container as well, and that's because there is a risk with oil products like oil paint that they can. If the oil is like layered and bundled up, that it can actually kind of like heat up and combust. So you don't want that. So it's good to kind of look after this stuff. Thing that you can do is just really make sure that that you know there's airflow around the rags before you throw them out. Did you really just want them toe to dry? 9. Overview: Okay, So just to wrap up this class, I've brought all of the exercises that I've done together. We started with the color bias Wheel, where we learned that every red, yellow and blue has a color bias. So it either it leans towards a secondary color, and this is very useful when it comes to understanding how your reds, yellows and blues, we're gonna mix together to create secondary or tertiary colors. And then we went on to the color wheel, where I really just went through the basics of color theory. We're going to use the color wheel a little bit more in depth in some of the other classes that are going Teoh come out in this series, and certainly in terms of understanding color temperature, I think the color wheel is incredibly useful. So in talking about color temperature, we discussed warm and cool colors that there is a warm side of the color wheel in a cool side of the color wheel. And really, this stems from the idea of the color spectrum, which goes from red to indigo similar to a rainbow. So really, this color wheel that we create for paint mixing really mimics the scientific color theory , which is really interesting. But understanding color temperature can be fairly complicated, so it is easy to think about it like warm colors are colors that feel warm that make its think of fire and cool colors are colors that make us think of, like cool grass and snow and water those types of things. But you can also think of it that this so circle one side being warm and the other side being cool. But if you were to take the circle and stretch it out in a big line in a spectrum, moving from red being the highest frequency or highest temperature and then all the way down to violet, which would be the lowest. And that also helps you if you need to break your primary colors down into understating them through temperature so you can have a blue that's a warm blue and a blue That's a cool blue, and you just have to think about it. You know, where is it on the relationship to the spectrum. So if you're blue has a more yellow in it than it is gonna be warmer. If you're blue leans more towards the violet, which is the coolest color, that it's gonna be more cool. And this brings us to our color mixing assignment, which I think, really, when it comes to working with oils on assignment like this, a project and exercise like this is way more practical than kind of doing your bias wheel on your color wheel and you're you're warm and cool. You don't necessarily have to complete these activities with your oil paints. I did it today because I wanted to explore ah, color mixing grid like this, but through teaching you the actual color theory so that you would understand why when you mix spear cadmium yellow with your lizard in crimson, you're going to get these orangey colors. And in some of the next classes that I'm going to be teaching, I'm going to get into further understanding what happens when we mix certain colors together. So hopefully you've found this guide useful. I'm excited to see you complete your color mixing grids, and I do recommend that you share them with us. You know, I'm using really specific colors here that are related. Teoh, a palette that I'm used to using Andi. You might have colors that are completely different. Yellows and blues and and reds. There are so many different pigments, different paints. And as I was saying earlier, depending on the brand that you're using, you were gonna have different colors to work with different pigments, different characteristics. So it'll be really interesting to see who complete your color grids and see how they turn out. And I'd love to hear how this exercise has helped you understand color mixing and hopefully improved your understanding of working with oil paints. Thank you so much for your time. And I hope you join me for another class another day.