Oil Painting for Beginners Water Mixable Oil

1. Intro Pallet Knife Oil Painting - This course is for Beginners and new painters or crafty folks inte: everyone, It's Kelly Hear from Kelly chassis, Fine Art. And today we're gonna learn how to create a really thick and textured impressionistic oil painting using water soluble soils. This is a beginner class. Stick around and I'll give you all the details. I So hey, everyone, this courses for beginners and new painters. Crafty folks. Anyone interested in trying their hand at oil painting without the hazards of dangerous solvents? This is a project based very simple course. I'm keeping it simple here or not overwhelming those that want to try their hands at oil. So we're gonna cover just the basic step by step instructions on how to create this simple little impressionistic Seascape and will be using a palette knife. This course is not a technical or really detail. This is more about the creative process. So we'll cover materials needed. Will also learn how to prep your canvas for oils will discover how to create an under painting will also use a palette knife. All you have to do is come with an open mind and discover the oils can be creative and a loose process. We hope to see you inside the course of sign up today 2. Water Mixable Oil Materials - In this lecture students can view the lecture to se what materials are: So we're gonna start out with what materials you will need for this palette Knife painting course. So we will be using some artisan water mix herbal oils, and this is a great little kit. I will put the link in there for you. These mediums air especially formulated to control and hands and protect artwork created with artisan water mix. Herbal oils offering soap and water clean up their ideal for painters seeking to avoid the use of hazardous solvents. Please note that the artisan water mix herbal oil painting mediums are not to be used with traditional oil colors. As with traditional oils, it is always best to use one medium and use it throughout the whole painting, and the colors I used was Bert Sienna, zinc white, cerulean blue, que all of green, Eliza room crimson yellow lemon yellow, okra and Payne's gray. Now I know that these things could be expensive, so I did want to mention the kip. It's a great starter kit, and you can replace some of the colors that I just gave you with a few of the other ones. So if you decide to get the kids, you can replace the number burn number for the raw sienna they used. You can replace the zinc white with the titanium white that comes into kit, and you can also replace the olive green that I'm using with a sailor green. You could add maybe a little bit more yellow to that, even a touch of brown, to create a very similar shade. And then also the Paynes. Grey is more of a really deep black, with blue hint to it so you can use ultra marine blue with a little bit of the number. Do you create a nice black shade for you? You'll also need a phone board or a palette. I like the phone boards. You could also use class just to make sure oils on. And, of course, you will need a canvas. I would recommend starting small. This one is an eight by 10. It makes it quite easy to start your first painting with, so I'm going to start with my foam backer board. The will be doing a background color burns he and a first, and you'll also need a large brush. Now, with the kit comes some linseed oil. If you choose to buy your color separate. You may need to pick that up. We also need some palette knife's. We'll be using a few different styles, but they come in a kit of five on Amazon. You'll also need a smaller brush just to kind of pencil in the areas or sketching in where we're gonna be filling in our art, and you also need a cup of water. This is for cleanups, for your brushes, and you will need a 2nd 1 for your linseed oil medium that will be using to thicken the paints and using the fat over lean method. So let's get started first by prime in our canvas. 3. Linseed Oil Fat over Lean - Students will learn the very basic idea the Fat over Lean rule for oil : so I wanted to talk to you a little bit more about the fat over lean painting with oils. Now mix herbal water soluble oils. You still want to use the same rules to mixing your paints very thin it first and then getting a little thicker and a little thicker as you go along, especially with this type of pain, because we're gonna be using a pilot nights that the paint's gonna be quite thick now I'm gonna use. Like I said, the artists in Windsor Newton paints their water soluble. You want to make sure that you look for that word artisan, and make sure you look for the words water mix herbal because you do not want to use regular oil paints, regular oil, linseed or any of the mix it IBS used with traditional oils. So this is the artisan linseed oil. This the main binder and artisan water mix herbal oil color line and is most commonly used in all artists and mediums, artists and lindsey. Oil reduces the consistency and improves the flow of paints while also increasing gloss and transparency. It can be combined with water or artists and thinner to maintain the structure of the paint film and can also be used when painting in layers to maintain the fat over lean rule. Each successive layer must have more oil in it than the previous one. So you can see here This is the Paynes grey that I've mixed up here and you could see the nice consistency in here. So this one has one drop of oil and as we do our layers, we will add more oil to each color. So this is a chart here with each layer adding more linseed oil to your paints or to your water to prevent cracking. What happens with the oil pains? If your bottom layer is too thick and then you try to put a second layer on top, that is center. The bottom layer has not dried yet. So what will happen is that top layer will begin to crack because the bottom layer is still wet. So we will gradually increase the amount of oil in your paints to do this. Now I am choosing to Onley use. This is our medium this time because it comes with that kid again. So I have my water here and I have my linseed oils and my my background is still a little tacky. It's not completely dry, and I'm gonna put just a drop of that linseed oil into the water and then I'm gonna mix it . So this is going to be our medium that we will use to thin are paints for this next layer. Now, don't get too nervous about the whole fat over lean. You just want to make sure you each time you using the same amount of water and you're gradually increasing the amount of linseed oil in your water. Keep in mind, too. If you're doing this all in one sitting, you don't have to worry about adding too much because you're dealing with all 11 layer and it's not gonna dry in between. So this really this is, ah, necessary. If you like your layers dry between and keep in mind, the more oils you use, the longer it will take your painting to dry. So just to go over Lindsey oil again. The mix of Olympia Will is the main binder and the artist in color and went added as a medium to color, it reduces its consistency. Linseed oil is the most commonly used medium. It's combined with water or thinner to maintain the structure of the paint film. It is also used when painting in layers to maintain the fat over lean rule where each successive layer must have more oil than the previous one. And I did put in lecture one with materials a resource. They're free you to go ahead and check out all the different mix a bles that Windsor Newton has, And it also gives you a little bit more of description about oil painting and the colors. And the colors do dry at different rates. So it's a lot of, ah lot of play and learning as you go along using this medium. So let's go ahead and we'll start our next step putting in our under painting. 4. Prepping Canvas - Painting an underpainting is an optional step. If you are planning to create your : we're going to start with just doing a very light under painting. And this basically is just to give our canvas some color so that we don't have to work so hard to cover up at white canvas. So I just want to show you here I escorted a little bit of my tube of paint on to my palette. Now, remember, your pilot can be really anything you want it to be glassworks. Wonderful, cause it's easy to scrape up. But I'm doing this disposable ones. I'm just using a phone board here. I want to show you here how thick this paint is now. Water soluble paints are basically the same thing as oil. There is no difference. The only difference. It cleans up without solvent. So it cleans up with water. That is a key sure that you use separate brushes for this. You want to have separate brushes for oil painting than you do from your watercolor and even from your regular oil paints. So what I show you here? I just have some water in here and now you can see how much better this moves when I add a little bit of water to this now because this is our under painting. I'm just going to use a little bit of water just a thin. The paints out a little bit and this is going to be are very thin or are very lean layer of paint, meaning that this does not have a lot of oil in its we fend this rate down. So this is what we need to have for our base layer. Because as we work on this or layers, we're gonna get thicker and we're going to use a little bit more oil and linseed oil, and we'll cover that in the next section. But that will make the paint a little thicker. So we always put the thin layer first and layer thicker on top. I'm just making sure and clean up the edges here, making sure got everything covered. No, white is showing. And then once you're done, make sure that you do clean out your brush and I just have my water here. Make sure you get it really clean and get those bristles way up at the top. Here, you use a bit of soap and water to get those ah cleaned off really well and then you won't let them dry. So we'll go ahead and let this dry overnight and we'll come back to it tomorrow. 5. Sketching the underpainting - In this lecture students will add in the basic shapes and object place: All right. So let's start by sketching in our shapes using a brush, and then will be adding some of the darker value areas. Now, I have the paint left over here from last night, and it has hardened or started to dry a little bit. Someone who just put a little bit more of the fresh paint in here, and we're gonna add one more drop of linseed oil to my water. And I'm using the same water I had yesterday. And you want to make sure that you do. If you're switching out your colors that you're you're rinsing off your brush in between each one. So as you can see, I have my just plain water in the jar to the left and then I have my water with my linseed oil in my medium on the right hand side. So I rinse my brush off in the regular water, and that way it's clean and it won't discolor my linseed, a whale or my medium water. So here, Eo, I'm just gonna lightly tap in our areas here that we're gonna have some trees now. This might change a little bit as we go along, but What I want to do is just try to find those darker areas, and we're gonna fill those areas in first and again. This is something that is totally up to the artist. If you don't want to sketch in, you just want to start painting. You definitely do that as well if and I do that a lot, but for my classes here, I just wanna give you an idea O R outline for this particular painting. See, you don't have to have a lot of details with this. This is mostly all going to be covered up. So think of it as like the pencil sketch underneath. All of this will be completely covered so you can make adjustments as you go along. If you want a little bit mountain to Europe, you decide that you don't want mountains. You want trees instead. You could do that. We're gonna go with some shadow area here in the water. Much of this is a lake or the ocean. I think we've said we're gonna go with ocean because a lot of white caps a lot of ah, we've action in this one. I'm gonna mirror that image now. Might be helpful for you to turn your canvas sideways if you need to. To get that mirror image correctly. Just be careful because the paint is still wet. I agree. But just a little bit of rocks down in here. This is a scene here for main. Out of my imagination. I see these little spaces all the time. No matter where we are, there is always this same rocky coast to look better where I go. Used to sail a lot as a kid. So there's a lot of little islands that I was able to get to by boat, whom I have a little sandy beach area down here in the front. That is almost it. So I just cleaned up my brush once again and you could see how that just cleans right up. And we don't know. We do not lead to let the painting dry. We're gonna move on to our next step using a palette knife 6. Setting up Your Paint Palette - Students will be adding paints to their color palette and add more m: all right. So before we start painting, we're gonna add our paints first her palate. And I did want to mention this particular painting. I had done a lavender background for the under painting. So keep in mind you can pretty much choose any color you want for the one that we're doing today. I wanted more of ah darker, moody painting, so I chose to use the raw Sienna. I want to do something different with your painting. You definitely can do that's it just gives you some options. You could also use a light blue to do You're under painting, but really any color that you choose. I've even seen some artists dio really bright pinks. And, um, it does some fun things and your paints will react differently upon each color. So feel free to try anything out that you want. Teoh. I guess that's what I'm saying is with all my courses, just play. You know, these air just basic rules and rules are meant to be broken as an artist. So the colors that we had here with this early in blue the white, whether titanium, winter, zinc, white, the green which I'm using, the olive green lettering crimson, and this is lemon yellow here and then also the yellow Oakar. And I'm not putting a whole lot on here. This is just maybe a dime size, so you don't need a whole lot. It will go a long way, and you can always add more to it. Remember, with with oil paints, if you decide that you're gonna put these aside and you want to continue to work with them , have you saran wrap to cover them up, and that will keep it from drying out on you while you, ah, wait for a layer to dry. I'm gonna add a little bit more of the linseed oil for this layer and then a little drop here. Aim or rapport. Like I said before, as long as it's got more in a than the layer before, that's all you need to worry about. And if you're doing this all in one sitting, you don't have to worry about that at all. You can pretty much, you know, put it all down there. If you're just gonna gonna paint a painting really quickly without the under painting, and you're gonna use some thick paint, sometimes I don't even use the linseed oil. Just go straight from the from the paint when I'm doing that, um, heavy, chunky, all in one sitting type of painting so you can see that the raw sienna is still kind of coming through here because it's a little damp, still wet. This is oils. Oils take a long time to dry. It is a definite process. And I'm gonna start with a cerulean blue you for our sky and adding just a little bit of that white to it just to lighten it up. And I'm using that small brush just to start. I'm just layering the colors in, and then we'll be using the palette knife a little bit later for the next layer. So I'm not too concerned about Halim painting care just blocking in my color. At this point, I know my sky is going to be blue, so I want to put some blue in here, the raw Sienna. You can still see a little bit through here, which gives it a little moodiness, and we're gonna fill this entire area. Mum's got a little bit more white here. It's just a light a little bit I'm just going to continue to work this in here and finish this up, and then we will move on to adding some of the blue into the water next. Now, if you choose to use a bigger brush, you definitely can do that. It just happens a little quicker. You can see the brush marks, and when we use the palate paint knife after a lot of these brush marks will be gone. So it depending on how fast you want to do this, a bigger brush, we'll just work a little quicker. It's a little harder to get into those little areas where the trees are, but we're gonna be adding the color on top here anyway. So again, it's whatever your preferences or whatever you have. Really, the key to the oil brushes A lot of times, if you're if you want that texture in there, make sure that you have a nice brush. If you don't want the texture of the softer the brush, the smoother that will be all right. So let's move on to our next up painting in the water 7. Blocking in the Water - Now that our sky has been completed, we will start adding and blocking in co: right now, we're gonna begin adding our water. We're using the same color this early in blue hue, and we're basically gonna do the same thing that we did up above with our sky. Now you'll notice here I did put that little sailboat in, and I have decided not to keep it in the painting. It was just too centred for me on because this is gonna be such a chunky, um, painting. I did not feel it. The sailboat I worked with this type of look, so I decided to leave it out. So I am just going to a Phyllis entire area in here just switching back and forth between my wife and my blue, and you can see where you're getting a lot of automatic shading here with using both of these colors together will fill it in. And I did put in a fuel areas here in amongst the trees and lotus up at the top, just where the sky or the water kind of peeks through amongst the leaves. There, you can see this isn't taking on a whole lot of time just layering in this color and we'll be using the palette knife next and will be creating a lot more dubbed than a lot more texture in here. So what I like to do with my paintings is just gonna block him in. You know, we have our values in here. We have our sketch in what we want, where and from that point you can kind of play with your painting and decide. You know, where you gonna go from there? So by adding the colors in here blocking it in, it really helps. Kind of bring that painting toe life and gives you an idea of what you like and what you don't like and where you want things and where you might not want things. So now I'm gonna grab my yellow joker, and I'm going to put in this some of that near the bottom here. We'll give it more of a sandy beach look and they will tell you this with these type of paintings, and you may have noticed with some of my other online courses, this is a layering process. So as you first start, it might not look exactly how you expected toe look. So we'll go through those phases for you and the color blocking is a very important part of the process and you don't want to rush that. So let's go ahead and we'll add some trees next. 8. Blocking in the Trees - Students will continue blocking in color and begin painting our Trees. If yo: So now that we have the water in the sky in, let's continue on blocking in our colors and at our darkest value of our greens here now I am using the olive green on. This does not come in that kit, so if you want to make sure own greens, it's very easy to dio. So first of all, the ultra marine blue and the lemon yellow will make a nice shade of green. For you will be a very bright green. And then you can add either a little bit more of the blue and a little bit of the browns or umber or wrong number to that. And that will deep in those shades for you. So you really want just having a dark shades so you can go straight with the ah fellow green you want. You can always that little brown to it, really just a preference. If you don't want to buy a separate tube of the olive green that I'm using hair. The key is you just want the darkest shade on the underneath, so we're adding the deep shade here, and then we'll be adding some layers on top. Now, as you can see her. I'm just basically tapping and color these air, not trees. These are just spots of green, and that's I want you to think of it, and I do have a little bit organization to it, because we do have are taller trees to the left and they do come down a little smaller, little shorter as I come inward it to the center of our painting. And it's actually not even the center. That's probably more off to the the left side of that just a little bit. It's always good not to have things perfectly centered for composition. So I'm just gonna fill this entire area in again, just dabbing in that color up and down. I am still using the small brush. At this point, we will soon be switching over to the palette knife for a whole new experience for who? Now we're going to switch over to using the yellow Oakar here so you can see where the yellow is. It's not very strong. I'm just kind of making it a little bit more muted, just tapping it and just a little bit to start and just make sure that I like it and I do that a lot with some of the colors. You know, you play with it for a little bit. See if you're happy with the color. And then if you know if you are, you like it. You can go ahead and go a little bit thicker with your pain so you'll see her. I'm just tapping in blending at this point. Lightning some of those areas so is continuing, making those little trees journal, tapping motion and then just drawing that horizon line again. So I have, ah, good reference for my eye here. Then I'm going to use a little bit more of the yellow car now to really pop some color in there, lightening things up a little bit with oil paintings. It's always about dark to light when you're layering on top of one another, which is complete opposite of watercolor. So if you take in my other watercolor classes, you know that usually I work light to dark. Eso keep that in mind with oils dark to light and will be adding those layers of color lighter colors on top. You obviously can put in darker shades here, like I'm doing again. If you find that you have lightened it too much. I just remember where you add those lighter shades. It's a lot harder. Teoh, get those darker shades back again, especially the same sitting. If you let it dry, you can always go back into it. At that point, moves make these trees just a little bit taller and give a little bit more light a little bit more light. And just again, just blending that rate re here on the campus. So I think I'm done for now. With that, you don't want to blend it too much. You'll in the blending all the colors in together. So just keep that in mind. Rinse your brush off or really well. You could always go in with a little soap and water, and next will be starting our palette knife. 9. Palette Knife - Now that our colors have been blocked in with a thin layer of paint, we will begin t: So let's begin using our palette knife now. Palette, knives. There are all kinds of them. The kid that I gave you is just a simple basic one. And you know what? I don't even want you to worry about what kind of palette knife you're using. I just want you to be able to use one that you're comfortable handling and can easily maneuver around the areas you want to maneuver. I so I grab anything that works. I use sometimes credit cards, tooth pigs, my fingers. You know, it really doesn't matter. Just have fun with it. So I am because some of you do want to know exactly what I'm using here. So I do want to tell you that I'm using a number three from that kit that I gave you earlier. And I'm just basically taking the same colors that surly in Hue, putting that in here, adding a little bit of the white and then adding a little bit of the Paynes grey that I haven't here. And like I said, Payne's gray is really just a really deep, deep blue. You can mix a little bit more of the oil in here if you want to, but if you just use your pain at this point your paint has enough oil in it. There's no water added to it, so we'll be your thickest layer so you can see here. Obviously, I'm still using wet paint underneath from the time before on it is still mixing a little bit. So just be careful not to over mix why you're working in this and I want you just to have fun. So I'm working really fast here. You can see I'm just kind of I'm feeling it as you're doing this and don't and I don't worry about it. You're just basically popping in color and the rocks now on the bottom here. And I guess you are held that a little bit sideways. And I'm trying to shape out those rocks just by the way. I'm holding my palette knife here so you'll see Alcan it twist and turn in all different directions, throwing in some white in here and see how everything is just mixing Now. You know, if you find that it's mixing too much, you may need to get in, go in and get some fresh paint. I don't want to lose all of this color down here. But I do. I'm using it and blending it in right with the knife. So I want that sandy light sandy color down here. Almost like the waves are crashing down in here. And I do like to sit back and just think it through. You know? Where do I need more where do any less than they sing about? Working with oils is oils take a long time to dry. So I decided I'm gonna add a little bit of the Eliza Rin Crimson to this. Now it's that beautiful shade of red. And again, you know, it's all about you, whatever colors you want. If you want your rocks to be more gray or more black or purple, it doesn't matter. You just go with your feeling. Obviously, you know the colors here. They're all very compliment, Terry, and they work to do. Keep that in mind. Continue on with that same palette knife. We're gonna add a little bit of white for a little highlight on the tops of these rocks. You want to be the rocks? Feel the rocks, shape him like you'd see rocks along the coast there jagged. And then you'll see. I have a towel down here, and I just wipe these rate off on my towel and go into the next color. Obviously, when you're using white, you want it to be fresh. So I do use a lot of white in this one, and sometimes I have some thicker areas, like in the clouds here. And I do want to mention him because this is a beginner class and I really stress and people not having to spend a whole lot of money to try something new if they're not sure if they're gonna like it, so you'll notice. I'm just doing this painting flat. You know, they do have some wonderful easels and my work on my larger pieces and my own my own things . I do use an easel, but again, it's not necessary. If you're just starting out and you want to just try this medium, this is a great way to do it. Having a flat is fine, so you will see her. I'm mixing a little bit. That sky was just a little bit too dark for what I wanted, so I have mixed the blue and the white, and I'm just mixing it right here again right on my canvas. I'm trying to get that nice, sweeping motion, some starting from the right hand side here and and sweeping that into the left hand side so that it looks like wispy clouds in here. And I have a little touch of color on here and again, just mixing and blending, blending those colors, lights and darks. You know, maybe was a little bit more shadow area down here where those rocks are. You could see how my paint pellet here is. This is what it looks like. It will be wrapping up the finishing touches. 10. Finishing Touches -We will finish up or details for your trees and continue to create more texture u: So we're gonna work on our finishing touches and you could see where have the yellow ogre on the trees on the top of the bottom on the left hand side. Here, I just have the yellow color and took this palette knife and just basically tapped by pushing down flat on those trees and just, um, most like a stucco and added a little bit of that yellow to that area. So now I'm just taking that same palette knife, and I am just making little scrapes is the best way to say it and scratching through some of that paint, and that is creating more defined trees Here. We get a little white on here so you can get a little real birch tree in there if you want , by adding it to the very tip coming a little closer for you here so you can hear you just scratch it through. This is a great fun way just to make some really easy trees, and you can use the very tip of that palette knife again. Did make little squiggles for your trees. Add a little bit more texture to that, so you don't even need a paintbrush used the very tip of that. We're gonna taller win. And over here again, this using the tip of that brush, adding a little bit of they green to the top. Bring in just a little bit more detail. You can see where I load up on all my colors. OK, so we'll just add a little bit more of the yellow card to this. Don't forget to have your mirror image down here in the water. Whatever you do on top, you want to make sure you do the same thing or similar on the bottom. No, I get a little bit lighter shade. Here's I just mixed all those together. I hate to leave paint on my palette when im about finished. So the key to this really is not to paint a tree. You know, I don't I don't want you to think of it as a tree. I want you to think it of his lines and color because this is all. Really, You know what? You're looking at this at a distance. You're I really makes everything out of all of these colors and these lines. So as you can see, I am not painting a tree. I'm just tapping in color and I'll put a link here for you guys as well. On the YouTube video I did on trees because with trees, you know it's an illusion. And what we don't want is one of the cookie cutter trees. Because if you look at a tree outside in nature, they're all different, every single one of them. There are no two alike, And, um, the more perfect you make it, the more unrealistic that you're painting will look, so just have fun with it. Be free. So I'm gonna add just a little bit more of the Paynes Grey Want dark in this in a little bit more. Now, at this point, this painting really could be done. So you can just, you know, continue to play along here If you want to add more color, maybe a little bit of darkness and here's it looks like there's some rocks on the backside here, and that will give you a nice little separation and online. But you know, no right or wrong, me and this could be considered done at this point. Its head some more rocks in here, too. I'm in Maine. So I'm on the coast and there's always, you know, little islands that pop up everywhere. You can watch out for those rocks, especially when you're boating. Now, this will take because this is a thicker painting, you know, at least probably up to 12 days for it to completely dry. And you can always tell if the pain's really drive. You take your fingernail or something sharp and just kind of very lightly push into it. Um, if it if it makes a mark, then it's still not completely dry, and you're gonna want to do the same thing. Use you do with regular oil paintings. You may want a varnish it, but again, this you know, those kind of things air totally up to to the artists. You do want to make sure that you're painting is fully cured and fully dry. Toe. Traditional oils will wait at least six months a year, maybe even more before they actually put a varnish on top. And, like I said, it's not necessary. Just helps you keep the dirt off of your oils. It makes a little easier. Teoh Keep them clean, so I'm gonna add just a little bit more white in here. You know, just a little bit of highlights on the rocks. Maybe make me look like they're wet. Ah, the highlight underneath the rock in the background there gives the appearance of a little wave hitting up on there. And we'll tell you I'm looking back at this is I'm watching my course, and I almost wish I would have stopped or I'm at, um and that's why it's always good to kind of take a break from your painting and, you know, have some fresh eyes. I don't know how many times has happened to me that, you know, you're not sure if you're finished and you continue to work on it and then you work on it and then you don't like it as much, and you might go through the new another stage where all of a sudden it looks good again. The But I wanted to add, I guess what I wanted was a little more highlights in the water. And then I added a little bit more rocks and then I wanted a little splash to it, so I didn't stop. So here I am, adding a little bit more of the rocks down in the front And we're doing, you know, the same way that we did the ones before Neither all those little in a little final details . And I'm dragging when my tip of my brush again in here creating a little texture so almost like normal waves. And I thought it as just another little bit of white in here to give it just a few more highlights. A sparkle on the water. Sometimes I'm just dragging it very lightly across the top. Really? Chungking here, creating like a little We've action and I'm tapping it. So it and that's that stucco appearance that it gives and then to give a little bit of a separation back here from the land, I'm gonna add just a little bit more white across here, a swell, this little reflection on the rocks that are against there. And then you can just kind of dragging this through here a little bit and you can create a little bit of texture for your rocks using the tip of that knife again. So here's a little close up. You can see all that texture in here. No writer. Wrong with this just have fun with it. I hope you enjoyed this course. And I'm looking forward to doing another oil in the future. So if you have some ideas, I would love to hear them. You can feel free to send me. Ah, an email and Ah, give me some ideas. Thanks so much.