Creating Color Palettes: How to "Steal" like an Artist

1. Intro: When I was first starting my art career, one of the things that I was really afraid of and really hesitant to ever really use was color. Color, to me, was extremely terrifying. I didn't even know where to begin most of the time, even when I learned all the color theories and the foundation, I still didn't really know how to apply that to my work. How do I use that to make my illustrations better? How do I use color to add another voice to my drawings? If you're having these same questions and troubles I did back then, then this class is just for you. Hi, everybody. My name is Ariana Padron, and I'm a freelance children's book illustrator. In this class, I'm going to be taking you guys through a very basic understanding of color theory. The only things that I think you guys need to know to be able to get started creating your own color palettes, any more information and it's going to end up being a very overwhelming experience. Once we get to creating your color palettes, I'm going to be showing you guys how I steal colors from other artists' works by creating moodboards by color picking those colors that I want from my color palette, and reworking those colors and refining those colors down through color studies. Now at the end, you're going to have a color palette, and color study that's completely your own. By the end of this class, you're going to feel more confident and comfortable creating your color palettes. In the next lesson, we're going to be talking about the class project. See you then. 2. Class project: [MUSIC] For the class project, I want you guys to create a color palette and then apply that color palette to four different color studies. We're going to be using a sketch you already have on hand, or you can go ahead and create a new sketch for this class. I also have a third option. I have created a sketch that you guys can use for this class. You just want to jump in without really having to search for sketches or create a new one. For the amount of colors you want to use in your color palette, that's totally up to you. I would hold off on deciding that right now because as you'll learn throughout the lessons you'll have a better understanding about the color basics and the foundations and the technique that I'm going to be showing you guys later on. Then you can really get a better understanding of how many colors you really need to make your illustration or painting pop. You can find all the classroom worksheets down below in the classroom resources. When you're done with your assignment and you're uploading it to the class gallery, please make sure to go ahead and tell us which one's your favorite color study, which one are you going to use and take to the final. Now that we have the class project details out of the way, let's get started. The next lesson, I'm going to be showing you guys the color basics, starting with hue. 3. Color Basics: Hue: [MUSIC] Hi, everybody and welcome to your first lesson. In this lesson, we're going to be learning about hue. Now, hue is just really a fancy word for color, and color is everywhere; on your clothes, outside, on your pets. Everywhere you look there is color, and all these colors can be found on the color wheel. The color wheel is such a great tool for all artists to use as reference when coming up with color palettes. We are going to learn more about how to use the color wheel in later lessons. [MUSIC] In the next lesson, we're going to learn about saturation and desaturation and how we can use that in our art. 4. Color Basics: Saturation: [MUSIC] Hi everybody. In this lesson, we are going to be going over saturation and desaturated colors. Now saturation refers to how intense, rich, or vivid a color is. Desaturated colors are the opposite of this, so dull, muted, not very loud colors at all. Let me show you an example of that. The less saturated a color is, the more gray it appears, the more saturated is, the closer to the pure hue it becomes. Let's say I take this beautiful blue right here. That's a very saturated color. We keep moving down. You now can see it get less and less saturated. It's going to keep going until you hit gray. This is the saturation variation that you'll get in your colors, and that's basically saturation. Saturation can be used as a powerful tool to bring focus to areas in your image, basically the focal points. Here I have example by Monet called Impression Sunrise, painted in 1872. As you can see, Monet uses the bright orange sun as a focal point in this piece. He does this by having every other color in this painting be desaturated. Now, we have to be careful when it comes to over saturating our pieces. As you can see here, the colors are completely out of balance and it just looks really crazy, and not in a fun way, because you can have really crazy colors, but if they're not balanced, like the second image here, it's not going to work. You have to make sure that you're using saturation in a balanced way. Otherwise, everything being saturated is very overwhelming. But that doesn't mean you can't make a painting or illustration full of saturated colors, it just means you need to understand how to use them. I'm going to be showing you guys another example, but the opposite to what I just showed you a couple of minutes ago, and it's by the same painter Monet. In this piece, you can see all these beautiful, vibrant, saturated colors filling the page. But your eye has somewhere it's naturally drawn to; to the one thing in the painting that's darker than everything else and not as intense. He's giving the viewer a clear focal point and an area to breath with all the intense colors surrounding the building. Without the building being there, the much darker value than everything around it, and without it being less saturated than everything around it, this wouldn't work. There would be no focal plane, and you would have trouble understanding what's the water and what's the sky. [MUSIC] Now in our next lesson, we're going to be going over tints, tones, and shades. 5. Color Basics: Tints, Tones, and Shades: Hi, everybody. In this lesson, we're going to be learning what tints, tones, and shades are, and how to create them. First, let's start with tints. Now, tints are the colors that you add white to. Think every pastel color. Next we're going to talk about tones. Now tones are colors that had gray added to them. Think about the desaturated colors that we talked about in the last lesson. Finally, shades are colors that just have black mixed into them. This is great for creating shadows, or areas of darkness in your painting instead of just using straight black. Now I'm going to be showing you guys how to use the worksheets I've made for you guys that you can find down below in the classroom resources. It's a worksheet that helps you create tints, tones, and shades, and you can use the sheets digitally, or print them out, and use it traditionally. Let's get started. Usually for color mixing, at least digitally for me, I just like using a hard round brush. I find that it's the easiest way to mix colors for me. We're going to be making a tone first, and I'm going to go ahead, and then choose the thread, and put it in the first box. Now you'll be choosing a medium value gray, and putting it in the second box. Now I'm going to be changing the opacity to 50 percent, and going over the first color with the gray, and that's going to make your tone. So that we're just going to color pick that, and put it in the last box. Now, I'm going to be creating intent, and it's the same process except I'm going to be putting white in the first box, and red in the second. I'm going to bring my opacity of my brush to 10, and that's going to be the red. We're just going to be putting them over the white. And you're going to get this pretty little pink color. You're just going to pop it down at the end. Lastly, I'm going to go ahead and create a shade, and I'm going to put red in the first box, black in the second box. Lower my opacity to 30 percent, and go over the first box with it, and that's going to be our shade color. Then you're just going to color pick that and put it in the last box. I hope this exercise, and worksheet helps you guys fully understand tints, tones, and shades. In the next lesson, I'm going to be showing you guys the importance of values. [MUSIC] 6. The importance of vaules: [MUSIC] Hi, everybody. In this lesson, we're going to be learning about the importance of value. I'll be showing you guys the value scale, explaining what contrast is and why it's important, and showing you a personal example of the difference values can make for your colors. So instead of just telling you why values and why structures are important for your colors, I wanted to go ahead and show you guys a quick example. I drew this bookshelf, which can be found down below in the classroom resources. I wanted to show you what would happen if I only use 2- 3 colors all at the same value range. As you're going to see as I'm painting along, eventually when I turn it into gray scale, you're not going to be able to tell where the books are within the bookshelf, but also that little plant within the bookshelf just completely disappears once I remove the lines. When I zoom out of it to a little thumbnail, you can't really tell the difference between the books and the bookshelf and the plants. You lose a lot of details. Now when you can't tell things apart, things become muddy. When things are muddy, there's no clear focal point. When I look at this image, I can't really tell what I'm supposed to be looking at because all of it just melts into another. Compare it to the second example I'm showing you guys, I'm going to be using the same 2- 3 colors, but this time I'm going to go ahead and use a darker or lighter version of those colors. Really allowing myself to actually have a value structure. Just by making the product plants darker and the bookshelf lighter, everything looks clearer. The books actually pop out against the shelf. As you can see when I turn into a gray scale, you can see what's still happening even though there's no color. Hopefully, by showing you this quick example, you begin to understand why value structures are important and usually, if you don't have a good value structure in place, your colors aren't going to be as strong or as readable as you would like them to be. What is the value scale? The value scale is just a way for artists to see a value, usually one through nine, starting from white to black. Now this is important to know because every color has a natural value scale. If I were to take yellow here, you would see that in the darker ranges of yellow it gets really muddy. So you don't really see yellow, yellow until we get into the lighter ranges. While when we're doing blue, blue really thrives in the darker regions. You can get a clearer hue of blue within the darker side of the values. But as we're getting into the lighter side of the values, you start to really lose that intense blue hue. Hopefully that gets you a better understanding of the value scale and how each color has its own natural values. Now what is contrast? Contrast is just the highest difference either in value or saturation. Think about like black on white. We have a page entirely that's black and you put one white dot on it. Your eye is going to go directly to where that white dot is because that's the highest point of contrast, the highest difference between value. Now that you know what contrast is, why is that important for your art? Without contrast, your ability to put a focal point in your illustration or painting will be very difficult. I want to go ahead and show you guys a personal example of why my values were aren't working, and thus created unfocused illustration. As you can see here, we have a little lighthouse scene, and we have a young boy in the foreground, and the background we have a lighthouse and a little whimsical ghost. If we were to close your eyes for a moment and then open them up, where would you eyes go first? For me, my eyes go right to the lighthouse, and that's not what my intentions were. My intentions were for it to go a little boy, then the ghost. So what's the problem here? The problem is my value structure. As you can see, when I turn it into a gray scale, that my values are rather similar to one another. There's not a very wide range of values that are happening here. I went back and I fixed my value structure and I made sure that the highest point of contrast on my page, through the boy, the lighthouse, and then finally the Spirit. As you can see, it is a lot clearer of a read. You know immediately where I want you to be looking at and the mood is so much better. Now it feels like a stormy night. Before it was just way too light. All my values are way too light. This is what I meant when I say that values are really important to your overall color because even though my colors before were really nice and pretty, yeah, they worked well together, it just wasn't giving the mood that I wanted. Because the values were so close to one another, there was a lack of contrast, and that leads to a lack of a clear focus of where I want the audience to be looking. I highly recommend that while you're doing your final illustrations or when you're working on your color palettes in the future, to just make sure you check on those values underneath it. You can do this by using the black and white filter digitally, and just make sure you toggle that on every now and then just to make sure you're keeping yourself in check. In the next lesson, we're going to go for color schemes and how to use them. 7. Color schemes: Part 1: [MUSIC] In this lesson, we're going to be learning about color schemes. Color schemes are great way to learn what colors go together naturally. When you start creating your own color palettes, you'll have a great place to start. The first scheme we're going to talk about is monochromatic. Monochromatic color schemes are a scheme that just use one color but at different values and saturations. An example of the scheme would be this lovely piece by Helen Dardik. As you can see, she creates a clear image and it's easy to read even though she's using one color with different values and saturation. The next color scheme I want to show you guys is analogous color scheme. This scheme uses colors which are next to each other on the color wheel. The example that I picked out for you guys is by Stephanie Ayers. As you can see, she uses mostly color greens, blues, and yellow to create this wonderful illustration. I recommend if you're using the analogous color scheme that you choose one dominant color, a secondary color, and then an accent color. The way that Stephanie use these colors in this case is that, she uses mostly greens as the dominant color, taking up about, I would say, 60 percent of this illustration, and then she used the secondary color of yellow as the, I would say 35 percent of the illustration. Lastly, she's using those wonderful blues as her accent color, that's going to be taking up the next five percent of this illustration. The next scheme I want to go over with you guys is called the complimentary color scheme. Now this game consists of using colors on the opposite side of the color wheel. This piece is by Liz Chen, and as you can see here, it is a beautiful illustration of a cat in a submarine under the ocean. As you're seeing, it is a blue and orange complimentary color scheme, where the majority of the illustration is blue, so dominant color for this illustration would be blue, and the secondary color would be the orange. I think she does a great job using this complimentary scheme to her advantage by making the point of contrast the submarine by only using orange for the summary and the little highlights on the fishes around it so your eye travels throughout the page. For the final scheme that I want to show you guys for this lesson is going to be the split complimentary and split analogous color scheme. Basically a split complementary is like the last one we just discussed. It's purple and we go across the color wheel, we're going to get yellow. But we're not going to actually use that yellow, we're going to use the color to the left and to the right of it. You're going to be end up using purple, green-yellow, and yellow-orange. That would be the three colors you use in your split complimentary scheme. The split analogous color scheme is very similar to split complementary scheme except we're adding in that yellow that we removed from the previous scheme. You end up with purple, yellow, and green-yellow, and yellow-orange. The split complementary example that I have for you guys is another beautiful painting by Monet. As you can see here, he is using a split complimentary of a red-orange, a cyan blue, and a green. He's chosen to make the blue the dominant color, the green a secondary color, and the red-orange as an accent color. Really beautiful, lovely color scheme, very easy to read. For the split analogous color scheme, the example I chose for you guys is by Ssibong Kim. It's such a cute piece with little bear unknowns in the forest. As you can see, he's using red blood orange, and then across the color wheel he is using six. That's right, six cousin colors next to each other, ranging from blue-green all the way to green-yellow. This case, he's using the greens as a dominant and the red-orange as the accent color. It'd be like a 90 to 10 percent ratio in this illustration, which is how I would probably also use it just to make it less complicated. [MUSIC] That brings us to the end of part one for color schemes, so in the next lessons we're going to continue at the rest of the colors that I've chosen for you guys. 8. Color Schemes: Part 2: [MUSIC] Welcome back everybody. In this lesson, we're going to continue to learn about the color schemes, tetradic, and the triadic. The first one we're going to be learning about is the triadic color scheme. Now, this is a color scheme that has three colors hence the tri. These colors are evenly spaced on the color wheel between each other. Think red, yellow, blue, red-orange, yellow-green, blue-violet, orange, green, violet, yellow-orange, blue and red-violet. Now with the previous schemes, I would also go ahead and just choose one dominant color and use the other two as secondary colors or accent colors. Now the example that I've chosen for you guys is by Daniel Frost and it's an editorial piece he did for a magazine. As you can see, he's using a triadic scheme of red, yellow, and blue. Now, he's chosen the dominant color to be blue and the secondary colors to be red and yellow. Again, you don't really need a lot of variation of colors to make your color palettes work if you're using a simpler style or a more graphic style. At the end of the day, it's all about just making sure the colors that you're using are right with the work that you're doing. The last scheme that I want to go over is the tetradic, or otherwise known as the rectangle color scheme. This scheme uses four colors on the wheel, two complementary pairs that form a rectangle, so red and green, and on the opposite side, orange and blue, or blue-green/red-orange and yellow, orange, blue-violet. Let me show you an example. This illustration is by me and it's a boy and his cat flying over the water in purple origami paper cranes. The colors I'm using for this illustration is yellow-purple, and green-red, with yellow purple being my dominant color scheme for this illustration, and green-red being my secondary color scheme. This is how I would use a color scheme because this way, it's easier to actually use all these colors. This is the mindset that I've been showing you guys throughout these lessons, is that no matter what color scheme it is, it's always a good idea to choose one of them to be the dominant color or a range of dominant colors and then have your secondary and your accent colors. I think it just makes it easier when using color in the long run. That's exactly what I did for my illustration here, with the yellow-purple taking up 80 percent of the page and then the red-green taking up the last 20 percent. I hope these past two lessons have helped you to understand how to use these color schemes better. I've actually gone ahead and made worksheets for the class on how to use each and every color scheme that I have discussed so far. It's a worksheet that I'll be showing how to use in the later lessons. But it's a great way to visualize the ratios that usually I work in. [MUSIC] In the next lesson, I want to slow things down and take a breather after all that information I just threw at you guys. We are going to be talking about how to be underwhelmed when it comes to using color. 9. How to get underwhelmed with color: [MUSIC] Hi everybody. In this lesson, we're going to be talking about some strategies on how to get underwhelmed with color. Now I know for myself and maybe other people when I started my palettes before I even knew the color theory or how to create my own palette, I could get overwhelmed and flush it because I wouldn't even know where to begin. I wanted to take this time to explain some of the strategies I use when I'm starting a new color palette. These are the questions that I typically ask myself when I'm starting a new color palette for an illustration, or a painting, or whatever. What is the mood? What is the mood that I want to convey to the audience or the viewer that is viewing my art? Do I want it to be happy? Do I want it to be sad? Do I want it to be angry? Do I want it to be scary? Once you figure out what kind of mood you want, it makes it a lot easier to at least have one color in mind that you want to use. Let's say that I want to make an illustration that's sad. What color comes to you when you think of sad? I think of blues; deep cold blues, maybe some dull grays. Let's say the mood that I'm trying to portray for my illustration is sadness. Now when you think of sadness, what color comes to your mind? It's probably blue for me too, and not just for you and me. It's probably blue for a lot of people, so right there you have something that the viewer can connect to. This is a great place to start. We don't really know what colors or even a color that you want to use for your illustration or paintings. Another question I'd like to ask myself is depending on the context of whatever I'm adding color too; say, my illustration takes place outside, well, what's the weather like? Is it a sunny day? Is it a rainy day? Is it winter? Is it a hurricane? You get the jest. Also considering whether might also help us determine what type of colors you want to use in our color palette. Again, if it's raining outside, what colors are you more likely to use? Me, I'm more likely to lean into the cool greens and blues to represent the rain and how it looks so cold outside. Another good question to ask yourself is, what time of day is it? Is it golden hour? That means everything has a nice golden yellow, yellow-orange hue, and everything. Is it nighttime? That means everything probably has this type of blue hue heal everything, a blue cover over everything. Is it the beginning of a sunrise? That means most likely everything maybe has a light dusting of pink on every color. These are the questions I usually ask myself before I even start choosing any colors. Once you have an answer to one or all of those questions it's a great starting point to begin creating your color palette. Let's keep it simple. For my illustration I want the mood to be happy and I want it to represent the beginning of spring, so those vibrant bright colors that you connect to springtime. As you guys are moving along in the following lessons, I want you to keep that in the back of your mind; these questions, and really ponder on what mood, what's the weather, and what time of day your illustration takes place in? [MUSIC] In the next lesson, we're going to be going over color schemes. 10. Creating a Color Board: [MUSIC] Hi everybody. In this lesson, we're going to be learning how to create color boards. What are color boards? Color boards are basically references that are a great starting point to creating your own color palette. Before we start finding references for our color palettes, I want you guys to keep in the back of your mind maybe one color that you think you want to have in your color palette, or at least a overall vibe. For my illustration, I have this bunny walking through a field of giant flowers, so I'm thinking like vibrant springtime colors. I'm going to keep my eyes open while I'm looking at other illustrations and just keep it loosey-goosey. You'll see what I'm talking about as we go into the process. Let's begin. As you see here, I'm going to be using Pinterest as my place of finding references. I really recommend this website. I have a couple of boards already that I already have some illustrations that I really like. I'm going to take a quick look through them and see if anything is inspiring me in terms of adding those colors into my color board. I'm just looking around, I see that, oh, this has a lot of nice colors that I can resonate with the spring. I'm going to copy that and just paste that into my Photoshop document. I'm just going to keep doing this. A great tip is if you find an image that you like, don't scroll down like I'm doing that you can see. Anything else captures your eye. I'm placing them together by color to the similar, so these nice yellows are going next to each other. I'm going to be placing these nice purples, pinks down here and that beautiful blue by itself. This is basically the process. You're just going to keep looking and looking until you feel satisfied that you have chosen enough pieces to get a wide range of different colors for your color palette. Remember, even though we are "stealing" these color palettes, by the end of the next lessons, this color palette will be completely your own. We're just using these images in this color board as a starting point for creating our own color palettes. [MUSIC] Now that we're done with our colored board, I'm going to be showing you guys in the next lesson how to turn that into your first version of your color palette. 11. Creating a Color Palette: [MUSIC] Hi, everybody. In this lesson, I'm going to be showing you guys how to take your color boards and turn them into the first version of your color palette. The first thing we want to do is color pick all the colors that have caught our attention in our color board. [MUSIC] Now that we're done with that, I want you guys to take a look at all the colors that you have. Do you see anything that pops out in terms of color schemes that can work with what you're thinking? Do you see any colors that you'd want to be the dominant? Do you see any colors that you absolutely need to have in your color palette? Now that you've taken a moment to see all your colors, go ahead and choose a color scheme. Now, you don't have to stick to this one if it doesn't seem to work out in the end. But it's always better to have a color scheme in mind in the beginning and change it as you continue. The color scheme that I've chosen to while playing around with the color wheel is a split complimentary of a yellow, red-violet, and purple-blue, and the tetradic being a red-violet, yellow-green, and a yellow-orange, blue. Now I'm going to go ahead and show you guys my process of using the worksheets on how to actually think about how much color you are going to be using in your actual color palette. Let's get started. As you can tell by the worksheet, the bigger the box, the more of that color you're going to be using. I usually like to start off with the color that I'm going to be making my dominant in that color scheme. I started off with yellow, and as you can see there's other little box within the giant box, and that's just to give you different variations of yellow. I think having variations of your dominant color through values and saturation really brings it to life and adds a nice vibrancy to your overall color palette. Then from there I'm going to my secondary color, which I've chosen as pink, so that's going to be the second color I'm going to be using the most. Lastly, I went with purple as using that as my accent color. This is a time to really make the color palette your own. So you don't have to stick with the color that you picked from your color boards. Just use that color as a starting point. You can change that color to a darker value, a lighter value, desaturate it, add more saturation, or change the warmth of it. So make it cooler or warmer depending on how it fits with your overall color palette that you are creating. Now that I'm done with my split complimentary color scheme, I'm going to go ahead and start the tetradic [MUSIC] Now that I'm done with my first tetradic color scheme, I wanted to play around with the concept of switching the dominant complimentary pair. I thought the yellow and purple wasn't really working as a dominant pair within this color scheme, so I'm going to go ahead and now try it as the green-red being the dominant and the yellow-purple being the accent and/or secondary color. [MUSIC] Now that I'm done playing around with the color palettes that I want to create, I'm going to go ahead and pick my favorite one. The one that I'm going to go with is the tetradic color scheme with the red and green dominant pair. [MUSIC] In the next lesson, I'm going to be showing you guys how to apply this color palette to your actual illustration for the usage of color studies. 12. Using Color Studies: [MUSIC] Hi everybody. In this lesson, I'm going to be showing you guys how to take your color palette and use them in your illustration by creating color studies. The first thing I usually do is that I like to take the sketch that I'm going to be applying my color study to and make four copies of that in my document. The next thing I want to do is go ahead and create a new layer under all these sketches so that I'm coloring underneath the actual sketch. I also like setting the layer with the sketch on to multiply just so I can see the colors better. The first thing I'm going to do, I'm just going to layout the base colors for the dominant colors of my color palette. As you can see here, I put down green and this pink because I want the green to take up most of this illustration, with the pink being the secondary dominant color in this illustration. Then from there on, I'm just going to go ahead and take all these other greens that I have within my color palette and just play around by placing them within the grass. I think it's really fun having different variations of green in grass because I think it really adds a nice little touch. As you can see, I'm also toggling off that black and white filter layer in Photoshop just to make sure that my values are still reading right. Now, I'm going to get into using the secondary color, couple of [inaudible] color scheme that I have the yellow, purple. I'm going to start using that for the flowers. I'm just playing around with putting them around the Canvas so that your eye moves around the illustration. [MUSIC] Now I'm going to go ahead and do the little bunny and use those nice neutral orange colors as a contrast because that's the only thing on the illustration that actually has those colors. I want to make sure that the highest point of contrast, some little bunny because that's where I want your eye to go so I use that white color and only use it there. [MUSIC] As you can see there, I took that orange that is on the bunny and I change saturation a little bit to fit the ladybugs. As you're going along doing your color studies if you see that maybe a color needs to be changed a little bit, or you need to maybe add a color go ahead and do that because this is exactly what the color studies are for. They are for experimenting how to use your color palette that way, when you get to the final art you already know how it's going to be colored. This is the time to change things if you really need to. Now that I've finished my first color study, I'm just going to go ahead and do the rest of them. [MUSIC] Now that I finished doing all the color studies, I'm going to go ahead and choose my favorite one, which will be the first one I did. Now, sometimes the first one you do is your best one, but I do recommend doing at least four so that way you can think outside the box, and maybe you might like something even more than the first one you did. Now that you have your final color study that you're going to be using. Now when you go to do your final art, you're not really questioning about, oh do I need to use this color? Do I need to get rid of this color? Because everything has already been figured out. [MUSIC] All you have to do now is renew it. In the next lesson, we're going to be wrapping things up. 13. Wrapping things up!: [MUSIC] Hi, everybody. I'm so glad you guys have taken the time to finish this course and I'm so proud that you guys have finally finished. Hopefully, with everything you've learned in this class, through the basics of color theory, through color schemes, and learning how to steal like an artist, you've grown to become more confident and comfortable in creating your color palettes and applying that to your own art. I just want to say that the more that you use these techniques, the more that you look at other artist's work and their color, the more you're going to pick up on things subconsciously, and then one day, I promise you, it's just going to click. The way you use color and your preferences and even your color style is all going to come with more practice and more practice, because at the end of the day, the more we practice something, the more we're going to understand it. If there's anything that you guys are confused about or you have questions, please, please leave them below and I will gladly answer them. I'm so excited to see everybody has finished color palettes and color studies that you did for the class project. Please go ahead and drop them down below in the class gallery because I would really want to see them, and so would your fellow classmates. Would you guys want to follow me on social media? I'll be leaving my handle right here and down below. [BACKGROUND] Once again, I just want to say congratulations on finishing this class, and I'm looking forward to seeing you guys in the next one. All right. Bye.