 In this module, we've learned about pigments and okres, and the reasons why okres are a natural choice for the Earth's and humanity's first pigment. So just to review, pigments are materials that are deeply colored. Preferably, they are easily ground into a powder and mixed with various media, and they are stable over long periods of time. The okres or the Earth colors are iron oxides and iron oxyhydroxides that are very useful for these purposes and are natural choices for the very first pigments because they are abundantly available near the Earth's surface. They are easy to get to. We don't require deep mines or extensive processing in order to turn them into pigments. In many cases, they can just be used in their natural state or dried and powdered to be used as pigments. They are deeply colored in a variety of shades of orange and brown and yellow and red, and they're very stable because these oxides and oxyhydroxides have already been weathered. So they are products of the processes like oxidation that would normally break down other minerals and other materials. So these pigments can last thousands of years with very little deterioration or alteration. So in this unit on my side, you learned about the various ways in which ochre could be used from simply using it like a crayon in its raw form. I'm holding up here a piece of red ochre to powdering and purifying. One of the exercises I gave you was to actually try purifying your own ochre from some colored dirt near your house or mixing some of your own paint and playing with it with various recipes. But as you will have seen in the case studies, the way that ochre performs and the ways in which it could be used vary greatly from artist to artist and from technique to technique. Ochre is a fantastic choice for transferring drawings and for elaborating under drawings. It's great for the fresco technique because it doesn't react with the plaster as it's being absorbed into the wall. And it's inexpensive nature and how plentiful it is makes it fantastic for underpainting. And I wanted to show you this as part of my research for preparing this class. I did a workshop and learned how to work with encaustic paints. And you should recall that those are pigments mixed with beeswax or sometimes a combination of beeswax and some other substances. And what I did here was I actually reproduced the stages that I showed you in one of our case studies of creating an eye for one of those fine mummy portraits. Now this of course is much larger than it would have been in the original painting but it was a really interesting exercise. And I want to show you one last thing about encaustic. This is some encaustic that's dry and you can see that it tends to sort of dry and little chips and chunks. And the moment you take your brush out of the liquid encaustic and this picture of this on a heating element, I used an old frying pan. The moment you take your brush out that paint begins to solidify immediately. And so it's a really challenging medium to work with and that's why we see all of those tool marks and all of that texture in those fine mummy portraits.