3 Winter Birds in loose Watercolor | Camilla Damsbo Brix | Skillshare
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13 Lessons (1h 49m)
    • 1. Welcome to class

      1:18
    • 2. Tools and Materials

      2:01
    • 3. Sketching

      4:24
    • 4. Let's have a look at the BEAK

      4:20
    • 5. Looking deep into the EYES

      5:45
    • 6. Getting some fluff in the FEATHERS

      4:52
    • 7. Bullfinch: Sketching

      3:21
    • 8. Bullfinch: Painting

      25:03
    • 9. Tit: Sketching

      3:12
    • 10. Tit: Painting

      21:32
    • 11. Red Cardinal: Sketching

      3:58
    • 12. Red Cardinal: Painting

      27:38
    • 13. Let's wrap up

      1:31
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About This Class

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HI AND WELCOME TO CLASS!

In this class we are going to have some fun with some cutie winter Birds. I know birds can be intimidating, especially painting all those details and feathers and still keeping a loose and soft look. That’s why I decided to tackle the birdies in this class. We are going to everything from sketching, painting eyes and beaks and creating texture.

Then we will paint 3 different birds. 

  • The Bullfinch
  • The Tit
  • The Red Cardinal

So get yourself a warm cup of tea and let’s get those birdies on their wings.

 

Camilla

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SHARE THE LOVE

Oh yeah and I would love to see what you create! You can do that in several ways:

  • Share your project in the project gallery
  • Share your art on Instagram (tag me @camilla_damsbo_art and use #camilladamsboartinspired)
  • Share on Facebook and tag me there too (@camilladamsboart)

 

Meet Your Teacher

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Camilla Damsbo Brix

Teaching Whimsical watercolors

Teacher

My name is Camilla and I’m a danish watercolourist. Mostly I paint whimsical flowers which I share on Instagram as @camilla_damsbo_art. Here on Skillshare I love to share my knowledge in fun and easy classes on watercolor and ink and I can't wait to see you in class.

I would deffinitly say that watercolour is the most magical kind of paint, and all you can do is just know a little technique, loosen up your brush and trust the process.

 

NEW CLASS COMING SOON!

If you plan to watch one class this summer I advice you make it this one. It will launch very soon and you will learn the very best technique for your summer vacations or staycations - Watercolor and Ink! you will learn to draw 5 flowers and then bring them into a s... See full profile

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Transcripts

1. Welcome to class: Hey there. I'm Camilla, and I mean watercolorist from Denmark. And today we're going to pain birds, birds, birds, birds. This class will be all you need to paint, especially loose birds and watercolor. We're going to cover sketching and we're going to go in depth with the beak and I So the intimidating parts of the bird, um then we're going to paint not one MMA tuba, three birds, the boo Vinge, That's it. And the red cardinal. So these are your winter birds, Almost christmassy birds. So if you want Teoh send out Christmas cards this year or if you just want to do a irregular instagram winter posts, this class is perfect for you. And I'd love to see your work so shared in the project gallery or take me on Instagram Opal , You welcome to book do both, as I can see it and hopefully enjoy a lot of birds that would be so, so cool. And I think that is it for now. So let's hit over two materials 2. Tools and Materials: So now let's start by taking a look at what we need for this project. Ah, call presser Burn. I see paper this 300 grams and I cut it into small pieces like this. So it fits. Like is like a Christmas card size. Can I have some sketching paper to? Yeah. Useful sketching are birds. Of course. Um, use whatever you have lying around, then I have pain, uh, abuse since its watercolor. Ah, I just squished these troops into pans. So a have all these different ones. And I'm gonna explain which colors are used when the going deeper into the birds. Then I'm using this palette in this super dirty. But that's OK. You can use a clean one. I like this one. Um, then I have my brushes. Um, a nice thick, uh, a round brush. It's a natural hair brush, says eight. Then I have a thin synthetic brush. Um, nice round a tip and a very small one for details. Mostly the eye and beak. Um, of course, the size of the brush depends on the size of your paper. So use what you find it. Search of the best that I have a pencil HB and the rubber and some salt to create a texture effects. And there's some water mist spray. I think I'm gonna use that. Then, of course, some tissue and, uh, water, Yes, and that's it. So good to go. 3. Sketching: before we paint anything, we're going to do some sketches. And first of all, we're going to sketch the whole mark. And afterwards we're going to take a look at some of the details, like the beak and the I. But first here, the the bird itself. And here, when you sketch Ah, you take a look at the shape off the bird. Uh, don't go into many details here that you can see. I'm just being super loose with my my pencil here and just ah, trying to get hang of this Billy hair and where the head is and how to precision the the wing here on the side. And I have some range and ah, my feet and you can see how many marks of making. And that's because I'm doing this on on regular sketching paper, paper. Or you can use a copy paper. Anything really. And when you are heavy with your sketch, you couldn't go in and transferred to watercolor paper. You say lightbox or a a window where you tape it to, and it's a pure watercolor paper onto if you feel comfortable enough to to just draw this sketch directly on the paper, and that's what I'm gonna do in the next exercises. You can do that a swell, But don't be too sketchy when it comes to your your paper, because what a color paper is a little sensitive to to using the rubble too much. And so you can see I'm just going in and just, ah, removing some lines and and then I'm just going to to some oxy to show where the feathers which direction feathers go. Uh, because that's gonna be handy when I'm going to do the feather texture later, um, trying to figure out how to place my eye here as well. In comparison to the to the beak. The two most important features in the bird is the beak and I, because that's where we want our viewers to look. Eso We want that to be the most detailed part, and we wanted to be a pretty precise. The rest is a little it doesn't It's not like it doesn't matter, but it's It's a little less important to get them the details right there. Speak and I So that's why we're gonna go in detail with that a little later. Okay, I have my sketch, and I'm just going to if this was a watercolor paint. But this is what I would do, just going over it a little with the of rubber or needed a racer If you have that and just removing the lines a little so it doesn't shine through the paint. Let's recap for a second draw the shape, the body and wing, the head features like the big and the I. Of course, that's a you. Then look at 60 direction of Fila's your body and on the wing, and that is it. Don't do anymore. And now you can just start sketching away, sketch all the birch you want and the treads do some sketches in, like, 20 seconds and one minute sketches just to get the features in the body and shape. Uh, correct. These are some of the sketches air used when I practiced for this class, and I just wanted some different poses and, uh, different expressions and stuff like that. And now we'll, suman and the sketch and paint the beak 4. Let's have a look at the BEAK: So let's start by sketching the big here the beak and the eyes, two of the most intimidating parts of the birds and two of the most important ones as well . So that's why we are going a little bit more in depth with the those two elements you can see. I'm just, uh, drawing the basic shape here and just making a note off where the But he is. And this Ah, this is not an exact sketch. This is to simplify the beak for you and to show you the important elements. So I'm, uh, drawing the shape that's important. And then then it's important to ah, take note off. Weather highlight and shadow and middle value areas are so that's what I'm drawing here. So you can see the tough part of the beak is in shadow on the lower part of the tough beak is in the shadow, and the lower part of the lower part of the beak is in shadow as well. And that shadow is bigger because of the roundness of the the big and the size of the beak . Then we have this pretty latch area with a mid tone value and Finally, there's a small shadow here. Cast shadow, whether peaks Ah were the big meats and opens. And that's all we need to draw. Let's recap for a second. So there's three elements to remember. There's the highlight that I haven't touched with my pen, and that's the mid value. Which issue and all the shadows, and that's actually it. Then you have a very nice, rounded big. Now let's try to paint it. So I used my my nice appointed synthetic brush here to go in and paint the upper shadow of the beak. And then I just went my brush and kept it in some papers. Or it's not entirely word and just trying to get the color to flow to create this nice mid value tone. And then I'm just adding a little paint to let it so it will flow nicely and there still keep that that the depth of the shadow and, ah, I suggested you. You do this several times during your painting because the the paint will dry lighter, as you know, So it's better to to start slow and build up the color when you go. Um, I'm just painting the the bottom shadow. And I'm just suffering softening the edge very lightly because I want to keep that nice and highlight going. So just softening the edge with the damp brush? No, uh, not much water there and that. Now I'm just shopping the itches a little bit. And this is pains, Graham using here. But you can use whatever you like for your beak. As long as it's a nice dark color, you go see how how lovely the color flows. That's just beautiful. Look, of course, be a lot smaller when you do your painting, but this is the basics of it. And I'm just doing a little bit of a shadow here whether big, uh, opens and just softening it very slightly. So we don't ruin the highlight. And, um and that's actually it. So we don't need any more elements in this, So it's not that intimidating. I tried a couple times and get the hang of it 5. Looking deep into the EYES: So here we're going to draw, and I and I know the I is, uh, is one of the most intimidating parts of any animal, actually. So that's why we're going to do this in a little more detail here. Just, uh, drawing the outline. Often I it's like an oval, Um, and then the iris here, um, which almost touches the edge of the off the I, but not entirely. So you have, like, a white area around it who then in the middle we have the people and there's an highlight. And let's just take a look at where our light and the doc values will be. We have the pupil in the middle. That's the darkest doc here. Then we have the virus, which is Ah, midterm and then a dark line around the eye. And let's recap the elements of the I. We have a highlight here in the top right corner. We have the iris there, then we have the dark pupil in middle, and then this this outline that stock around the eye. Now let's see how to paint and I hear I just attached the overview of our I elements so we can keep track of it. And I just sketched out and I and just removed some of the off with pencil line. And now I'm just going in and with water, just a wedding. The area off the pupil and iris just waiting. All of it. They go and I can drop in some color where you have the the virus and the and the pupil. And don't worry. I know that the pupil is in a different color, but since it's a darker value, you can go in afterwards and and paint that next. So this time we're just going in with this brown and, uh, it's Ah, most birds of red. I have brown eyes, but the some have other Father I colors and the toe Look it up, Biggers. It will be different. And I'm just doing my my brown here. But it could be something completely different. Uh, just just think of an hour for examines. Bury you yellow, I e duels or not. So look it up. But when you're painting small like I do often times, it doesn't really matter, because you can see it that much. This is very much soon in, and now you can let it dry and come back to it while it dried. I just ah, as you can see, painted a little feather outside. And now I'm just going in with my dock. But I think it's a pains. Great. Here, Um, just painting the pupil this time to being a super careful not to touch my highlight And just getting this nice round shape, you can already see that this is the beautiful, beautiful I and you don't when you paint small like we're going to do in this class, you don't need more elements than this. Um and oftentimes you won't even be able to do this. But it's good to remember to have the iris the pupil in the highlight. Then you, ah, well on your way to create a beautiful, beautiful I and you want to have a nice on very detailed, not very detailed but detailed I because you want to lead the viewer into the eye. You want the viewer to look at the I instead of the texture of feathers or, um, anything else? Really. And anything else on the painting is just supporting that. I want you to look there because the eye is where the personality of the bird lies. So I just painted the outlines. Well, use a fine liner or a pencil or something like that if you're not comfortable doing it with a brush and sometimes you don't need to do the outline, But I think it's a nice touch if you have, ah, have the space for it. And that's all you need. No, you have, uh, that is ready to go on an animal. 6. Getting some fluff in the FEATHERS: So the last detail we're gonna take a look at IHS texture off feathers and I'm just gonna hold my brush, uh, high on the handle. So I want a new stroke. And now I'm just loading my brush with paint and just doing some very, very fast sweeping a short sweeping strokes like this. Hold her high on handle and the just try to have fun with it. Play a little and do this on a scrap paper before you tried on your bird. Ah, sweet, sweet, sweet symmetry. Yes, Like that. And don't overdo it just a little, isn't it? But we cannot take a closer look at that when we do the birds. And here's another one Another texture Justo laying my brush down on the side and you can see I have more pain on the tip of the brush And I'm just going in with water too diluted a little bit to get a nice a effect. And this is super easy to do and practice that as well. The last one I'm gonna show you is on the the effect on the on the wings and on the tail. We have these long, very long Swee'pea strokes that, ah, a little difficult to make, almost like a brush controlled exercise. But they're super important and a really recommend practicing these because it's all down to the muscle memory to get your head moving. Just put your hand down on the A little finger like this and just drag it slowly across the paper. 7. Bullfinch: Sketching: the first bird we're going to pain is the bull Finch. And I'm just doing a little color swatch here. This first colors the lovely, beautiful, beautiful, beautiful clinical bones, you know? And I'm mixing it with Hansa yellow light to get a nice warm color here for the for the yellow highlights. How beautiful is that? And just switching this Yunus Well, and I think the wolf in chest a little bit of a cooler, almost pink. So some mixing it with the little clinically termed Rosa Swell. These are all the Daniel Smith cause you can use whatever you have laying around on your desk. Of course, these air for the Billy. Um, Now we're gonna mix our duck cubs, and I'm going in with the Sienna, and then I'll mix it with French Ultra Marine. And these two complementary make a very nice dark color. Um, it's a brownish here, but a little more French Ultra Marine. And we have a beautiful gray. There you go. Oh, that's pretty. Now, just putting a little off the blue here just to to get a feel of how it works together because we're gonna use both the colors and here. I'm just talking it with a neutral tint just to get the dog is doc on our bird, the head and the I and I think that it's all the colors we're gonna need. That's a sketch away. And here we have our watercolor paper and I'm gonna do a sketch. I have sketched it out on my my paper here first just to get a feel off the shape of the bird. And now we can go in and this is very speak. I'm not sketching this fast, so it's just sped it up. Um, you can see I'm just sketching roughly how I want the body to sit sale and branch here. That's to you. And ah, I'm just adjusting a little on the way. We can remove some of the excess lines here, but be careful not to push too hard with your your pencil. You could use the lightbox and just transfer the the drawing your earlier if you want to do that. But just make sure you have the beak in the position that I a comparing come in comparison to the beak so it looks harmonious. And then, of course, the feet don't go into detail here. We just want the overall composition, and I can remove the excess rough out here. And that is it. Now we can paint this little guy. 8. Bullfinch: Painting: you read. Spend your first bird with the sketched, and now we've We're going to wet the belief off our bull finch. And I'm just using clean water and you can see there's a little tint to it because my water has not been entirely clean, but it's on purpose, so you can actually see what I'm doing here. I have my paint ready, and I'm just, uh, going in. What on what? Just dripping in my my paint, where I I think it needs it. And you can see I'm not really working the paint too much, doing a little bit here on the on the side with some fiddle texture. Uh, but besides that, I'm not mixing anything on the paper, just letting the paint do its thing on in the water. I'm just giving it a little more, uh, darkness here just to give it some interest. And this will, of course, dry a lot lighter. So even though it looks a little extreme with these dark patches, it will look beautiful when it's dry and we are going to to paint over it also. So this is kind of the under layer, um, and therefore we are not going to do any texture here either, because that would just disappear. Just dropping in a little color. Cocoa, cocoa. I tried to be a little intentional about this because, uh, somewhere you will have shadow and you wonder the darker color there and the in some places she'll have highlights. And you can try not to drip any color there. And I'm just going in and doing a little more texture here on on the H. So we don't have this. We haven't got this blob of color, but we're making it look more like a bird and this feather texture You can see how how the H looks nice and little fluffy with this feather texture News the tip of your brush to do these fine lines and just drag out the color in your in your belly and your bill in the birds belly. Pretty Bailey, Um and now I'm going in a little more close up here and trying to paint the I for the first Leo and the beacon. You should do especially the I and the beak several times during this painting. Because, of course, it was dry lighter. As I said, before, and ah, therefore it kind of loses its richness. So just painting the iris here and leaving a highlight and a little difficult to see because of the shine in the paint. But there is a highlight in the top right corner off the I. There you go. And now just wedding my brush again and the bell is dry So now we can go in and paint the wing. Eso I'm just slowly, uh, wedding the wing here, Just mixing a little color here. And, uh, now I'm just dropping in it. Germany dropping it in the into the water like I did with the belly and just ah, mixing the color with some ultra marine to get some different shades in the in the the wing here, I want to try to get different colors in the and the get a nice, interesting texture to this wing. I could see I'm just trying to paint a little on top off the orange part. And that's just to get a true incision. That doesn't look too, uh, Petchey. So try to to see if you can can mix them a little, even though it's dry. And while the wing dries, we can go in and work on the big for the first time. So I'm just painting the lower shadow here. And you remember the the beak we did earlier. Then you have the law shadow. Then you have a highlight on this Bull Finch. Then we have a higher shadow and, ah, mid tone on the other side of the beak. So I'm just trying to paint that just painting and wedding my brush and just, uh, and drying it off. So it's it's more like more time than it's worth. Now, I just removed a more water so we can get a nice transition to to this. Uh, he said these shadows We don't want any harsh lines here if we can avoid it, just rubbing in a little darker color on the darkest shadow area. So, uh, it will stand out, and now we can go in and work on the feet as well is always a good idea to paint the feet before you paint the, uh okay, Doesn't matter. You can totally pay the branch as well on then Just paint the feet on top of it. But I like to paint the feet first just to make sure that I actually get that I to remember him off course. And the I feel I just feel safer than I know that the feet are right. If I push it up to the last minute, you can work such a long time on the bird. And then in the last second you ruined the feet and then it's over. So I like to to stop with the important people feature like this. And you saw that it was very un detailed, has not much detailed to those feet. They were just for the for the sole purpose off attaching the bird. So the range. So that's what we did. And now I'm just mixing a little, uh, Sienna with with Ultra Marine and just going in and working the wing again. Now I want those long strokes on the wing that way. Worked on earlier in the feather texture, um, lesson. You can see it's just long strokes and then a little bit stroke up here a swell. And we want to preserve that white spot in the middle, just going in with a little darker color just to give it its shadow ago. Now we have those nice, long, uh, feathers, and you don't want to overdo this. Um, when we ah, painting like this, the detail is always actually the most It's important, but it's also very, very dangerous because that's where we tend to fiddle around and overdo it. So it's better to leave the details out, then adding too much. We want the details to be in the eye and the beak and on the hit. So, uh, the further you get away from the eye, the less detailed it should be. So we can have lead the viewer into the painting, where it's more detailed. Me, I'm just adding the to you as well with those he own strokes. And the reason I'm doing this in long strokes like that this and not um, we don't wet like we did with the wing is because I like this feather texture and that we get and Aiken great, a little highlight between the feathers to make it look like a tail and not just ah blob. And no, I'm just correcting the shape of my head here because it was a little too weird or just sitting here wondering what was wrong with this end, and I could correct it because I had my pencil and rubber close by. Don't Ah, correct. Too much of your pencil lines. You have to believe yourself. But if you, uh, very unhappy with it, of course you can go in and fix it. Now we can work on the head. And I'm just going in with clean water again to get this nice. A dock head, um, going and it will need some layers to get that rich darkness. So it's good to to get going on that. But always start with the lightest. There's the Billy is often the lightest part just to make sure that you get that color, right, Um, then it's easier to go darker. You never go lighter If it's, uh, if it's too dark. See, I'm just dropping in the color again, letting it flow. You see, at the moment it's looking really weird, but ah, every painting has an ugly face in the This is, uh, my birdies ugly face. So I'm just being careful around I not to not to paint if on the white space around the eye and, uh, just driving in car? No, just, uh, working the edge of the head here. Uh, just to get a little the feather texture going on, you can see it transitioning into the belly. And I did a little feather texture around the biggest well and just fine tuning the the line around the eye. Just working the beak a little, too, with the color I have on my brush already and just getting that color into some of the other dark areas. When you have loaded your brush already with the color, you can always use it somewhere else. And gifts. It's a more harmonious picture. Now it's time to freshen up our colors. You can see how highlighted, Dr. It is almost flat now, so we want to go in and give it strength. And I'm actually doing this wet on dry because I want to create this texture while I'm doing it to conceive of just working my way down the the belly here on with my side of my brush, actually, in just working the side here with the tip of my brush and just trying to get some nice color going, but also leaving some white space eso you can see the under painting. Um, we did earlier. And it'll it'll make some nice highlights in in the texture here. And you don't need to do, uh, the whole entire Billy. You can just go in and do whatever you feel like just going in here with a little water as well. So I don't get any to house lines here. Now, I'm just driving in a little, uh, color into the wet paint. So we have this went on work techniques still, but, uh, also get the texture that we like. So why don't drive first and then dripping a little color afterwards while it's still wet? Now I'm just mixing a little more the Dakar just to strengthen the color on the tail here. Nice long strokes. Now, I'm just doing the same to the to the wing as we did with the belly just going in with a, uh, the wet paint on dry surface and the just doing a little texture here. You can see I'm not being a to detailed. I want to just freshen up the color then and they're also talking a bit, um, but trying to so preserve the highlight. That's already here on the wing, strengthening these fellows. Well, there you go. Now I can work on the head again. And as I said, it would require a couple of layers about to do this. Get this nice, deep darkness on the hit. So we're just going in again. Was the the color and again being careful around the I were. When we going up so many times, it's there so many times what we can screw it up. So be careful. You could do a little masking if you have some masking fluid, just a master I and you can remove that afterwards and then just work on the I In the end, if you want to make it, be entirely sure that's not ruin. Do like to work on the I during the painting, but and you wouldn't of course, be able to do that. But it's ah, it's a way to do it. I'm just wedding my bridge. At the moment, this spurt is just sitting in in thin air, so we want to attach it to a bridge, and I'm just driving in a little color here into the wet paint, just letting the lower side of the branch. Be a little more, uh, what? I'm dry. I can see how nicely it spreads on top of the range in the There's a little texture on the bottom, and you can paint branches the whichever where you want off course. Um, there's so many ways to to paint trees and ranges. Um, it's a class entirely in itself. So I'm just driven in a little Payne's gray mixed with the this. You know, Did you get some some A feeling of a little moss, something like and process from that the branches painted in even dyke Bram. That's a nice cool brown, actually, so I like it, too. I like to use it for stuff like this, too. Make the viewer not look too much at the brain because it's cold colors Koko's. But instead, look at the bird and the warmth that's in the breast, and hopefully that way lead up to the I. You can see how little it took to actually make this look like really cool brains, So I'm happy with that. I'm just checking to see if my eye was the area around. I was. It was dry. Ah, you want to make sure that it's intended right before you go in and work on the I, you can see how, like I tried here. So Nike unjust pavement, my pupil. Here, make sure you're not painting on top off your highlight. We want to preserve that. But by painting both iris and highlight and pupil, you get my steps in your eye. You can see it here that is just pure. You can see that highlight really makes this pop, and it's like the it's the difference between this very high highlighted the white and the darkness that makes it Teoh so beautiful. I'm just doing a little more on the biggest Well, just darkening the the shadows again, just giving it a little more definition and just painting the the drop shadow we have here underneath the chop beak where closes up. This doesn't make it look a little like an angry bird, but we're cool with that. He is not angry. He's just pondering something you can see that's really where you make the bird come alive , and now we can go in and make even more texture for the texture and ah, now we're at the point off the painting where we really need to be careful, not over. Do it, Um, because it's easy to just ah, go overboard in there. Do a feather texture all over the body and the And I can tell you that's what I'm doing in this painting, and that is not good. So we are going to take a look at what I'm doing wrong here and learn from that, uh, and not doing in the next paintings. We don't want to create feather textures all over the place. We want to be a little more subtle and leave a lot more to the imagination and let the viewer trust of your can actually see that it's a bird. By now. I'm just doing a little texture on the wing as well. And of course you can do texture. Ah, but I'm a big fan of texture, but you really have to be careful. And before you feel like you're done, Ah, get up from your chair and just go for a walk a cup of tea or put your cat or something and then, in 10 minutes, come back in the you'll see if it actually needs more texture Or if it's if it's done, there's a good chance that it's done. And I should have done that with with this one. You can see this way too much texture on on the belly. But that's what happens sometimes. And I'm just strengthening the color on my bridge in the branches round, of course. So I want to give it a little shadow, especially underneath the bird, distant, mixing a little more color here to go with the head one more time. We really have to work this a dark color. It's like it. It's it feels like it's it's there and then it dries and it's not there and then painted again and it feels like it's there. And then it's not there. So just rework it, reworking, rework it, and it will happen. It will be the color you want. Uh, but it does take some layers. Even if you are painting with black, it will try a lot. Live a lot lighter. Yes, Okay, go. Just doing a little more the that color onto the getting it onto the wing so it does, attached to the buddy like the hit does. And now that it's dry I'm just giving it a little more detail, but I think it needs it. And you can feel that we're getting close to the end now. Um, I'd love to see your painting up in the project gallery. Uh, both this and of course, the other birds as well. And if you want to try the techniques on and local bird you have, that would be so cool. I would love to see that as well. And if you upload on instagram, please check me and I can see it out. Look forward to it and try not to overwork it. Ah, just as much as I did here. The next couple of birds are not a soul. Avoid worked. So this is just our practice bird just to get the features ride and this shape right. And in the next bird, we're going to play around with how to get more looseness in our painting. Wait. Well, have fun with a water mist spray. And I think that's one of my favorite tools in watercolor, so you can look forward to that. So now you can just watch this bird finish and we're good to go to the next lesson. 9. Tit: Sketching: Now we're ready for our second bird. And that is the tits. Ah, this is such a cute ah, window bird here in Denmark and the I just love the colors or it's so pride. Um, when I look at it, it's kind of a cool, bright yellow. So I'm going to use Hansa Yellow light here. Daniel Smith. There you go. It's such a beautiful color. Um, and I think when I look at my reference photo, there's a little green it it in it. So I'm just going to mix it up with a little Sepp Grain. There you go. And now for the blue part, I'm going to use a French ultra Marine. I just love the color of it. Um, no strangulated a lot, but I think I can work with it, and especially when it's such a small portion of the bird, I'm going to use a pressure. Lewis. Well, just because the bird has a lot off off brightness in the blue tones, So those two and a paints gray for the dark areas and then, lastly, a neutral tint just to get a nice doctor to the painting, especially the eyes and the big, and I think that's the coast we need. Let's try to sketch out Bert. I just put my Russian foot reference photo up here in the corner so you can see it and follow along on sketchy. Just going to do this very inverse speeded up version. I am just sketching the body, um, roughly sketching the wing and tail here and the tails kind of hidden behind this a tree lot tree, a branch. And that is perfects ago. Just not very detailed feet. Um, you know, my big to be positioned. This should be rather precise because you know that the details are on the beak and on the I, you go this ias well, and, um, a little fluffy feathers. And just to show the direction and just removing some of the lines here and that is it for now, that's a stop painting this guy 10. Tit: Painting: And now we're ready to paint this little guy. Um, I just put up the reference photo again just to show you the the colors and the post of the bird. Now, I'm just going in with the clean water again. They go Just, uh, getting this building nice and wet. And now I'm just taking some of my beautiful hansa yellow light and just stabbing in the color on the belly. And I'm being pretty intentional about this. I'm trying to to debit where I want my darkest color of the dogs yellow to be. Ah, and I'm not doing much yellow in the middle of the body here because we have this doc. Uh ah, Mitt Mitt Belly tone. Ah, yes. And I'm just living in a little green and you can see I'm not working these colors a lot on the paper. Um, I'm just letting them flow into each other and creating, and I say flow in the wedding wit technique here, um, they go, that was easy. And I'm just stepping in a little more a color and you can see it's this is sue of bright color because I want to go in with a water spray and one of Mr Bray like this, Uh, and just spring, the each year just took it and I was diffusing off the colors and this is going to look like the bird exploded. And, ah, don't worry, this will be super cool. But this is actually such a fun technique. I encourage you to try it. But it's also a little intimidating if you're not entirely used to painting loose like this because you are losing a lot of control with this this technique. But it's super fun. Try it definitely tried. And while that is drying, we can go in and work on our head here because that is a lot ever different color than the body. That is, of course, the blue. And I'm going. I'm wearing the top of the head. Very fine. I'm just using a a nice synthetic brush that in creating a little bit off a texture here on the on the top of the head because I want this fluffy nous to to be a parent, and I want my head to be the where the place where I have the most detail because I want to got the viewer to look at the head. And after that, of course, the the I and big. So a little more detail here on the head. So and it's not as, uh, diffused as the body it is, Um and I'm just going in there just to got the water a little here. I just wanted to check if my I was dry and it waas so I could work Can work with that. I'm just going and very lightly to to paint the dark power off the I and being careful to to preserve the highlight here. And I know this is so difficult and I encourage you to try it a couple of challenge before you go in and actually do it. And also try to to, uh, painted in a lighter value first, so you can always documented docking it. But then you know where to put your paint. Hey, I'm just going into give a little shadow to the head because I already had some paint on my brush from from the I. And now I'm trying to to paint the dark part of the head. It's like a This is like a ninja bird. It has a it band around its eyes and the looking a little like a thief. So I want to create that. And I'm not touching the white at the moment. I'm just, uh, just painting the the dark part of the hit. And I apologize for my hand here. I did not mean to to put it in the in the picture, so I'm sorry about that. Go. I was a little dark on the the in front of the head here and on the bottom as well. Look at that beautiful bleed there. It's important to try to get a little softness in this type of painting. We don't want any harsh lines. So So letting the doc lead into the the yellow even. Ah, if it's it doesn't seem right. Uh, but make sure that your yellow body is almost dry because we don't want it to spread too much. Um, we wanted to be lose, but not, you know, not to lose off course. You decide you're looseness. I like to control it just a bit. And I'm just going in with the tip of my brush to create some texture again. This ah feather texture, stroke and my Billy had dried enough to let me go in and and paint. The doctor owns here, and you can see it doesn't spread out that much. But but it will. It still bleeds little. And that is perfectly fine that I have this softness to my body. And I can go in after after dries and just created a little more texture. But I don't want too much detail. Yer icis it before. Is it just going and darken it a little bit more? And I'm just using the paint I already had on my brush to dogging up here a swell. Um, as you know, of course, water cause do dry 10% lighter than when you applied. So it's always a good idea to go over your colors and strengthen them once, twice, even three times. Okay. See, here I'm just wedding the white area and the leading solve the doc. Just bleed in a little into the white just to create a nice mitt. Stone gray. So it's not super white, Um, but but still has a little tone to it. I could just not do that, but I like to do that. And now just painting the wing here and you see that this is not wet on wet. This is actually wet on dry because I want the wing to be a little more defined than the rest of the body because it has thes lead, nice long strokes that I want to be not shop because I don't want that that type of detail here. But I do want it to two different shade itself so you can see that it's a wing you can see of doing these nice strokes with some what, between them. So now we can see that it's and the wing, of course, but it's not too much of detail. And I just hinted a little, um, the tail there at the bottle. So we know this guy can fly if he wants to. Doesn't Mrs To I'm just waiting my tree branch, you and you see, there's a lot of the different areas to paint here, and you can go in to paint a different thing when something else drives. So right now my body is wet and my wings would so I can paint my tree, and, uh, I love that because otherwise you just be stuck with your hair dryer for a long time, especially with this mist spray technique where you get a lot of water. It will take longer to dry. Um, but I promise you it forth it It's one of my favorite techniques. I am just, uh I was just checking out if my my beak waas drive and it waas so I could go in and paint that. And here I'm just, ah, painting the lower part of the beak, which is in shadow just softening that etch a little and just painting. This is a damp, clean, damp brush. I'm just softening the edge. Now I'm just painting the other side of the big, which was also in shadow. You go. This is a little different beak than the bull fringe. It's sinner And the shadows. Ah, quite different. Actually, I liked it. I like it a lot, Very much like a year singing bird beak. Hey, I'm just checking the I was dry so I can go in and work that again. You can see I'm just this time I'm painting the pupil, and it really makes the I pop a lot more than when it was just the iris concede that it actually came alive there. And him just again working on the beak and the Arabic Go to come back to it once in a while when it's dry, because you can always almost always give it a little more color. Uh, and darkness and the it really makes a difference with these two features. And I'm just going in and strengthening or just doing some shadows. You on the tail because you have bled into the body. That is just beautiful. I love it. Um, you can see how I just use the tip of my brush to do these long strokes again. And here just strengthening the color again on the on the head and see how much it actually tried Lighter. And we do want it to be fairly dark. So go over it again and you can see how I've begun to create this. Create this nicer texture again. Um, when we are doing these top players, I really want you to consider what direction your feathers we're going. Take a look at your sketch. Uh, is it small, fluffy feathers or is it long strokes like on the wing and no way Billy is all dry again. So I can go in and do some checks. Tereus Well, And him just using a little bit of the Hansa yellow and a little bit of the yellow with the green. And because we get a little dark, it's own with the green as well. Uh oh. And that was my get sorry about that. If only his are chasing birds. So I apologize. I guess you can't really film anything without getting blue balls like that. I'm not gonna cut it out because that is a very natural part off the creative, a process to have a at least for me. It's having can't jumping around in the studio. Hey, I'm just mixing a little more of the green and yellow just so often ing here. I don't want to. I don't want to overdo this texture, but I do wonder. Let's shadow here. I'm just driving in a little more color and just mixing it up a little dark of mix of this , um, to get a little shadow on the on the under the billy of this bird and and still to sound same time. I'm just going to add a little texture as well. I want to try not to go too many times over this bird because I have a fear of, uh, we're working. It s so I try not to do that, especially here on the body, because I don't want the I to linger there too much. I wanted to go straight to the face, but I am still adding a little more detail here to the dark side. Ah, that part of the belly. We don't want it to be just, you know, a dark blob. We wanted to be defined us feathers, part of the feathery body. Um, and I like this texture because it actually makes the bird look a little fluffy. A and he I'm just trying to paint a little into the into the yellow to make it look like this yellow feathers overlapping the doc, even though you you can, you can paint the yellow over the dock, but you can kind of do a little bit of strokes into the yellows who make it look like the the yellow overlaps. Just doing that here a swell. Just doing a little bit of painting into the yellow, um, to make it look like the feathers. Herbal overlap. And now I'm just going to wait till the bird drives again. But I painting a little on my branch, Uh, and I'm creating this texture on the range by using both a very watery mixed, but also ah, a little dry brush. Um, just to get a nice different day, feel off the off the bark, but birch bunch the tree. Okay, just spraying a little more because I wanted to be fluffy on this status. Well, not too much. You don't want to ruin my my wing because just spreading it a little more you just seriously just play around with it with this technique. It's so fun. Uh, so someone I started using it a couple of months ago and I can't go back now. And now I'm just again going in to back in the I again and the same with the peak again. I apologize for the hand. It's like when you are in a in the creative sewn. Sometimes you just forget this a camera and and I do apologize for that, but I was doing the exactly exactly the same thing as I was doing last time I painted the eye and beak, I was just strengthening the color. Hey, I'm just adding a little more texture because this was a little flat. Um, if you're unsure where to put your feathers tried to To put your painting down on the cover walk, come back and see which part of the bird is lacking a little interest just adding a little more fluffy nous here to the side of the bird. You can see how I'm holding my brush the way I explained when doing the the federal texture . And I'm just doing those letters but having my brush, loading it with water and pain and just typing it very lightly. And this is a is a synthetic brush so the splatters won't be to pick. And I'm just going in to paint the feet and the I don't want these to be super detailed. These are just going to be, uh, functional, you know, so the bird doesn't chip tip over. We want him to to be able to stand on something. But we don't want the I to go here, so I'm just very, very lightly, uh, painting these and you can see this and not much detail. Here is just some small marks and take a look at your reference. If you are unsure how to a position the feet, you want to be pretty certain that the position in the right place Otherwise it look kind of weird. But, uh, the details are nothing. Not it's important. And him just doing a little bit off marks, too. Get the feet to be a part of the body. Now I can just go in and to a little more detail here on the Billy dry a light again, just a little more shadow on the on the wing and some final touches to the range just to get a little mold shadow on it. So a little dockets owns another dry brushing here with the texture. I think we are all done with this little guy. Thank you for watching. And let's look at a red cardinal next 11. Red Cardinal: Sketching: like with the other two birds were going to take a quick look at the colors were going to use here. I'm just going to use a pirate scholar. This is a very christmassy red bird. So pirate scouted. This rich red is perfect. And now I'm just adding some quinacrine dome sienna Beautiful orange color here. How beautiful is that? I love it. Every time I put it on my on paper, it's I'm just in all because it's so beautiful and just doing a little mix of it. I think they are gonna mix super, super beautiful on the paper. But I wanted to just test it out to sea how it worked. And you can see how the Sana actually Shan's little through the pyro Scotland. That's just beautiful. Okay, I'm just gonna do a quick mixture off viral scholar and some French ultra Marine for the shadow parts of this bird. It's almost like a purple, um, But instead of using my my purple, I just wanted to to mix my own to use the colors that I'm actually I'm already using in my painting. And I'm just adding some neutral tint to get this nice deeper, dark color. It's not black, but a dark aversion off the purple. And then I have for the background a nice French ultra Marine. It's a little night here, so I'm just adding more color. Um, yeah, that's beautiful. Were you granulated color? But can we can work with it and I'm going in with Van Dyke Brown and this is a cool brown. It's one of my favorite Brown's. I think it's so beautiful. Uh, I hope it will make a nice contrast to the warm colors of the bird, So it'll it'll stand out more. And now I'm just mixing the van dyke brown with the blue just to see what cause we can. We can mix on the paper they go. And that's a beautiful gray great own here. Stunning. Seriously. When you start mixing paper paint, it's it's over with it. It's beautiful, and that's all the colors we're gonna need. Now, let's sketch number. No, I'm already too sketched out this, uh, final birdie and the this bird was actually chosen to chosen by my patrons on my patron side. They wanted I asked him which window birth they wanted to let me to that I should include here. And they chose the red countable so And I'm so happy about that because it's a beautiful bird that I didn't know about. So thank you guys. Ah, that is amazing things a lot. And, uh, it really challenged me, so that's really cool. I'm just doing the the main features again. But belly, the body, the tail wings and, of course, the beak in the eye just stepping away. Some of the the graphite here. And yes, I spent this up as well, of course. Just the branches. Well, and we don't need that much more. I think we should go and paint this guy. 12. Red Cardinal: Painting: So now we're ready to paint our last winter bird, and that is the red cattle that was just sketched out. And just like before, I'm wedding the area that has the lightest value and that is all the red Here you can see it's a bit lighter on the breast than under the belly. And, of course, that's because it's in show. And while we're waiting for it to dry just a little bit like we can mix our peril, Scarlett or if you have in the other writ, yeah, that'll work, too, and I'm just dropping in it, drum it, dropping it into the the Billy hair like we did with the L. A. Burt's and look how beautiful it spreads its. I love this technique because it's so meditative just to just to watch the paint do its thing in the water. And it's stunning, Um, just to putting a little more yellow in here and just dropping it now. I just went in with a little water as well, just to dilute some of it. But don't mix too much on the paper. We don't want to ruin the beautiful colors, but working them too hard I'm just dropping in a little off the darkest well. And that's the pirate scholar mixed with on the French Ultra Marine. Gives this nice purple shade that's just stunning and works really well with those The colors on the wing and on the side. No, I'm gonna take my want to spray here. Just tipping the paper little so the water will do its thing and just okay, carry the paint around with a page here. And look how beautiful that spreads. Just gonna do it a little more. Here they go. We're going to do a background on this bird. So some of this won't be notables. No, noticeable. But, uh, I want to start with a nice the background wash. That's ah, It's like an under painting that has the same colors at the bird, the bird. So there's a cohesion when we paint the background. And now I'm just going into the head where we have the stock dark color and just actually living dark paint a spread into the It was the red, um, and just spreading a little more than with the other two birds. I think because my my paper is obviously a winter. And I like that because it gives a nice float the to the head here. Of course, we're going to strengthen these colors as well as we did with the last two birds. Just discovered I had painted the beak. I didn't notice that it was actually the big, So I just took some tissue and, uh, dept it onto the web pain and I could lifted right off. So that's a little trick. Often, when you do find yourself making mistakes like that, you can usually lift the pain against if it's still wet. Could see him already going in with more color here because the color got very diluted with the water spray off course, because the water will drag out the paint into the into the page. So we have to go in and and strengthen it. And that on the head, I just did a little bit of a off a textured edge to the to make it look like fillers. No, I'm just dropping in color and remember, you can do this, Uh, as long as it's wet, still, well, spread nicely. And if it ah, it will dry. Of course, in the more drives, the less it'll spread. I'm just doing the tail very, very light, even see how little detail we have here and just dropping in a little color. I want the tail to be here. Very little details so we can again lead the eye up to the head. Always when you do a painting thing about why you want to focus to be. And when I do paintings of animals and birds and stuff, it's always straight to the I. That's that's where the soul is off the bird. And I'm just going in with some tissue again to remove some of the excess water here. When you do the water spray, it's easy to get a little too carried away and get too much water on your page, so to prevent it from drying in the weird patches, it's good to remove if you have any excess water. And now I'm just going in with a little more off the ultra Marine, just mixing with the paint that's already on my palette. I really love that color Now, Marine and the pirates collard. It's beautiful, and now that our bird is dry, we can go in and strengthen the colors and I'm actually doing this wet on wet again. Um, so I'm just Ah, wedding the Billy here and just again dropping in some color. And I like that Highlighted has on the on the other side of the chest. So I'm trying to preserve that, but then dropping in some color here where I I can see those of some shadow. And sometimes when the paint has dried, it will create some some nice things like that highlight. So it's good to just take a look at your painting and try to work with it. Um, if you let the paint in the water to its metric, it's actually metric, and you can ruin it by trying to persists in cupping the reference photo or something like that. But if you did it, just let it happen. It can create some beautiful things. I'm just waiting the area where we have that fluffy, fluffy nous on the side just dropping in a little more color. There you can see compared to the bull finch I painted as the first bird, this has a lot less texture. Ah, at least that at the moment you never know what I'm gonna ruin. I was grew up during this process, but at the moment it's a lot less textures. And that's what we want. Just doing a little fluffy feathers here on the side. I think that's one of the great features of this bird just waiting the area around the IAS Well, and again, be careful around the I. We don't want to ruin all white space there. Just strengthen the colors. And I'm just dropping in a little of the dark from the hit here into the shadow area just to create some nice depth in our bird. Just painted a little bit off the tip off the wing here, just going in with a little water here just to make sure that these are not drying up in four dots. No one that that would be never look a little silly. So just ah, trying to rework some of the edges. I'm just going in with the tip of my brush to create a little more for the texture. Yeah, on the side knocking. Gonna go in and just work a little more on the tail here just to get some strengthening off the color and give it a little more tips, and I was actually doing this in a dry brush, man. So this is a fairly dry brush and just a little color, and I'm just dripping in a little more just to to get a, uh, and interesting column mix. So I'm trying not to touch it too much. And now we're going to begin working on our background, and I like thes colors in this reference photo. I'm not going to copy it. I'm not gonna do all these grasses and snow, but I like that. It's has knees blew turns on the brown Jones, and they're very cool colors in comparison to the very red warm bird. So I think I'm gonna be inspired by this and try to do a spill s Ibaka background first, you're going in with a nice ah, big brush. I have a natural hair brush because it can hold a lot of water. Can see how much water this actually in here, um, just spreading, spreading it out in a random fashion. And now I'm just dripping in color. I'm actually doing this technique in my other class, our water color and Yemenis so you can you can see there as well in some other colors, of course, in a little different technique, but but it's almost the same, and I really like it because it gives some life to the painting that it really to serve. So it's not a flat in the very hard background, but this has of life just being careful not to touch the bird, but still also trying to get us close. It s possible to the birds, so we don't leave too much of a white outline, just dragging it a little bit down, Um, and using the water spray this is you can really be creative here with the bird, you have some. Of course, there's some limitations because and has to look like a bird. But with the background, it's even just have fun with it and be abstract however you like and use the colors you like a swell. I use that the reference photo assed my God, when it comes to colors, but you can use whatever you like and also go into something more like the complementary colors of something like that. I'm just doing a little splitters as well. Some of their land in water, so they will little spread nicely, and some of them landed on dry surface and they will stay where they are. So it's a good thing to have both just for the different texture feel and somewhere you can use the their diluted paint in somewhere. You can use some places you can use the more thick pain. So you get a nice a different feel off color, a swell. And I'm using ultra Marine blue here and all Fred French Ultra Marine and event like Brown because especially with Van Dyke, is cool brown and, uh, with the with the blue. I think it makes such a beautiful background, and I'm just dragging it out. I'm just putting my brush inside and just dragging out the color paint to create on effect . Yes, most blood. Oh, and I just hit the bird. No, we can fix that. No worries. You can see how much what white space. I actually leave on the page, and I think that's important because it lets the painting brief. Um, with the two earlier pictures, we didn't have that much of a background. We didn't have any on the Bulfinch, and we had a little with a tit, and this is a a way to do a background that's not too overwhelming. And I liked it. Now we have a background on and I want to make this a winter birds. I want to try to keep great a frosty effect. And I'm doing that by adding a little sold. Here they go. I'm just holding some assault in my hand between my fingers And don't put on too much, even just one. Ah, salt flake and, uh, could make it a nice effect. And they also be careful not to have to wet off a paint. Ah, it'll just spread too much. So little drive for a little bit before you put on the salt. I think I actually applied this a little too early, but, uh, have fun with it on track to plate with it before you. You're going to You're painting. I'm just stepping up some of the excess water again. And now that the background is dry, we can go in and the work our speak No one. That was too much water. You can see how that just stays right on some of the big. Okay, I'm just drying off my just read of my brush and just going over the beak. There you go. No, I'm just dropping in a little color here on the lower side of the top beak. And this peak is a little different than the other beaks repainted. Of course it is. Allow the birds are different. Uh, but it's a good idea to just have your reference close to you. And I try to to put the highlights in the shadows where they seem to be on the painting on the photo that makes sense and even always try to to draw it again like we did earlier. If you want to be entirely sure where to put your paint when you're going And I'm just picking up my very detailed very a small detail brush to, uh, paint the eyes will and the I apologize for my hands that beautiful fingers. Right. Sorry. Uh, we're going Teoh closer. Look at it in a second, so you can see the highlight on the top of the I. And I'm just, uh, painting the the iris here around the eye. And I'm just doing this in a dark colored, um and not a brown or anything like that, like we did with our noticed. I, um because it's so small that you won't probably won't be able to see that it's a brown I or blue eye just going in with a little more color just to strengthen it and try to look at my reference photo pretty year closely because this bird has a different, uh, post. The head is kind of looking to the front put down, um, so I want to try to see if I can capture that in the eye as well be a little sq and the excess praying ahead on my brush. I can use that here, too. Strengthened some of the colors and just make a little texture here around a week. Extra text. The this small brush is great for for this very detailed texture. Um, but make sure to not overdo it. A sweet talked about, especially with small brushes. It's easy to overdo something, and I'm just going to remove the small drop that was on my brush. Um, especially when you use these small brushes. Really Be careful about that that dropped from Hill, Um, because if you're in the flow and just pain away and just drip dip your brush and water like you do. Oftentimes they'll be small drops of water on your pants or your brush, and that drop will ah, at some point go through the bristles and down to your painting and the, you know, know when it is. But it's always when it's, ah, the most inconvenient. So try to be aware off that that the little drop from Hill and I'm just going to do a little more texture and I'll speak this up for you so you don't have to watch me to all of this. I do want to share this with you, though you can see that I tipped my brush to the side now to create another type off texture So we don't have these very fine lines all over the bird. Um, but some of them bigger and bigger mocks that just becomes one with the under wash. And I'm just doing the same here with the great part of the belly as well. Now we can go into work a little more on the beak. You could see it dried up pretty light, just strengthening the colors here Where one. My shadows. Just trying to to rework the shape a little a swell. And while the bird drives, we can go in and paint the branch. It's sitting on here. Mr. I'm painting the branch before feed. Um, first, I'm not actually sure why, but you get You can do both. I just at the moon felt inspired to do with brains. And you can see Emma. I'm just, ah, freestyling this branch. I like to be a little flowing in my shakes when I'm doing branches like this and just letting the brush to what it's it's business and I could just hold it in the the prisons will lead the way. I'm just trying to get some smaller brown branches coming out of the range and and that is actually it. But you can do ah also to a branch of Berries O r leaves of some thought mistletoe even. And there's so many possibilities. Just have fun with it. And while that drives, you can go in and do a big one more time. Um, Mr I'm actually wedding the each year a little. So some of the darkness off the head can flow just a little bit into my beak and him just doing the shadow underneath the top part of the beak. Uh, you can see how much I'm actually moving my my painting around. And this just to get the best angle for my brush to to work on what I'm doing, going. I'm starting to like the shape of the beak here. That's cool. Well, just rework the I one time how light it dried. So weaken, docking that as well and just, uh, mixing a little blue and just doing a little most letters so they can sit on top off the but grown wash. Now that it's dry, it won't bleed into the wash so we can make a little more defined and just lifting some of the split us to happen to land on my bird with my clean, damp brush a little more just to get in this shadow here. Uh huh. On the bird. And this is actually the color that I used for the wing as well. And to you, the French ALS marine, the peril, Scarlett. And by using all the same colors in in the painting, we get this harmonious field, too to it. That's just beautiful. I'm just doing a little bit of a month making here but a long tail to darken it a bit. It was very light compared to the bird. And so we wanted to just to find a little more, but not too much. I'm really liking how this bird looks at the moment. He is so cute. Still lacks a bit of feet. I can see. So, uh, I think we're gonna go work on that. And I just mixed some dark color here and now we can do the feet and again, Don't be a to detail, but have a look at your reference while you're doing this off course, you have the the pencil marks, too, to, uh, hold on to because we want the feet to be fairly correct to make sure that this birdie doesn't fall over and again. Just using the same color, uh, used for the feet in some of the areas on the bird. Just using it here. A swell a little. Sometimes it's good to go a little darker than you. You actually have want because then you have more tips them in your painting it's easier to go to light in the two doc. That said, it's also easy to go to Doc. Then you just put in a lot of pain and you can remove it again. So be careful and do it in layers. Of course, I'm just darkening the beak. One motor. Think of work to speak three or four times now in this painting, Um, to see that it's a lot off off working and reworking now, just drying it off. And that was actually all final birds. So let's go and wrap up. 13. Let's wrap up: Thank you so much for taking this class with me. I hope you got inspired to paint some birds. Uh, if you do painting birds, please share it in the project gallery and attack me on instagram so I can see them and coming on them and just enjoy Oh, thank you in advance. And if you like the class police, so hit the follow button somewhere up here and the leave a review and not a thumbs up. That's, uh, that's the old review system. But leave a review that would make it easier for my other students to find the class. And I always enjoy feedback, so thank you so much. And if you have any questions, please just write them in the in the discussion panel forums and that. Sorry. It was my calf. Um, sorry about that. Um, I know I'm not gonna cut it out. That's just she just It's okay. She's here. She's a part of the studio. Um, I think that is it for now. If you enjoyed my class, there's a lot more classes in my profile thing. This 12 or 13 at the moment. So hit that. And if you follow me. You get notified with this and new class out. So thank you for watching. And I'll see you next time.