Arabian Horse. A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

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Arabian Horse. A Free-Flow Watercolour Masterclass with Jane Davies

teacher avatar Jane Davies, Professional Artist and Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 2m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching out and Head First Layer

    • 4. Neck First Layer

    • 5. Head Second Layer

    • 6. Neck Second Layer

    • 7. Mane on Neck

    • 8. Eye First Layer

    • 9. Head Third Layer

    • 10. Eye Second Layer

    • 11. Finishing Off

    • 12. Final Thoughts

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About This Class

Let me show you how to paint this fabulous Arabian horse in a simple loose, flowing wet on wet technique 

This Arabian horse will help build up your knowledge and confidence on how to use my loose, simple free-flowing techniques on wet watercolour paper

If you’re just starting your watercolour journey and haven’t done my beginner classes, I’d suggest taking a look at those first

If you’re feeling confident and are already familiar with some of my techniques then this will be a great class for you!


I will show you:

  • How to paint a white horse using very soft layers/washes to build up depth and character
  • How to tilt the paper and allow the paint to run, to give a lovely sense of movement
  • How to section areas off and soften 
  • How to create that wonderful flowing mane 
  • How to paint an expressive eye using two layers

You will be painting the fabulous spirited Arabian horse and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"That’s the shortest and best class on Skillshare"

“Jane has immediately become my favourite SkillShare teacher! Her unique style and explanations of how and why are fantastic! Thank you, Jane! ”

"A very enjoyable way to begin to learn the fun and skill of watercolour"

“Thank you sooooo much! I've been waiting for your class to start. I'm thrilled. Love you’re easy to follow style. As a beginner, it means a lot to me to be able to follow the lesson well. Looking forward to the next one.”

“Hello Jane, I viewed your lessons fully and will rewatch and paint. I see where wet in wet can be an enhanced feature for illustration. Listening with my headphones and the chirping bird in the background was a lovely feature :). I have a Samsung tablet and the resolution and sound is really beautiful for your lessons.”

"This class exceeded my expectations! Wow, congratulations Jane!! Just watching this through... I just LOVE trees, they are my enduring love, so I may take some time out from surface pattern designing to just relax and watch the paint flow where it wants! Love DS watercolours too, so I'll have a rummage about, see if I have some granulating ones too. Thank You! Lovely bright, cheery class :O)

"I already adore Jane's work and this class couldn't be different. She has magical hands to bring beautiful images to life in watercolour, and this beginner's exercise is a great way to get rid of our fear to work with this medium. I had so much joy, it was relaxing and I got confident of using paint on wet without that feeling that "I'm gonna ruin everything."

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Meet Your Teacher

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Jane Davies

Professional Artist and Teacher


Let me tell you a bit about myself...

I’m an international selling artist specialising in painting pet portraits and wildlife. I live, paint, teach and walk my lovely spaniel in the beautiful South Downs National Park, England

Over the last ten years, I’ve taught myself the watercolour techniques you see today. Not having been to art school, finding my own way has been fun and sometimes daunting but has allowed me to develop my own unique style




In 2016 I began teaching my free flow methods to small groups of beginner artists. After a move in 2018, I was fortunat... See full profile

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1. Introduction: Hello and welcome to this intermediate old catalogs where we're going to be painting these spirits need our course. Now he may look a bit tricky at first glance, but as with the other classes, I'm going to break it down into easy to follow steps. If you're just starting out in your world college journey and haven't done my beginning classes, I'd suggest going back and doing those first. I'm Jane Davis. I live. Paint, teach a walk my lovely spaniel in the beautiful south downs National Park, England. Over the last ten years, I've taught myself the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun and sometimes daunting. Birth allowed me to develop my own style. This has led me to teaching others, either on a one-to-one basis or as part of a group in a wonderful studio in the heart of the south downs. I also run a successful commission-based business, painting PET portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time. I can guide you to keep your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way to. I have provided you with a template and a beautiful reference photo of the horse in the resources pages. The template will give you the right shape, so you can just enjoy painting him. In this class, we will be applying a three subtle layers to build up that lovely sense of depth and character for what is a tricky white subject. We boot tilting the paper and allowing the paints do R1, giving our horse a lovely sense of movement and spirit, would be sectioning areas off to allow us to work on certain parts. Then using a technique to soften and bring it all together. I'll also be showing you how to achieve that lovely flowing mane. Leaving him with a lovely sense of movement, will also be painting that lovely, expressive i, using two layers and adding units of white, bringing to life. If you'd like to learn more about me or my work, please pop over to my website at Jane Davies watercolors dot co WK. This can be found on my profile along with links to my Instagram or Facebook pages. I'm very active on my social media pages, who I love sharing my art, especially on stories with many ideas, works in progress and tells us Julio life. I really hope you will share all your paintings on the projects pages. As I love seeing them, our species. And don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in his liberating wet on wet lose style. So come and join me. 2. Materials: So here's our lovely little Arab horse. He's very lovely his knee. And I've been really looking forward to debating horse or have a, have a better thing for horses and noise, have tons. It's a little child, so it's going to be a fun class is one. So I'm going to run to the materials I'm using today. Or Daniel Smith paints. I've got a lovely Jane Grey, which is the bulk of the color enhanced. Nice grazie, infinite, happy. I've got bird Thai because I was just a lovely soft brown in it that just picks out some little areas around his eyes and ears in his neck. I've got a bit of blood stone genuine. Only use little hints of it. So that's wouldn't, if you haven't got that doesn't do, don't panic matter. I've got an ultramarine Violet. We should gain just a, just picks up some warmer and different tones in there. I've got a tiny bit, a white goulash, which we just used for the highlights on the eyes and are going to build a lunar Earth. And that again is just used for the eye. If you haven't got those at really wouldn't matter. In again, if you haven't got Zach paints, I've got a nice gray will be work will work absolutely fine. The burn tigers i is nice because it gives a really lovely soft. I'm spreading color. I do like it a lot and these have actually most of these paints I've used in previous classes, so it might be worth investing. So what else do I need to show you? I have a little stent soil, which is nice. You can draw around him. Gives you, gives you a nice outline so you don't have to worry about the aspect of drawing. You can just get on with the paintings and that can be found in the resources pages along with a really lovely reference photo. My paper today is blocking for 200 pounds. A hug, a little MT, which is a ten by ten with a 7-by-7 aperture. And again, that's not necessary. Just nice to pop ammonia finished piece. I have a little party rubber. I have my pen saw. I have to eat brushes today. I've got a size ten there, which is used for the majority of the painting. Little smaller brush, just, just some more details and find a piece, especially the I and a cheese 2B Russian. And you can see that it's not wet it down yet, so it looks bit fuzzy butter. And that's just used for tiny little bits about taking the eyelashes out. Obviously as a pot of water and a bigger kitchen role or paper towel. And I do have a hairdryer and gain a koala hairdo. I just quickly there's a process up between layers, but it's not necessarily you can leave your, your piece to join naturally, and gametes have cup tea with them. So I think that's all the materials you're going to use. So come on, let's go and do as going painting. 3. Sketching out and Head First Layer: Okay, now I've taking opportunities to sketch them out so you don't have to watch me around this cylinder, fiddle around. But what I will say is this Denzel can be quite blunt, especially around the other nose area and is so it's worth when you've drawn around, just take a little bit of time just to finesse the nose and the ears of why you end up with liver, chunky, chunky little horse. So, um, that's worth bearing in mind. So what we're gonna do, I'm gonna put pixel to one side. We're going to start. So I'm going to pick up my big old brushes. They've all lovely, wet and wet. And for the first layer we're going to have it flat. So what we're gonna do is to weight the head. So we're going to separate the head and the neck. Generally nicer class. So we're going to get around this cheekbones. So it's worth, again, probably take a little bit of time to get that I wrote as well. If you haven't, Rocky II, when you'd actually starting to paint, kinda puts you off a little bit. So if you get the eye looking nice, artists inspire you to keep going. So now you've got a funny-looking EU law can show its lovely on wet. Say take big, probably extra careful actually making sure you stay in your lines. Cusa, who somehow needs to be lies are need to be just right into the camera should be looking. And what we're gonna do, a little brush, nice and white. And all I want to do in this first layer is just to do inside of that year, that first year. And I'm not going to worry about the back. One could have done a loin here, is to put relying a little word of caution with sketching them out or sketching him out. Go really light when you pit. So Marx, I've done them quite thick, dizzy. You can see, see where I'm headed. Ideally, you don't want to release him too much. So in your final piece you would see any, any pencil mark. So that's worth taking the time to via speech into your pencil marks. So that's nice and wet non bubble MY head up and down I can see consine dry patches and they're going to pick up a Jane's grain. Now he's a, he's a white horse in M is going to be very subtle. A little bit, a little bit like the hour. And actually if you did the loss in the last class. So it's all I'm working straight out the tubes. Nice concentration on my brush. And I'm going to work right at the bottom of the muzzle and just let it let it travel. And let's face it. People. Have you reference photo in front of you? I've got mine open on my iPad in front me. Qazi, off-camera. A. Glancing up at my photo as well, and just just kind of need to do much more than that. We do three layers over here so you don't, The first one doesn't have to be really strong. We can build, build up to that kind of a little bit around. The only gain is just touching, just all move. It's just linear blend at the moment and getting it won that war if it doesn't look quite the right shape. Kinda put a tiny little bit here, so it's just a three little spots. Just this is starting to dry here. Just the how the paint reacted home. She's gonna give it a little tilt just to let some of that water around. You don't want to do is just to interfere too much with your brush, just declare it all. Merge join is I touched a little bit, just a little bit of alloying going on there and we want to live in that environment. Want to overly opinion soft. I'm just going to pick up with bento exile in a little bit. Brown. Just don't talk to me either. I think. What I'm gonna do in this tiny little bit brown and see how that bowtie glide pushes them, change going onto a gurney. So it's all very white. Subjects had quite a subtle movements, were a subtle gestures. So yeah, I'm going to leave him at that quite public the moment I can see I've got a big old puddle here. So I'm going to take more time, let that dry. I'm just going to soccer suck a little bit up and I want to take too much paint out either. So I'm going to have to be patient and let that dry. A word of caution if you haven't discovered this already, if it's really wet and you put a hair dryer over it, you'll find your blow pigment around and it will emerge too much. So just let it dry, get it to sort of tacky stage than you can with a hairdryer over it. And then we can do the neck area. 4. Neck First Layer: OK, so he's he's nice and dry, had a blast with these hedra, so we're going to have a go at doing the Knick now. So again, nice, big, broad brush. We're going to go down the neckline. We're not going to do that. Making it to the run down the the Beneke. The main is yet to come, that's so fun that we let it run or be run up to up to his cheekbone here, Houdini's front, and you can work outside the box as well. So if you've done a little box like I have for my mount, you can run outside of that as well. It just so the paint can then run down and out. You're not left with a sort of nasty white hard line in the game that can be run out at this point as well. We're going to put a little slight tilt on this one, the paint to my trusty wooden heart. I'm just going to pop that underneath just about an inch high so you can experiment with different objects. You might have straight. OK. So they pick up the James Gray again, who your gray, whichever gray you might have and which is going to pop a little bit to start with down on that neck. You have a lovely curve or he's got a lovely curve on his neck, conservative, roughly round little area with love on horses. Let's do a two handed paint job here and the entire design there. So plus I genuinely I just trying to get a nice line running down there, which I'm just deeply running down, doubling. We do we do another couple of lines over here. So don't worry if it doesn't look too at the moment, that's fine. But he's a guy. You don't want it to be too bold at the moment and we're going to do exactly the same here. Golove actually got both the colors in line, but at the same time, he's going to run that neck. Been very good at what those patted down. We should just try and keep in mind that a lovely curve of US wetness witness just allow it to run. Let's keep this area up here fairly and too much going on, and then I think that we actually do what it's done. I really, really want to keep the white muscle line running down there. So I'm going to do loaded my budget with water. I'm going to touch it. I'm just going to let the water actually wash some of that paint out. So it's I'm not taking color off myself. I'm just allowing the water to do the job for me and just gives you more of an actual look. You can swing it around as well. And when we do another layer, all this stuff so softens down to you don't get left with a very hard white line. Well, it's got a little bit bulky, really, this white line, that is fine, because then the next layer, I can just add a little bit more paint into this is more important to reserve some of the white than it is to try to it that you may have washed too much paint outside. I think that will do is actually a little bit of what they're going to lead. And actually, I try and get those out now. I think I'm going to start leaving to too big of our airlines or boxes of the flat again and just as it starts to go off. I'm going to put a little bit of water and we're going to get that dappled light dappling on his neck, that could be achieved by seeing what you brush down, take a little bit of the moisture off on your pipe down, and it's catching at the right time. You just want to you just drop a little water droplets and that should just be enough to push the paint. So I'll leave you some little devil. Marks takes a little while for them to appear. So if you think they haven't worked, just give it a give it a little minute. Don't don't want to wash it all off again. You don't want to overuse probably enough actually not dry. Then if you don't want to spot just a little hint of it, really what we can do, we can actually. She was going to make sure that's one Ettlin. I think that looks great. 5. Head Second Layer: I think we can get on with that on women Nick layer over head. So what we're going to get it all down withdrawn, leave a little bit of a dry line because we don't want is this color on his neck, wanting TO head area to justify needs a drawing lined in late. We're just going to coming up just what that Bush to scepter that nickel right up to the top of the year. I'm going to tell you on and around the eye. Just be nice and light no hurry unit on the new actuating it down. There's no panic noise and carefully, it's better to take tell them a little bit and make sure you get it around to entropy. Molly, stay inside the lines, were all Whitaker and could cover it all. So it's all nice and wet and dry line there. And then all we're going to do is just a strength and not very much the same as a first layer. We're just gonna add strength where we need it. You don't want it, you want it a little bit drier if it's sitting in puddles on having a bigger publishing. My bottom menu's from Detroit to take a little bit out of the wood is spreading as much wetter your paper is, the more the paint spreads. If you leave it to go off a little bit, you'll find your patrons spread as much and as we build layers, you'll find your page won't move as much. So that's how you gain a bit of control ways is as the layers build the paints that move as much. So as you're going to go back to those again into two, a little bit of dealing in this shrimp and a way of making policy that color isn't moving. There's half as much, even though probably about the same witnesses. Firstly, it was it's quite fun to realize that's how you can gain a little bit of control. I don't do too much, it's just very, very small. Didn't small gestures is so easy to overdo anything that's Whitey subject. And I've just picked up a little bit of bloodstain, genuine. Just just want to add adjusted slightly different color down here AT more than anything else. And that's enough. I'm gonna do the same around the eye as well. Pick up the chains gray as well. Tiny little hands. Let's just and this layer would just strengthening what did on the first line just keeps glancing at TIAA reference photo. It's always nice to Johnson. Got the Ben Tai gazillions of a softness and the little patch here. And it's gonna do and see how lovely and a delicate with calories, a little bit of color here is just to say that tiny, tiny movements. And it's really helpful you can just step away a little bit or get a little bit of height of your painting. Little bit Ronnie's cheek. Violet VOD on his cheek, is actually how I just lifted up, doesn't it gives another character to this tiny, tiny little bits of movement. Let's then genuine. Puzzling a little bit here on dialogue, Agosto, work illustrate favor. And I say this every time. You would help if you do stretch your paper, your 40-point bubble Baco IV in various placing. It does help tie native a bit of a line down here, and it's just gain tiny, tiny movements. Heavy here so I can rearrange it a little bit while it's still wet and kind of move things around stoves or let's say how quickly that's being taken out. Just a little bit too heavy then. And it's always a little bit given tightening, the evening was quite, quite a bit more expression. He's got so heavy on the front of the xy. We want to exaggerate that and it'll get underneath. That means your Pope, the neutral dry patch there. She's drawing it a little top chain because he's to reserve a fiddle, ruin it. And that's, that's a secondary. Every head. 6. Neck Second Layer: Let's do the second layer, obese neck. So a little bit similar to the the first layer of the head. And again, we're going to try and actually if if your hate Miley cheek area from 9 second layer is actually dry. So I'm actually going to run that. So I'm gonna close that little white line we had up. But if you are hate if this area is still quite wait, just give it a minute. Either. You'll just give a few minutes and then it dry. Or you can leave a little white line bitter. It's probably better just to let it go off a little bit. So we're going to do exactly the same. We did the first nice and wet. The only thing is it's flat Now I haven't got a tilde on it. I'm going to miss out in the main and just running normally liner that lucky curve clinic and lined books. And just just be careful with HRSA delay start building up. You don't want to be too rough. All is you'll take that. You would applaud the work he did on the first one. Let's listen again. And again. The head, we're just going to strengthen our babies. We think we need strengthening. Sitting, sitting around with Nick. And we want to try and preserve this nice white line that's running down that just give that lovely Shaffer. Hey, now I think my white line when I washed it off, it's got a little needle, a little bit more collagen and say, try some tigers like smoking and stuff to see what that looks like. Thanks just to pop them, see what they look like. James Gray and get get the gray News works. It's quite warm. Color is under the next week, we would naturally be a little bit delta or cooling shows and it's just very, very gentle holding the bush at the end. We'll very gently. To get this kind of get a kick landscape. You reference photo and just see where that line goes. It really does, sweet Brown, doesn't it? We've lost that birdlike as I probably was like that as kinda disappeared hasn't isn't just going to stem from that backup. Again. Every paint has its own character so that maybe the Brown you're using isn't quite as soft desist burnt like advisor. You end up learning. So the characters he paints and what they do and how they react. A certain certain times certain witnessing a paper that's Wilson genuine at gets picked up tool to get to bold him to making too dark white subjects. I did a pet portrayed quite recently and it is got to do it in the lobby of lovey white dog. I just got the carotenoid become suddenly enjoy yourself too much into it. You've covered the lobby, what subject? And this looks very dark. Now I'm I'm losing that again, that lies white lines are actually gonna do what we do in the first layer. On a little bit of white, little bit of water down there. Just want to, you want to reserve that white down the kidney's just done three really gently tiny movement to allow all the paint to do anything other than you interfering too much. And I think that's probably actually just enough to curve back in again. Looking my eyes is a really good tree catchy if you've got your reference by doing fun TV to flick your eyes quickly back and forth to your painting. Into the reference photo. Him flat. That's probably enough. I'm going to wash that off again. Careful. 7. Mane on Neck: So this neck area is noise and dry now after its it'll head Guang session. So I'm going to pick up my big brush and sees where you have to be a bit brave. Now, we're gonna go and do the, the main. It's really fun, but you have to be bold, I think. So what we're going to do is the wet all their neck down again. Exactly the same as a monetary ladies, but we're gonna go over the main bit now. So we're going to incorporate that in our wetting dancer. And then exactly what you did before me down. Like the books. There's a nice and gentle once a muscle, those knife covers not lays underneath. I've done, shouldn't have done. I'm just going to draw here pits with a scene. So when you come to do it, I'm going to suck it up with a general carried away myself. I'm just going to draw that as a can't. Just we're going to pop a little bit of dry paint down here to to do the main fence. Yes. So try not to do I did leave a nice nice line. They're excited about doing this main. So that's nice and organized and wait, we're gonna do, I'm gonna take the excess moisture off. I don't want too much water. They stage and one brush, but I'm going to pick up the we change gray and we're going to start on the main, become lump that started in the main back this far down here. I mean, if the reference photo doesn't show, I'm also named Allan gave me quite nice to put a a little bit more in, but that is up to you in a certain way better. So we're going to place it there. Quite nice and thick. Just gonna run it down here. And as it should start to move into, into the mic area. Quite a nice amount. And again, I'm going to give it to, so I'm gonna hold it actually evolve and that tilting it on something it's quite nice to go to hold even maneuvering around them. And I'm just going to load him a varchar of water. I'm just gonna talk. So I'm reading the water now make make me some unusual logs. And this is very free float out. So what you get is kept ready. So you can, you can add more painting, which if you've watched too much away, a little bit more tightly, surely. He's fun, but it's a little more daunting. Winnie Nino, you're just everything's just running down and doing its own thing. That's the genuine. Don't panic. Long as it's nice and white, you can continue adding or taking, taking out with water districts and Inca, we'll leave it there just for a minute. It's, it's quite nice once it starts to go dry a little bit, you can add a little bit more definition in that. So what we're gonna do with a brush now, and this is why I wanted to keep this dry area just nice and easy. Everything's organized militia solutions. You can keep your waste. Just pull out a little bit domain and you can maybe he isn't chunky my market big chunky. And I'm going to do a little of that pair. You need to do is fairly seem so this you don't get as sort of a line. We deal until my starting today that you can see there's quite a solid line there pulling stuff out. So I'm going to add up, had a little bit on the small Bush reference photo, he hasn't gotten much main really birthrates total making misspoke a little bit up. And you're going to run a bit outliers. Well, this gives you pick unusual reason. We keep, keeping my little Russia link. Pick up the James Graham or brush and we're going to go up to the top. Money. No, it just I don't want a lot of main personally down here. And I quite like it as a reference. Vo2 is it's just a touch and that should get damp. It should just be a little bit. And that's all you need to do for that. And we can go back to this main a little bit. And if we can run a little bit of water here, I've loaded up my small brush and I'm just going to let it run a database and have an experiment and it's a little bit of a scary process. It's also leaves a really lovely sort of softness. I will go on and show you a different way. You can add a little bit more definition, right at the very end. Bitter. I think it's nice that these personally. And I'm just going to put a little bit as plus ten genuine here as well. Which is to say as it begins to draw, you can infer movement. She do. Well, lose so much that it's almost getting a little bit of detail in there without trying to get someone to do individual heads down looking very tweet. I think I'm going to leave. That actually. Stays carrying on fiddling and caught like that. I think that's worked quite well. So I'm just going to lay that flat again. For a legal question, pick up a good question. And we're just going to soften these sort of hard lines. It's just a wet brush and I'm just going to soften that Dan. Obviously you would want to put on a pedestal MOD like I have. So that would snap line should disappear elements. And so for soulfulness. 8. Eye First Layer: So next we're going to get on with his eyes and they can let these dry naturally or just draw a wall you're painting the LA or you can give it a dry before you stop pain TI there always is a the chance of putting your hand watching the wiper. Going to challenge that? Doing that much my nice painting. So I'm going to pick up my little brush and I'm going to wet. Inside of JSON. He will find you have a noise bubble of water deeply head up and down you about to say it. So what you want to do now is to take the moisture organical Bosch, and it will suck that up. So you've just got a nice wet piece of paper. And I didn't I whichever Brown you've, you've chosen, I'm mod but his eyes not great for the middle of these I's are going to use my Palestine genuine. But if you've used a different brownie Muslim, that helpful. So what we're gonna do, we're just going to just do Bowden when economists English joint. And take you to on Mondays you can, you know, I always suggest standing for the flowy bits by a few before any helps to sit at the Wolpe select bits and you want to be quite close to it. Desperately trying not to get my hailed and Esau and disdain and staying in lightweight climb down. We're going to use that tiny, tiny little bit of moonless only time. And he taught me to US coming out to play today. I'm just gonna put that on the other side is one that's bleeding. Thinking about pad with that and say, well, we do the mix layer over the over the head. We can ingest any young, the sizing, which is a little bit about what I should have put that can be fielding. So that's your first layer of your eye. 9. Head Third Layer: Okay, so we're going to do the final layer over this head, so make sure your eye is dry. I gave a minor quick wins over the hair dryer. It might take you a long answer, but you wanted to be drying. So we're going to and you could have joined your neck, which I didn't do. Think, think Minds, you're my joiner. So we're gonna go very carefully around the I again. This is where you can always sculpt it into the water. So I'm going to pick up money for Bush. It's worth going manual heifers because you see you forget English right over. You can then just went up to any, any marks just around the IOP where you can get the shape right up to maybe the Bhatia. And now we're going to go over both ears as well. The get nicer. Go. Cook careful with the A's because I actually, he's got lovely pointy is it's very easy to make them a bit stumpy. Esa, pick up beautiful Bush again and width top. Russia. And let look nice. He said Love drawing horses as a kid. And then these pavements finance east to draw them from a data wish say, must not try and add some color to those. I just used to draw and even cheek. And make sure it's all loving wet tuned only system only needs to be wet. So we're just going up to this. Psyche is a lines as before. And you find if you had dried the I draw your paper, we would go often, it would encode everything to dry quicker essay. So we're gonna sweat and again, we're just strengthening. Hi, I'm actually going to be paid now and Michael Bhatia and get a little bit more control in some ways. To go with autoimmune disease. Vd is actually come right down into his body. The mistake I was making, like you can get a lot better. Paid. A lot of dogs will do a lot of horses barely. Make sure you get your ear right down into the into the book inside. He doesn't they don't it doesn't sit on top. Again as I have. And I want to make sure that this it'll cheekbone and strength there. You can see there's a slight line lungs down. Since it's just tiny, tiny movements as almost always got to vote. Just washed down again. I'm just going to soften it. Again typically outwards. Because now we're working on, on the third layer, Hugo, who was layered underneath. Just by taking that one, you're not necessarily taking a number one and number two, you just take out the top ones. And that's how you build a lovely depth a little bit here, going on here. So when the papers wet is, it's quite nice to work on the bits that you won't spread. And as it begins to dry them, we can work more detailed bits where we don't want the paint to spread as much to do with Daniel here. I'm not really going to put the mouth thing. It always makes it look even like you saw in putting a phony faith. So I'm just going to strengthen our alias up a little bit. Walden actually drawing a definite line, they're just adding Brown does so it doesn't look too heavy or actually put it in the purple in there as well. Just to give a slightly different heavy in one column. And just look at your own thesis or your everybody's peak will be different. And if you pay go on a patient IS again, it will be really different than the first one is I just have to be bowed. Look at your own pace and see where you are, where you think you need color. Strips on the inside of a bush. We need to sort of soak this. It'll fall account. That begins to getting tacky now. So I'm going to pick up my Jane's guy. Very submitted this top bit here. I'm just going to add a tiny little bit. I'm going to go into better drawing. Just a tiny, tiny bit. Again, I sort of hard edge. I do much more than nascent, my default practice of other childish pony for mature, careful. Too many pony that a joke. So I'm not gonna get too carried away with doing a full OK. And you can tell that helps to let some of that one might be good with the main fooling. I think that's gonna do me. Just get this a little bit stronger, but it's just a little bit wet still moon. And now if I put my painting there now is going to spend too much so I can start to do now. He said she take stuff out while I'm just waiting for that to be the one stage. So obtained mobile shelf. Just make sure that each clean, take an excess moisture off with a paper towel and will need just brush very gently. So either you're taking the slurry, taken those laid-off, careful. I'm gonna swap them all out. He's got a nice little light here. I'll think of manager reserve enough. There actually is a nice light area. They've already kept that quote, Leitner, unease knows enough for now and we will go in and tinkering. And one of the other lasers. I think that's probably draw enough now. Just a white stages, just touching these things. And white stage of wetness can really help you along the way. I'm doing. Just defining that ion is if you've got an iPad, this just pinch your iPad in in say he said see the ion license place. Do you have a line going down here to touch? Lovely, lovely expression is facing. Who's really observing your, you're in peace and where you think. You need the painter. Nice, nice expression. It's only tiny, tiny movements. They step away, keep looking up and looking at it. And picking your eyes back and forth to the reference photo into your own piece. And it's got a punching out here. To keep my eyes quite often get quite, say, reverting back to my little pony. Big cutie. It's a tiny suggestions and Tony's and movement. Keep looking up. As soon as you think it is quite noisy. Channel to carry on fiddling. To strengthen the inner bits has done for that lamps and we want to do is given a loss for the hair dryer omega into thing to finish off. The next live over the eye. 10. Eye Second Layer: Ok, let's get on with the rest of the hypnosis. Dry and all this nice dry Sweden Carnap off, off hand. But now what we're gonna do, the wet it down again. He carefully why it's actually it's actually bad and mine too, I've managed to do on the first layer actually. So if he spoke too bad, actually just made just a case of just tinkering with tiny bit central entity but a little bit of lunar. If in the back there again, we all work in really small. So if he, if you feeling brave, you want to optimize this. And in some ways is actually easier to do the eyes because you're not working on such a tiny, tiny little subject, very small area working on here. So I would love to save. Yeah, she managed to being brave and wanted it larger and that will be relieving. That gives a process nothing different, but you'll find some things that easy. So what we are doing on the, on this side, I was quite happy with my own. Actually. I managed a cheaper we well I wanted to achieve on that first layer, but if he looked a little bit, didn't look quite right this way you can go and sort of tinker with it a little bit. And we may need to draw a little bit. We can add some quick headline with that. Okay, and the assassin dry again. So, so I'm going to use my chisel brush now and going to take that. He's got some month Salafi eyelashes going on, say I've watched it down, I've gotten noise point there. Who knows for chiseled and say this is where if you were working larger it will be a lot easier. So we're going to try and take a little bit of color out, just the eyelash, just gently or Metro going back and forth until it starts to lift. And you can get an expression here would be eyelash. So if you want to look a little Stern of z, point the point your eyelash this way down. If you want to meditate more alert, then you want to brush it out that way. Orbit more neutral if she thought she, this one's kids curves round, noisy, doesn't it? But I'm just going to worry about THE taking a little bit out and then we can add a tiny little bit with that. What ghoulish, but it's nice to take the light. I lash out with a bourgeois Nazi painting him initiative among natural. I think I've taken enough out. I'm gonna put that down and pick up my little bit of white. And which is again, tiny, tiny little movement. You and make sure you have a nice creamy consistency on your brush. And it's not even have enough point for me if you have a nice array of brushes. And I'm a lucky number one or number two would be lovely for this. Disease is very old and it's lost its number. So I'm just gonna go, you can see a nice little bit of white underneath it and 3D gently. Put that point in. Tiny, tiny, tiny. It's probably less than you think is the catch light, which the Twinkle is more of a moon-shaped crescent shape. Heavy handed with that. So I'm just going to quickly pull that joys. And it takes a little bit of L, just enough heavy-handed with them. And you can see that it'll characters coming out, going into cache line can smooth out that white line underneath me. Let me just again brushing to smooth it out. That is yeah, I think that looks quite good. I think quite overfeed announced such a small area. It's very easy to overfill and goes pear shaped as I think that would, that would do for the eye. 11. Finishing Off: So we are very, very nearly finished with our little hole. So I'm going to grab money, could buy a potty rubber that was off to one side, going to give it that they need and get warm and we're going to worry about any pixel marks now, a word of caution, make sure it's really dry before you start to live. What you, what you really don't want to do is to rubbing your paint away and you can check my knees nice. And you can always tell if you put your hand over and he feels cool to the code still still little bit wet. So actually what I'm gonna do, no ahead why that could pick up on a 100% confident that's not know little bit tacky. Still say, this is the highest of the business is run and so on. About the pencil lines is weight gain at lovey lost and found look on a white subjects. Grannies Plus we haven't put out much paint on the years you'll find you, you must disappear. Probably a little bit heavier. Pencil marks that you can see that it's suddenly starts to lose some of that stuff. Very hard lines. So what we're gonna do now is to sort of tinker and take some of these, a little bit of the color out and just finish him off really. So what I'm gonna do, pick, come up with brushes, you'll need a bit of a fresh key. Roles are going to put in my hands liking them quite quickly. And we wanna get rid of just a tiny little bit of this line. So what I'm doing is just taken at Colorado, just disappeared into it. And like beta bit messy when not stay you my loins, especially down here. So medieval. She's a bush is just a little bit better at taking color out. So I'm just kinda neat, not really. And again, with these little bit scrappy. So you can get the Una go round it all wound. Ideally, you'd interstate seem not to have done. And I love this really lovely horses. Then the next again and VW sort of line in there wouldn't be so soft curve. We gain into it. Tidy, neat is up. My previous paintings, I've got my little notes to take some color out here by show. I haven't I haven't I haven't gotten color really to take out, but you may found him not doing my experiment pieces. There was a lot of our getting collar low paint up there. That might be worth trying to get out till the only chest you can see there's a line runs down. She might want to take a little bit at the front of the chest just to just to get out. So if you supply parts or who has disappeared, I wouldn't love this out. Because you'll find, you'll get really horrible hotlines. That would have been best if you've lost that. Would it be best on the other stages to keep that nice and clean with a freshwater 0, it would, it would look really hold and hurriedly fathers trying that out now, but you can take the layer isn't listened just where we've joined these HEDIS Nick. He can just solve from there and just do some retinal hotline. And again, just a little bit here. Doesn't, hasn't got a line. Just to keep everything nice and soft. Bailey and these carve out before we started, I didn't maybe think a little bit more. And you can see, you can just go round and, and taking the bits you, you think you might have caught a bit heavy with Sony gentle movements and I stopped brush. You don't want anything to kinda Sqoop Tate take too much out because this blue, very subtly white subjects. Put this damn gonna find that Nostra is just a little sneaky line or any more. It's almost like a little quiet as an S-shape and then you just close the leaf claimed his nose. I don't like putting Mao was in. I always end up funny feel smart emails, but I'm not going to do any more with that mouth. I might do just tied up with the IAEA with that bank one down. Once lost too much. And it's quite nice to get a little bit lost and found birth. Too much lost. Some soft. You can even too tiny. Green paint a tiny, It'll be on. That nice sharp lobby for pointes is n0 is ever so soft. Stand up, have a little look, see what I think I really loved that. Now I was going to show you how to do, if you wanted these main to be a little bit more defined, will show you how to do that. So you grow up, you brush. I personally love this because I think it is, yeah, I think it's quite nice and fresh without some getting to define. But what you can do is you can wait list down here. I want to do is I like it too much, but I have wasted down here. And this is where the main would've been always going to be of reference though doesn't really show much named that. Put a little bit more on the way. He said, I've wait an area down, so I've sectioned and area Warfarin effect. I'm just going to add a little bit more color on my actually had a little bit violent. Mr. what it will give you is also defined look at defined line down here. Just dabbing lady. I'm treating it as a wet area. Will put in. And why did lift him up to non-linear Meyer? Just touching with another layer and you can see, you can start seeing a defined main area. I wouldn't personally, and if you do get to this stage, I wouldn't do too much. And he stops. He sought to do that. So the freshness and out pops a little bit of James glioma Bush, Bush. Just do a few weeks fish tricks. If you wish to alter the joy body here. I'm gonna go up. And you can see how you then you get a movie define main page would be like really, if you think you like that and go on and have a perpetrator and if not, then leaving as before. So if you want to do some neutral flicks, I think it looks quite nice actually, especially around the main. It makes it more because it will be a movement. Now on scrappy piece of paper, I would practice how you do your your flicks, say load, load your brush up. Is I would practice on a scrappy piece and I'm going to do that just off camera so I don't completely ruin it by being too heavy. If you put your finger just like that, and you'd be poor vacuum virtues and you just studied flick. Flick too much of chemicals. Making tiny bit up here is up to you, you might decide to fix. We're a little bit too much. You can see we've seen that. 12. Final Thoughts: So I hope you enjoy painting these Arab horse. I loved that gentle yet spirited look about him. How did you layering go? It's amazing getting to that third layer and seeing the horse appear with the smallest gestures. It's so lovely and subtle. Did you enjoy tilting the paper and allowing the paint to run on his neck? It takes a bit of courage to leave it as an it is interesting section, sectioning off areas. You can see how it gives you control over certain parts of the painting. Giving you the time to work without it running into other parts, were not invited. Wasn't painting the main fun and a little less time consuming than painting individual strands also equates your much looser look. The trickiest to gauge the witness of the paper. Hope you cosine k with the eye. This one's a little hard to get right. But take the time to observe. I find flicking my eyes between the reference photo and my painting really helps. If you feel yourself panicking, step away for ten minutes, allow it to dry, comeback and look at it with a fresh pair of eyes. So we look forward to seeing you in the next class.