Barn Owl. A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

Barn Owl. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

Barn Owl. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

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12 Lessons (1h 15m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out and Adding Masking Fluid

    • 4. Body First Wash

    • 5. Wing with Damp Brush

    • 6. Face First Wash

    • 7. Body Second Wash

    • 8. Eyes and Beak First Layer

    • 9. Eyes and Beak Second Layer

    • 10. Body Third Wash

    • 11. Finishing Off and Tweaking

    • 12. Final Thoughts

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About This Class

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

This barn owl 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 tilt the paper and allow the paint to run
  • How to section areas off and soften
  • How to be bold with a few brush strokes to achieve the wing feathers
  • How to paint three layers/washes using the same colours to build up depth and mood
  • How to paint eyes using two layers
  • How to use masking fluid to give a wonderful sense of light and sparkle
  • How to splatter without covering the whole painting!

You will be painting the fabulous moody barn owl 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, welcome to this intermediate autocratic class where we were painting these magical barn owl. Now at first glance, she may look a bit tricky. But as with the other classes, I'm going to break it all down into simple, easy-to-follow steps. If you're just starting out in your world colored journey and haven't done my beginning classes. I suggest going back and looking at 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 sometime daunting, but has 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. Or 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 too. I've provided you with a template and a beautiful reference photo of the barn owl in the resources pages. In this class, we'll be using a simple technique of slightly tilting the paper, allowing the paints do R1, giving you a lovely soft Downey look to the feathers, will also be using a damp brush load you would paint to give you a wonderful impression of light on her wing feathers. Who'll be adding three layers over certain areas using the same color to build up that great sense of shadow and depth over her darker side. I'll also show you some tips to painting as lovely, dark, intense eyes using the same colors as we use on her body. And she has some tips on adding masking fluid and how to get that paint strategy in the right places without covering the whole painting. If you'd like to learn more about me, all my work, please pop over to my website at Jane Davies watercolors 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. Go, 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 amassed 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, loose style. So come and join me. 2. Materials: Welcome to this Bono. Must cause. She's rather beautiful, isn't she? She's got a slight air of mystery and a little bit of theory, will I think. Hmmm. So I'm going to run through the materials you're going to need today. So I have my paints are all Daniel Smith as normal. I have a bird toy design which is a noise. Nice, dark granulate in brown and EC is one I use a lot, is lovely, really, really very soft. Lunar earth, which is again another granulate in color. And so quite a few grandiose and colors in here. And this gives you this lovely SPR, greenie look. And they've got a slight pigment in the paints that, which gives it that character. I have CPI, which is a nice dark brown just for picking out the eyes, I have a lunar blue, which is really nice. It's quite new to me, but it's a very yummy of ultramarine violet which I used for the sort of slightly warmer side to this. And I got Gladstone genuine and a little bit of white goulash, which is just for picking out little bits of eyes. So your choice of paints I would try and hit to Brown's. If you've got a CPS IQ is really handy for doing eyes and bits and pieces that would be handy. Again, a dark blue. You probably get away with a Indigo, maybe if you can, if you can invest in a lunar play, you're thinking, I love it. Ultramarine violet. Violet will be great and bloodstained. Genuine. Wants a tricky one that would try to think of something that would be similar. Port, which is another sort of dorky Brown. Say unusual colony is sort of a mixture of the pinky, pinky, purple, blue. You could even mix them up. So what else have we have? We have a little bit of masking fluid, which is we just just do a little bit round her to love hot and conflicts. So I've got myself a very old toothbrush or don't use anything that's nice for them. Moscow fluids, it has a happy ruining things quite quickly and he'll survive. I've got just got a spare tube of paint and all I'm gonna do is just to put underneath just to give my paint a little bit of a tilt. Are normally have a little hub heart. You probably know by now that that's just a bit tall, so I only need something because over half an inch if that paint to be rushing down my paper for this one, I have a little sensor which you can find in the Resources pages. It looks a bit ugly. Stents or quite sure why, but it works. And I have a mount which is a ten by ten with 7-by-7 aperture. My watercolor paper is blocking for 200 pound not I have got three brushes today. So I have my size ten. And I have a little cheesy brush which is an EPA. We use it just to take a little bit of cholera out. And I have a rigor, that small Bush, who do you? It doesn't have to be a wig. Else do I have I have a slight better toothbrush, which is to do some of these flicks OR spotters as a pencil or a pot of water, kitchen towel or paper towel. Little potty Weber. A hair dryer is handy but not essential. So don't worry if you haven't got one to want the hand. That's it. I think we ought to him painter. 3. Sketching Out and Adding Masking Fluid: Okay. So I've taken the opportunity to draw her out off camera so you don't have to watch me sketch her out. So to say that the sensors in the resources pages and is also a lovely reference photo as well as for you to copy form. So I've actually got my iPad open. I can see there the reference photos, so that's always nice. And I've also got some of my trial pictures in front of me so I can see those two. So I will add those on resources pages for you. So I shall show you how I'm going to do this gum. So that's just a bit as mosque employs gum. So I've got my little really old brush. Just gonna dig toothbrush in. Now you despite her wherever you want really. And we will ID we want to all around here and a little bit on a head and you fix. And then once it's dry, we can rub off what we don't want. So I'm just gonna go around and flip all the way around. A hot that worry to much say we can get rid of the ones we're on salary just going wild and have not been flicking on ahead because I have some novae markings. They don't say, don't worry about the bits. Lots of bits are going where there shouldn't be, but we can get rid of those. I'm gonna put some table, the wing few there for good luck. Okay, that looks at that moment. But we have to do is to let that completely dry. And then we can we can just get rid of the ones we don't want, especially that big old blob, it's a little bit too much. So let that let you always completely dry and then I'll show you how we get rid of that. And the next chapter. 4. Body First Wash: Okay. So that's I've given a hairdryer. She's To be honest. I haven't and are now going to rub it was I don't need so bearing in mind point theses, we want this love hot to be tagged, to be wet as factors are really so I can do is just to start loving out some of the ones that I want. And this is a really big, ugly spokes phone or get rid of that too much. And just ghetto carefully round and just what you, what you think would be nice. She may have some really nice lines. You can also do some little lines when you flicking, you're going to get rid of the ones outside just because I don't like to see the net when I'm painting classes. It looks nice and clean and get rid of that one leg, so that's too big. He's out personally just rubbing out, laughing. Quite satisfying. This seemed more satisfying when you've done the painting buff mouth. I want quite a few services on top of the head because they have these markings or kick these. Nice I think I'm about there. No count. One then it's a little bit ugly. One as well. Okay. So I think we can saw painting. So load up your bigger brush. And we go into, and this is where he still saw stitching few bits and pieces off. So again, to what? Top of the head? We're not gonna go. Vcs are called love hot. So she either so love hot markings. So a face mask. So so if I call this the head and misses her face with their love hot markings on the hacking away talking about love hops, you know what I mean? So what down here, and this is where the wing goes. We want to go around the wing and downloading. And it may go outside. You've got a political mount and you've pinned to date, you've gotten go outside, it went outside and carefully. Gone down side. It's going to be the dark sides. So our aim is to have this decide here. The left-hand side to think about FMN is going to be the darker cuda. So the shaves. And then we're gonna keep this side a little bit. And less than a day should pop your head up and down. He can see if you've missed any dates he wanted to own nicely covered. Now we're this far now is definitely less, is more. It's not like the core core where we went to bit gung-ho with the paints. This is all quite delicate. We do three layers over here, so he's no desperate hurry to, to get this covered. So I'm picking up lunar surface, I am going to bear in mind these are going to be the warmers, almost solid. There'll be hardly any paint on this side. So I'm gonna do, I'm just going to gains just placing no brushstrokes involved, just watching it weeds. I haven't done I'm going to get my tube of paint. You'll need it to be slightly slight tilt on it. That's just gonna go around and just moving very well. It's just going to probably going to be the only Peyton's gonna touch the side. And that's probably too much. So a little bit too much. I'm just going to add more water and that's going to run off now. Do you know if have the happy adjusting when you actually put the paint on it leaves it, it'll dots. So every state has its own character. Say you just build up your repertoire heavy. You'll get yeoja. You understand the characters, your paint, and how they work. Just a little bit more than, I'm going to pick up a bill that Bernstein goes I, and you say How lovely This one is. Really graduating, really soft. It's almost always not there. So just talking a little bit here. Back up to the top of the head. And have a good look at your reference photo is lovely. A lovely photo and she made, I'm going to make this left-hand side looked OK. And then the reference photo Is it just gives a little bit of more punctuating. Little bit under here. Underneath the chin is going to be quite dogs or stop, stop layering up. And she looks quite ugly, right to the very end. So don't panic if you're thinking, this is not looking very pretty. It takes a while for her beauty to come out. And so I picked up a little bit of ultra violet and I'm just going to pop a little bit here and I just wanted to say so delicate, you can hardly see that the paint going on really. Very soft. This one savvy guy with this pizza. We go with the lunar and show you how yummy leases. Say clean, you push off between paint applications in the younger you, everything to muddy. It's not moving like that. Isn't moving at the moment. That just load up the bush with more water. Tap, running a little bit more. So we don't want a lot of R1 we went to. That will give you the potassium running law, rushing right down. You'll get that lovely sort of soft Downey look because the paint isn't having the opportunity to move that much because we haven't got much of a tilt. So I'm just going over to disjoint again. So I'm just gonna keep bearing in mind this is going to be the dog sort of heavy aside and see how that's probably blue there. So I'm really don't want any, this is a quite cool color, so I don't want anything over, really want any of that lunar Earth over here. Doit lunar blue strip is on a little bit. Pick up a little bit of flood zone genuine. Squeeze as I'm working with lots of tubes and tend to, tend towards rather achieves these days, it keeps the colors really lovely and fresh. Weight too much either generally. So it's a nice way of working. And just keep an eye on your reference photo. The good, a good tip was I spine really helpful. My pet portraits is to have the image in front of you just almost flick your eyes back and forth from the the immature DO reference photo you are looking at and back to your painting. And you'll, you must become one. And then you can see where you need to be. I think I've probably done enough fiddling for this layer. So I've worked on she's got a lovely sort of dark patch in the middle here. And her chin. We're gonna make that just underneath the chin really quite dogs. I'm just slowly building up lead. So it's a lot more delicate, this one like that and design because at some level it gives a nice effect. See how that disease it hopefully so soft. If you haven't gotten these paints in the I generally finger actually look back at the paints are heavily used in the previous classes. These are these are with the lunar blue is my new one. Oven that type, we use most of these before. The bird tied a little bit more up here, right? And then to stop before I start over fiddling. 5. Wing with Damp Brush: So we're going to have a go at these wing now. And this is quite a fun technique. That is, we don't, you don't really want to get in this wing. We don't want to touch these wet area here. You can see that there is a bleed too much longer, just gonna remove that middle tube of paint situation at my piece. And that's laid flat. So I'm going to pick up my lunar Earth now you might want to, just to test your test to Pisa, your brush strokes on a piece. I'm desperate, looking around for a piece of watercolor paper that I've got to hand. So if you can shove her up there for a second, and it's a very old scrappy bit of paper, but I can practice my so that's too wet and the moment so I if I draw my brush off a bit more, a little bit more paint on there. You can see. So I want something like that so it's broken up. So it's just a little bit if you did the cop call, it's not dissimilar, which is not putting paint on a certain ONE spot where just dragging. So we get that lovely sort of weather. The paint just sort of hits the roughness of the paper. So that's what we want to achieve. So try that on a bush about right? And try that on a scrap piece of paper. And we want to sort of follow the movement of the wing. So we hold our brush more towards the end and as old as sort of a nice restriction for them to start up here and just go for it. It's just going to have to go. We've watched your what you're given is the weight on your movements. You get, you do though Tuan overdo it. That's about, it. Might actually be brave. Little bit of Gladstone genuine. Again, I would test that off, off on another piece of paper and I'm just gonna go for it. And you're one sweep down there. Okay, that looks quite harsh and hopefully at the moment, but we do another wash over then it all softens her. Say she doesn't look very pushy for a lot of this fertile leased AGC. So bear with me. 6. Face First Wash: Okay, now we're going to, we're going to get that facedown. We're first layer over the face, excuse me. So we're going to try and leave. And it might be even worth doing a nickel pencil line. Going to leave a little white gap all the way around to or little pencil line. I can see says roughly where we put those spatters of masking fluid. So we're going to have a big brush and we're going to wet inside that line. We've just done, what am I bad? We're gonna move sadly, I wanna go carefully around the eye, 3D K50 then the eye. She says, and what we're really good at this. And trying to get my head under the camera, either quasi long going and immature, it's all up in wet. We're going to miss out on the bill as well. So we're going to go round the bill. Just know hurriedly stage is just make sure we got it nice and wet and don't touch this area here. You may find your mind starting to dry. So you might want to starting to draw anyway, but ideally you don't want to hit any of the paint and we've already got up here because that will bleed in. And P only deal. Not just seen, just going over my peak. And then looked at that. Okay, so with this first layer, we're just building up a little bit of stuff, needs a little bit of color because they, it's white. It's a very, very, very, very subtle just want an impression is air AD, especially this right-hand side, is going to be fairly minimal. So I'm just gonna put a tiny little blush of ultra marine violet. Just rooms are up. I'm going to grab a little bit of a genuine that's quite a nice little hint, Randall is. And we'll stop stretching my paper receipts dot into Baco here buttons. Next, Nicaragua keeps saying This. Next time, next class I will show show stretch unpaid for sites. Very subtle. Coming out in the gamma is very, very subtle. Burn tigers i as well, a tiny little bit and just starting to build up a little bit rounds of strip found the eyes to all in the Allies is born Eleanor's. Lots of xi has very strong markings. Lead evangelize, I'm gonna go over to the side, a little bit stronger here. And say, with watercolor paper, painting, the wetter the paper is, the more the paint movies. And as it begins to dry, then you gain more control because the paint my move as quickly. So I'm just doubling, just placing. So you look at your reference photo. It's really handy to have your fun t. So I've just dark on that side up. I'm gonna pick up a little bit a lunar Earth because I know this is a really nice magical color somehow. Just going to say a little bit of poking color very gently as outstanding again and not sitting because I think it's almost more important actually on this very loose. Pieces at the don't sits near New York City on top of it. You not too close to you. You piece of work. Going to little bit. Plucks them genuine to kinda stop, stop making those markings randomized EBIT. Which Tanga, down to this became really no strong shadow here. And stop making that pitch longer. And you can see, well, I haven't wet, populates it by hard-edged. I'm just going to soften soften that. My stamp. A Luna is not one college gonna stop putting a little bit strong lines down here as well. So I'm just going to start incorporating that line's gonna give the impression it starting to come. So say we do another layer over this way, we can really get that depth built up. For the moment. This is all just totally under on the colors as think she looks she doesn't look very pretty, judge. He still puts her hand on there. I think she looks for this lab. 7. Body Second Wash: Okay, so we're gonna go back and do another wash over this body. So make sure this is nice and dry. Well, we've been doing this face is sued, have dried, but if it hasn't, then give it a width over the head to opt for you, for you do you next layer. So we're going to care if they go around. We're gonna we're gonna go around this hot around her heart-shaped just like the first layer really over this, this part. So very gently. I don't want to disturb these nice. It's not first layer. It's o down side. We're gonna go over those wing its way this sulfur goes down a bit more about the harsh. Look. Go, go gently. He's seen and want to lose it. Or did we head up and down? You can go outside that pins with line as well. So it runs, runs out. We don't want, if you do mount it is to see the line. You were you finished your painting. You may want to go outside. Helps like that. It's nice and white. And just just because we probably will go over it all. But just because you have wetter whole area down doesn't necessarily mean you have to work over all. Again to do just trying to find my picture backup and I have had which was turned itself off. We get we're going to just stop strengthening. Just a little bit here again, I'm gonna go back over this wing with a little bit of lunar blues. Fascists thought that 1 first blue, we're just going to just drop. We're not doing any wing shapes. We're not trying to be too exactly just an impression of this wing. So don't, don't get too hung up on trying to do feathers and think this is, this is not what it's about. It's just an impression. And this, this blue is lovely because it gets granted lighting. And it just does that does the job for you having to do too much detail. And I'm just I'm just dipping, just doubling. Looking at my reference photo, I can see roughly where they are. But I'm definitely not trying to do any definition rating, just letting it run much she got into pop back down and get a little bit ultramarine volume that we're trying to keep these sort of warmer shade decide stability, willing me roped up, masking fluid off. We obviously loose some of these hard edges as well. So it's I'm going to leave it at that that shit moment. She says picking up the cane to get just a little bit more seen who've lost it? Just trust your instincts, which is tough to kind of get into the flow of things in uni and trust, trust your gut instinct as they say, no, I'm starting to see this start to dry on me. Again, we seem to be having a very warm day here today. And I've actually shocked my pseudo window to stop any annoying Floyd's and warps coming in. So it's quite hot in here. And what I'm going to see that's nice and wet again. So I'm going to start building up. Building up this depth is almost the same as we did with the first layer is just building up depths like yours might not need a little bit more strength somewhere that mind hasn't got mock If the two handy to achieve, look DIBL my painting. So, so I got plus don't genuine alluded Earth so I can Tuple more Bosch in having to pick up the paintbrushes, paint chips, and I'm just doubling just living, living, be disturbing it too much, just dropping. And if you drop underneath it. So you drop underneath his chin line, the paint will run. Just move just gently. Say different paints will make different paint. Well, yes, different paints will make different paints, do different things. So if I pick up to demonstrate that this tigers, i has a habit. If I pop it down, it moves the other pigments around, if you can see that. So I know if I put a bit pattern tigers either, it's going to start interacting with other pigments and weaving them around. So the a's just learning a characterise a paint sonata movement for, for that, who's going to, going to distribute it to too much to combat them. A lunar Earth again felt what this gene to be really doesn't really heavy. Just gonna go back to touch them. You know, tiny little bit Yvonne It. Just to hint. Line coming down here. I don't want to, I want to put it in the cooler colors 3D that side. Again. Palestine, January. And again, this is quite, quite strong. At a little bit up here is well-known. Mix, mix it out. So that becomes a sort of a cooler color being dropped on top of that. Plus ten genuine. I think that's gonna do her for a little bit, shall not just pop a tiny bit of the same theories ahead here. Universe kinda tone a little bit cooler because of the colors are we know already and it's just bringing a little bit of color. The color from here to here just makes you, I read across a little bit more. That's heard them for these layer. 8. Eyes and Beak First Layer: OK, we're going to crack on and do a do some of these eyes and try and bring her to life, so I'm going to pick up my little brush. And actually, if you haven't got a rager, that might be more help for my, it would be probably easier that way. So what we're doing. I picked it up and we've watched the lie down. So you got it all lovely and wet and you'll find you'll you'll have a big bowl of water sitting on top of that. So just to do it, put it in an almost and take it back out again to dry your brush off with the on the kitchen wall and just pop it into the center and you find it sucks, that bubble of water. You don't want to actually bobolinks what will happen when you put the paint on top. It just sits on top of the bubble. So we're going to do exactly as I said, could do it and make sure and mind my outside body is still wet, which is OK, and I can work with that. But if you think you might put your hand, you should be a favorite trick of mine was to put my hand on the wet paper and give it a dry before you you start doing the eyes better. You can quite happily work. I think without it. This is probably what I know. Put my hand into the paint. Things look OK, so I'm going to pick up my Bloodstone genuine and learn earth. Another two handed note to hand it to you tend to the two colors in and just going to drop on top of a bucket of water and just encouraging all around onto the edge. So I'm just. Just dipping. Try desperately not to bend to close. I'm getting a little bit closer because I need to see. So this at this stage, you could actually be sitting for the eyes, just be trying not to get my head underneath. You see, what you see is my head, which I'm sure you don't want to see. So and exactly as I with the second one, we're just dropping coloring. That's cool. That's happened a lot quicker. You want to make sure you get the shape is quite important. As I said, take your time. So if if it helps to sit at this stage and that's quite nice because you want to hold it nice and covered and you want to make sure that I have a really lovely shape. So take your time. It's all in the eyes. I think the rest of it is very loose and very sort of abstract. You need to make sure something is is really, really right and really correct. So the eye eyes need to be so as all we've done, we've just dropped two colors in and left it to bleed on its own. So we're going to leave those to to dry and to put my pants back and we're going to do the little peak. So we're doing similar thing. Doing a brush off takes sort of some of the excess moisture from we're going to wet the beat down. Again, the beak is a little bit like it needs to be very correct, if he can just say take your time with it. So I'm just going to up just placing it just onto that left hand so I'd have to think about this my lips and are horrendous, horrendous. Um, this idea that in theory that should just bleed slightly over to the right . And if it doesn't, you just very gently encourage you over you will all the strength already today on this side and the left hand side actually going to pick up a little bit of plaster, genuine orange, just a tiny little bit of extra strength there. What you can do at this stage is also to do some tiny little flicks, the little Bush that will give the impression of the feathers. You know, if it's voter, they've got feathers covering her beak, just chin . It's a little bit when I go to bed, just a few. It is bleeding too much over and you can just suck it up like that and it hasn't gone over enough. And just add a little bit more just just over saturated it . Now to demonstrate that say she's still looking at all that same food, panic, and really that needs to dry. So I'm going to I'm going to wait over here dry and and get this stuff in dry and then we can pop the next color of of to this on the second second layer of those always. 9. Eyes and Beak Second Layer: She's had a good with over there, nice and dry those eyes, so I'm going to pick up my little brush back up again. This is gonna be staying very neat here and one which I'm going to pick up my little CPA and I'm going to get the idea in again exactly like we did the first layer. You got a nice bubble of water in there, one that she hasn't been able to much, but it has, again, just dry brush off and you just touch just actually like that. Moves suck up and go to the second I do the same. You do not wait, I say be very careful, go around the edges and stay in that nice only shape you've got, and then with the CPA, we're going to do we're going to go round the inside, which is going to DBO all the way around. It will just gently bleed into the inside. A really dark eyes, actually. BONNELL So you don't have to worry too much about people's, which is quite nice because they can be tricky, but they have got a nice dark ring. Sometimes you need to in the eyes, some of it isn't even perceivable and you put it on the arm and she was just losing the. You can put a little bit of extra to tend to be the rock on the tops and they do the bottoms so you can put a bit of extra strength there again. Same with the second is going around the outside. A bit of a the. Back over to this one. I can see it wasn't quite strong enough teeth into the middle again. Now you're probably going to say this doesn't really look a lot different, but they are so subtle. Otherwise you just have to. Just be very gentle with all of us who layer's really the eyes just taken a little bit, almost got a bit thick here and just gently settles on that cuddle up. OK, so what I'm going to do is take a little bit of color out of my brush off, take the excess moisture off very gently. Just take a little bit of color out. You see, that's just lifted. I want to go to too much and then we're going to go over this idea into this corner. Cool. If we live too much out of this just a little bit, we're going to leave that for the eye. So when we do, we're going to do the next layer in a minute and we can really strengthen a book that I make up that makes these bones also so obvious. I'm just going to going to go back over the book again. And if my I quite like my beat, I'm quite happy with that. But if yours is going a little bit weak. And you can you can distract from the game so you can get that down again and do exactly a little bit what we did with and I see it just like in the side, nice and dark, if that's a good. So we need to do probably ideally you want to give it a head right now, because what we're going to do, we're going to get everything down again and we don't really want these guys bleeding out. So give it a good old drive with over the next part. 10. Body Third Wash: OK, so my lovely eyes are nice and dry, so this is he comes the fun bit. Now this is where we start bringing her to life, really. So what we're going to do and to wet everything down. Apart from the wing, the eyes and the beak. So start the top. Good enough place. Nice . And what looks like a really carefully because you we spent quite a long time making that shape. Lovely. So go carefully around. Tend to try and go round them and then with everything else down, then I don't forget. Way down here, I think, around the bill, big point on the bill, there was a bit of a duck thing. And while that we're not going to doing and then. Carefully with them. This is where you got to look at your own pace now and judge where where you need at least on the body where you think he needs and strength. So I have a look at your old reference photo and have a look at the photo of one of my finished hours, because we make it a lot stronger on this side. Now, I've gone quite heavy there. So why is you going to do I'm going to take a tiny little bit of color out so gingerly with my big brush and just gently stroking it, really give me a little bit of muscle and stroking it. And you just see that's taking that second layer off, leaving me with probably the first layer underneath all very, very gently. Don't scrub these. These colors are very beautiful and I don't need a lot of they come out quite easily, so I think that's enough. I might actually do the same here. She's got a lovely, lovely sort of white clean bit here. So I'm just going to just going to gently stroke. Remove some of it as they all of this out. A lot of it is you could hardly see what you're doing, but when you step back, you can you can see where you're going. That's what I would definitely say. Try and stand, because you can you can see this going when you're standing. You might not necessarily see it when you're sitting or going to work on the body at the moment, because that's nice and wet. So we're going to do some of this. I make up my own eyes, but it needs to start going a little bit tacky always. We're going to find our paints whizzing across the page too much or too much so we can just work here a little bit, might actually just pick up a lunar earth. So I live the blue and the oak tree. What a lovely together. So we might try and get a little bit of like what gives it that sort of mysterious kind of. There you kind of look at this combination, these two together. So I'm just. I'm not going into this area here that you can see is covered, but I haven't really worked on it, is this just where it spread? So you just want to go work on the the shadowed areas with dark areas, shadows, a little bit more continues to violate that. Really want any blue on this side if you actually put it on. There you go. Oh no, that's just wrong. It looks too cool. I pick up my earth. Going to want to. Little Mark there, I just want to get very subtle, Mike, to a tiny little bit of the nerve just there, just because she's got to see she just just the corner of the wing there. I think that's almost they actually think they want to do too much when the head looks quite good. So just because you have wet an area down doesn't mean they need to to work on it. I might just a little bit square headed into that, a little bit rounder. This is where you can sort of tinker with any shapes you think don't look quite right. Saying flick your eyes back and forth over that reference photo and you'll you'll see if the shape is quite right, you're working. OK, so my wife faces begin looking just about what I see when you duck. You can see it's just beginning to dry. That's when you want to start working on it. I do know what we need to do. So pick up when your dark colors look got the bloodstone genuine and we're just going to put a shadow under these wings are quite a nice amount. And just I'm just touching right up against that wing and it's just bleeding out, which you don't need to do any more than that. That will give you a nice, nice impression of a bit of shadow underneath the. Of a puddle puddle going on here and suck them up. So for some of it out from the. They step step away from just trying to lift my head up and just see where I need a little bit more strength. I just picked up this little blue and made a little bit cooler stand out of it. Yeah, it's worked. OK, I'm going to put in a little bush down, pick up my little button to change that little bit soggy. OK, and this is where the Isabella funny's so got the CPA. I'm going to pick up my Luna Earth and hand at the same time to dip it in the colors. At the same time, we're going to try and get this makeup room to keep an eye on you. Your reference photo, bearing in mind this is the womb of sitesi. Don't go too cool with the colors, heavy with the colors. CP is nice because it really does kind of hold its position, it doesn't move quite a lot, Sepehr won't. So you can always combine them together. So you get the two characters. We're going to work. Gently down, this low lying. And things moving too much brush, Boshoff, don't panic and just suck it up, just pull it down a little bit more. It's almost sculpting at this point. You got a nice sort of suitcase all together in. Keep an eye on your photo, you keep looking. Nice little boy here as well. I just don't see it coming to life. Only you can have a little bit of violent side if you're drawn to a color. Go for it. You you. You probably know best. Just don't trust your instinct. Don't ask me why I wanted to be involved there. I just did so. I just trust your gut instincts. Make sure that none of this is drawing out of it, is drawing out before it does completely, you can just wet it down to keep it nice and moist. Bleeding a bit too much there. All tiny movements at this stage, but it is the fund is the fund this. Probably being a bit too heavy here to reclaim some of that sense, to put my back on the side. Let's just take a little bit quicker. I suppose it's better we need to go into this island is beginning to draw a little bit. So I'm just going to regret it is not completely, um, Joy just beginning to die so I can regret it so we can continue working. The violence, and I think we need that they want more, Sepehr, probably I might pick up the blue as well and we're going to do exactly the same thing in the strip that I make up. So I step away from it and just look up for a minute and get so involved in it that you you don't always see what you're doing sometimes. You keep this head up looking. At the top of the hour, a little bit of makeup down there, that little trick I can see that's whizzing across here. We want it. We think that much. Just picked up my big brush. This just suck it up. Suck it up a bit quicker than the little one, because I'm working on paper. That's not a stretch. OK, if I was stretch my paper for that cost. And when you think you're done, don't overfeed why it's so easy to overfill, you can enjoy the whole process and then try and make it. You don't want to photorealism? I don't think so. Even a little bit to the imagination. The viewer make up something. Spread a bit too much, so you don't panic if it does that. Don't panic. Can you clean your brush off and you can just get rid of all that? So if you do make a mistake, just don't panic. So I've taken too much out to put those down again. Got the Bloodstone genuine, thicker brush. I've done quite a few of these and everyone is slightly different, so it's always a watercolor, so you have a go at it is really fun to do a few times, actually, and see how you improve. So, you know, once you've done the one, have a go. I've got another one straight away, but it may be the next day. And you're a bit surprised when you come to do it how much you've learned. So I'm going to have a little bit, but I guess I now just want that to be a bit you down here a little bit stronger. It's a very soft color. This is going to give me a little bit of strength without too much. A little bit, this side completely dries. So you just have to you have to listen to your gut instinct. See, I can't say it will work to go on Jupiter, so I try and keep this as warm as you can, and that's cooler. Gives you that nice, nice sort of. Mysterious kind of look, I think. OK, I think she's coming together quite well. I just got a little crooked, I think so put that down. I'm who's going to pick up? I got the Bloodstone genuine, too heavy. Just probably were of weighted down. I haven't been that careful about getting that big just right. Sorry, a little bit of a lump of masking fluid here, which isn't helping me. And if you can see that blob. Peter. To do she's got a line runs down the middle, so just that's probably just a really nice Chinese I've got in the moment, just tacky pop, pop, a little bit of. But I guess I got to be the last. Look, a little bit more talk together at the top level. Down. Didn't have to go way down to a really strong Baudoin would be too much, so Niva leave a bit to the imagination. They were lost and found. So got a bit of blue again. I was going to look with the I love this blue. She's got a funny little old walking here that she's trying to do that with Luna. Just tiny seedlings now, and as it begins to dry up and get get things a little bit more, my paint isn't moving as much . So I can think a lot more control, not moving as much, but I think I will do too much if I do much more to it. I just want to get a little bit of just a little bit of light here. So I've just picked up my big brush very carefully. Don't add too much water at this stage. So you want the brush to be probably the same witness roughly as your piece you're working on? I'm just going to take a tiny little bit by having such small movements. This site as well on a tiny, tiny movements, we're working quite small as well as your any movement you do see quite amplified. You figure you can get away with it now, taking too much out. So I'm going to have to put it back in a little bit of Bloodstone genuine joys of it. Now, if I can put too much, like, a little bit out. Well, I think you're going to have to call it quits in the moment, going to overfill it. OK, I think she needs to dry completely now and we can get this masking fluid off and then we can tinker with the last little bits and pieces. 11. Finishing Off and Tweaking: Okay, so he's gonna get them asking fluid off, but make sure this is really dry because what you don't want to do is obviously you have that paint wet and then stop dropping your paint away so carefully. We will face mask inflate. Hopefully. You hope you dull and Moscow frequently. Let's get to it. Lie splatter down her wing thickness southern come out too badly. So we're going to do if you've did that pencil mark that I suggested, drop that out mail so that pencil along the whole bird actually homes, but hopefully the hotel. In fact justice. When. So ideally when you actually, when you actually draw these out, you don't want to leave due to a stronger pits log. So you can actually see now she's beginning to take shape Ghani. So I think we're gonna get on with the eyes because anybody can bring us alive before we do the rest of it. So this is where the white graph comes in with a little tiny brush and you won't quite a small brush was where the weaker bubbly helps me now who didn't earlier? So she's got her you can see a little bit avoid. I hear that she left a little bit around and take your time. Methinks wet and wet anything down. So we're working actually doing almost be a painting. So there's no how IDA, anytime you straight to on this side as well, she's got a little bit of light just here. Tiny little movements. Do nice. Catch light. Touch lights or the, just the, what, a Puja posh word for that little whats. What? Catched or what catch lights, little light. Take you tell them it's a bit too much. Like we have some object and another MIT just backfill it really neat paint so one plus don't genuine. Just go underneath. Well, I And then we can make that a little bit brighter and a minimum and that's destroyed. So I've got my decay chisel brushes as well. We can take some color out, love than putting the white glass. She's lovely for the Allies, but you don't really want to, to use it for these, these bits of say. So I've got my Bosch down taking the excess moisture off. So it's just a damp brush easily than ME. I think I'm going to take take flight out here. Unless it's fixed, then it's a little bit more positive. So you can tinker at least age long time. Try not to think too long. Do the tiny little movements on the other side as well. Just a little bit, Nancy, too much on that side because it's a tiny tiny bit underneath, underneath the LA as well. But you have a look at yours. You think you need it. Pop it on any fingers. Great. Just partaking little bit align a little bit of color up and not taking it all out. So if you do the kitchen while weights with the sucks it out, if you just w and find that just softness was quite good for. A good trick is now he's gay miniatures of glass sheets. To take this a little bit out here, you could almost ought to wipe a little bit of the IRA. And the top just gives just call slot angle. I'm just going to go up. She's in a tiny little bit of that. I just take them to point out and then over and say is tiny, tiny from that, they bring it to life. And going to take a little line out here in the middle. They don't go all the way down to just a few. Did he just hit? Ok, Misha, here's your finger. Is going to take it, sign it. My bills go to well, I put that extra painting, it was too much and I've lost that light. Decide. I'm just going to join very gently. I'm going to take a bit too much out, so I'm going to do pick up my bigger brush. Softer. It won't take us, take as much color up. Such smooth it. And actually I find it really helpful to take a picture on your phone and have a look. Because someday you look at the BBQ taking out, I can see now it's a very odd thing. Definitely do that my pet portraits. And then what we need to go around her hot. So the bloodstream drink genuine is great for that. This is all neat because it's quite sticky at shane. Quite neat. We just on the edge and hold your boss. She wanted all his natural colors, as you can to know, go try not to be too exact or you want to run the Michigan quite heavy downhill and she looks a bit too. Uh, you could soften, but don't go where do I rounded it to make an exact heart shaped and it would be too much. I'm just going to It's a little bit to hold. Just kinda disjoint sets of team my brush-off, soft money. That's what now, if you add Peyton out tools, you're going to give you a very strong line that just giving us offline pick up by Earth. I do a few of the habit. Brown. A little bit too harsh. I think some of these multi, even think of again, 14 you picked up, picked up here, ultimately violet. Or just a little bit, just a few hints. Okay. Just want sort of hints, different colors who give you different under different softness, it's safe, it's all very hard. It will look a beach dog, especially going into everything. It's very soft, didn't inspiring so far. So it looks a bit a bit harsh, mean just without brushing, just so soften it down. I think she's coming together pretty well. Actually. What we do on the camera where they're going to come together. Different when you're painting it in you, you can feel it as long as you can when you're off-camera. We call Cameron inevitably. Wanted a little bit up hands, legs, it looks like a little bit off up to hardener. Say softly down we're giving I think she's looking good. So I'm gonna stop. I'm gonna go back and put that bright catch lights. So pick up my little brush. It's going to go back. And do they exit washed down as well? You can do some tiny little bit of floppy Bitch. She's got a flu fluffy feathers down here, hasn't she? What, she isn't great enough. What we find is disappeared and do a few little hint. I wouldn't go a hunger to never the one question, never, always extremely artificial. So the final bit used to do some spaces. So I have paid earlier. This is a little piece of paper which I'm going to cover. You can see I've used it before. Cover, I like that. So this was a central cause out. But I didn't quite right. So there's a lot of Pisa has covered her up completely. Covered the back background up a bit. So I will pick up I think I used the bloodstain genuine. So pick that up. And you might want to practice the spotter Sonya needs a paper too much, quite, quite thick, quite consistency, quite thick. So and that's why I have the other Bashir she might toothbrush dating methods. Do that. Let's use a toothbrush for the job. Okay, so I went out toothbrush down just to sort of get it awake and then puts on top of the tube. And that gives me my mashed isis practice. And it might show that. And we're just very carefully, so it just goes on the Enlightenment. And you flick backwards. So if you ever ahead, feed on her when it's cold up there as well. So you get so the white direction near Montevideo rover face. Couple there. Fair enough. Covering. And let's give a few spatters. Let's give me an idea of the lovely sort of texture on top of their head. Loss Lee. And I pick up the little bit of green violet. You start with my brush. And I'm just going to do a couple of books. Practice their body. Again, if you don't fancy these, you don't have to do them. Yeah. Definitely. Optional. So I think she's just about there. Now. I could go on for another 20 minutes doing Tiny digital to semi movements and bits and pieces with her and not make you any better really. So sometimes it's basically sort of stage. You may still leave it and go away. Come back the next day or a few hours later and have a look because you'll be leaving. Bryanna. You'll find, you'll find, you'll save, refresh allies. Bits that Trump would you before, but we won't trouble you, or even new bits that you would have thought. So we wish you the done. Say it's always better to leave it and go back. And I need to follow my advice because I'm now starting to fiddle. But that is her about downtown to clear away and poke around it. So I hope you enjoy painting. 12. Final Thoughts: So I hope you enjoy painting the bond out. I love that slightly magical, ethereal look about a. Digital did Lego OK? It was a little more subtle than the cocoon Mr. Fox was in. You can gain some different effects by how much you tilt the paper. She only needed a slight raise to give the impression of soft downy feathers. How did you wing feathers go? It takes a bit of practice to get the right amount of paint on your brush if you found it tricky. Try using a slightly larger one, Batbold. As you start to gain confidence, adding layers, it becomes easier to read subtle amounts of paint, Dutchy depth and interest also how little amount of paint you need to give her that lovely contrast of dark and light. Hope you got okay with the iron. It's worth taking the time to get them right as a loser, the rest of the painting is the more you need some features to be exact and very sharp is in the eye. Isn't the masking fluid fun, especially rubbing it off and revealing that light? I found it was the last few tweaks and adjustments that made it come to life. Look at your reference photo and trust your instincts. So we look forward to seeing you in the next bus.