Bear. A Free-Flow Watercolour Master Class with Jane Davies | Jane Davies | Skillshare

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Bear. A Free-Flow Watercolour Master Class 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

8 Lessons (55m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out

    • 4. Body First Layer

    • 5. Body Second Layer

    • 6. Eye

    • 7. Finishing Off

    • 8. Final Thoughts

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About This Class

Have you always wanted to create beautiful, quick flowing art in watercolour with the simplest of touches, then let me show you how!

In this class I will show you how create this brown bear using an interesting technique, that will help keep your work fresh and stop you over fiddling, and it's a bit of a mind bender! As with my other classes we paint wet on wet, it’s such a liberating technique, and will certainly put a big smile on your face

If you’re just starting out on your watercolour journey this is still a lovely class and a great introduction into wet and wet and my style of painting. Though if you'd like something a little easier I'd suggest taking a look at my beginner classes, these will break you in gently to my style :)

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 create the bear with a really interesting first layer that will keep your work flowing and fresh
  • How to achieve that lovely sense of light while painting wet into wet
  • How to work quickly and confidently, by getting the timings just right
  • How to paint a simple eye with very little fuss
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting this brown bear and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"There is only one word to describe Jane Davies' classes - MAGICAL!”

“My favourite tutorial to date on Skillshare. Jane Davies is amazing--thank you for for teaching me how to create something I love”

"Highly recommend this class. Jane has a different way of painting in watercolor, straight from the tube. For me, this resulted in the best watercolor painting I have ever done. She gives clear instructions, step by step, and works at a pace that is not overwhelming. I cannot wait to try another one of her classes"

“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”

“This is a great video class by the very generous teacher Jane Davies. I really enjoyed attempting this with Jane's unusual but effective technique. Thank you Jane”

"Wonderful class. Jane is an excellent teacher, guiding you through each stage with clear instructions and demonstrations. I love her friendly, informal style”

"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 water color class, where we're going to be painting it lovely brown bear. I think you gotta love creating him. As we do mean to simple, quick layers. If you're fairly new to watercolor. This is a lovely introduction into wet-on-wet, uh, my style of painting. Though, if you wanted to try something a little easier, have a look at my beginner classes. And these can be found over or my channel. I'm Jane Davis. I live. Paint, teach a walk. My lovely spaniel in the beautiful South Downs National Park, England. Over the last 10 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. Sometime don't think it's allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis 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 provided you with a beautiful reference photo of him in the projects and resources pages. This will help guide you that is ever trying not to get drawn into the details. I'll show you how to create the first layer with an interesting technique. And it's a bit of a mind bender, but it will help you keep your work lovely and loose. We'll be learning to add depth and strength on the second layer while maintaining that lovely sense of light. Throughout, I'll be sharing with you some of my thoughts, tips and tricks that will help you bring this fabulous back to life. If you'd like to learn more about me, all my work, please pop over to my website at Jane Davis 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. Go, I love sharing my art, especially on stories with many ideas, works in progress and tells a studio life. I really hope you will share all your paintings on the projects pages. As I love seeing them all 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 this liberating, wet-on-wet, loose style. So come and join me. 2. Materials: So welcome along to this brown bear with a really interesting technique and creating him. You're going to, you're going to find this interesting. So firstly, I shall run through all the materials as per normal. Good, a lovely collection of Daniel Smith paints. And all these can be found in the resources pages. So, um, pop along there if you need to refer back. But I have got I've got a lovely empties genuine, which is a noise correctly, but cyclicity as well, It's this nice and I use it quite a lot. I've got to trust the OCP F. I've got burnt tiger xy, which is one of my favorites, Neizha. These names crop up all through my classes. I have got the brown iron oxide, a fairly new paint to me, but I, I'm, I'm liking it. I have learned Earth. Again, another favorite, and probably my all-time favorite satellite, genuine. And I have a little bit of white gouache. And again, that's just for the hint, hint to the eye. That's we don't use it for anything else. A little word on your paints. If you've got any granulating paints, they would be, they would be really useful in this class because we do rely on that, that granulating texture to get that nice for effect. So you haven't got any granulating paints country yourself to one. And I would go for burn tigers I, if I had to choose. And so like genuine, if not, have a go with whatever paints you have, it would be interesting to see, CAN see the menu in the Projects and Resources page. So just a quick note, don't forget to share them with me because I I really, really love seeing your work. Am white paper. I have a booking foot. Either the paper I'm going to be working on each stretched. So I would recommend restricting your paper for you stock because we use a lot of water. And what you don't want to use the paper buckling on you. If you unshorn stretching, I would have a Google. While the me try to explain and tell you how to stretch paper. They be plenty of people that will do a better job than they unquote. Sure. I have a little as my trusty little heart, but this did propaganda in each tiny, I be raising the paper up so we can allow paint to run. So grab a piece of anything that will give you a little bit of a rise. Cosine of a pot of water, rubber I have today. For Bosch's. Tiny number 2. Did little brush in. And if you can see how smoothies and that's physically taking tiny little bits of color out. This was actually a gift from a Skillshare. So I'm always up for gifts to down I've got a size eight round and a size 12 round. You could get away with using just, just one large brush or one in-between. So don't be tied to having to have that exact size. Goes like my little pencil paper towel and I got a little salt. And we're going to use that just to get us a little bit of texture on his neck. Not essential. So if you haven't got any PDSA is an interesting. If you've not played with it before. It's sum gives you some interesting effects. Have I mentioned everything? A hair dryer, which I quite often use, is not the central in this one. We do one layer and we really need to dry naturally if we blow giant, it will push the pigment around too much and we'll get a little bit to uniformed. So I don't think ahead you, I was really essential in this one. Stent. So there's a lovely stents. So in the resources pages, which will give you a nice outline. So that's quite handy to download and sketch round. And again, that's in the resources. So the project and resources pages along with all these materials. And I think that's what I have to tell you about. So I think we should go and sketch them out. 3. Sketching Out: Well, IT WHO or now I've sketched him out offline to see to have to watch me do this. But again, I shall give you a few little hints and tips. I would definitely join US that, that stents or template in resources pages, it just gives you a nice shape. Earths. Again, my class is a January about painting, not, not about the drawing. So having a nice outline to work with is handy. Just take you time to get the Qsys paces going to be really loose. We want to make sure the outline, these is lovely, incorrect as, as good as we can to take your time, make sure that's all neat. And again with a stent. So if you do cut one out, you can be left with some blunt edge G. So it's worth just taking a time getting the outline, just looking crisp and get me all I just just so it looks nice. And we'd leave it it lines and how? Well you can see this is a line here then this is the line of the leg. And I've just sketched in this little line here. We're just going to leave it dry in the first layer, but it's quite handy to actually have it. I wouldn't do yours is as heavy as mine because ultimately we'll see, don't want to see that line. And again, with all these outline, try and sketch them out as light as you can. Minds a little heavier to see. You can see CMO drawing because you want to help to see that as a student. So that's worth putting that in just to remind yourself to leave that white line. And there's this really permanent line running down here. And I've just put a tiny little line into to remind myself where that is. Because what we're going to do, we're going to actually painting upside down spoiler alert there. So having these little lines is just hired you and it's when you're not looking at it the right way. It just gives you a guide. I think that some think it's January. We need sketching out, but just make sure we who's yeah, he looks noise before you start painting. 4. Body First Layer: Okay, Then are you ready? So what we're going to do, we're going to flip our board. Stretch paper upside down. This hopefully will stop as getting too carried away with detail and things. And we're going to let, let it all flow down. Say grubby little white or whatever you've chosen to lift your board and you're going to pop it up. So we're going to allow that to run down. Funny. Okay, so grab your big brush, get it lovely and wet. And we're going to wet all of the bed down. And remember this line here, we can see missed us out and we're going to miss the I. And the second backup path from that lovely and wet. Carefully you work your way around. Just worth leaving a tiny little line as well. Just to the bottom here. Haven't marked out as clearly here with just a tiny little line here. Just to stop this back foot. Running into the front foot. Doesn't need a bit more. I designs just a tiny tiny little sliver, sliver of a gap. And what keys are what ground quite carefully try and stay in the lines as much as you can, especially around the face. Because suddenly the tip him upside down, he doesn't like a bear anymore. So you are I found anyway, at least myself, I get a little bit more clumsy. That's part of the technique in some ways because we can really think because you lose what it is. You just use your little bit freer with applying the paint. Who was Sunday, it's a shape or not, I think. So. I'm going to try and get around here. These nodes, say Miss outlet, I go around the eye. And what we got to watch out for when we actually painting him because we're going to apply quasi loss of water, this will start to bubble here and pool. We need to keep an eye on it doesn't then LAN and escape. We need to E to keep it within the lines. It's quite a hot day here and in the studio. So I know many of you have send a little message saying they struggle with the heat. So I'm going to be with you on this one this time around. I'm not going to have to work even quicker. So I can see this already started to dry. So I'm just going to do is we're going to work from the top. He's Boston top. And don't forget to switch your image as well as if you've got the open on an iPad or your phone or however you're looking at him, switched turn the image upside down as well. As really confusing. Otherwise you have the, the image, the white Reverend. Some mind-bending of its ease. I see That's lovely, in which I'm going to pick up I'm going to pick up the cooler colors. Ideally we want the cuticle is the bottom. And then we're going to add some of the lunar earth and empties genuine Deere tools the top so we need is lovely and heavy, so cool. So I'm going to pick up my three colors or I've got the burnt I guess I sepia and the satellite genuine and I'd like to work out achieves if you've not done any of my classes yet? I yes, I always work out. You don't put it on pallets, fill. I can get a lovely strong strength so I can really pick up that color. And we need to work quick. Quickly. Lot, a lot a lovely paint. Just going to work from the bottom. I'm just applying the paint at the base. Right? Advice and allowing it to one by having that tilt. Hope you're going to run. If you find it doesn't run. And a lot of people have messaged me is that my paint doesn't run like yours does. It will just be a simple fact. You just haven't got your paper wet enough, so get it lovely and wet and say, be mindful of this here as we move towards the, putting more pressure on this and get you keep your brush nice and wet as well. So that's another trick. Wish I had a lovely one-to-one student in and a dear friend and he was having trouble with some of the paint running and we worked out. He just wasn't getting his brush wet enough so you keep the brush nice and wet. T is the time for it, but usually on the first lays, want everything lovely and loosen flowing. Now I'm trying to keep an eye on that photo. Keep your sort of pick your eyes back and forth and you can see where the heaviness is. And this is only one year. This is the first layer we do to the M. We can add more strength that is lucky to get that depth in their early part. And we don't have to do too much. It's laziness with me sometimes. So I'm adding the blue, I'm adding all together, sometimes putting my brush at the same time. And you say how that's going so slowly bending around his body is not only just mindful is just done to join that corner 100 and a popup down for a second. Suck up some of that water that's gathering. Want it whizzing off the page. And I also buy by soaking up the water. I'm drawing that paint out as well. So you can quite good. It was Kate song because that's drawing again. So okay, it's going to re-wet. It says a little tip if you're struggling with it either long as as long as this is, oh damn, you can keep rewetting corners or edges. Shows a. Now this is lovely, strong knees, back, leg, and as we've divided this off, we can get some really strong strength. I'm using the same colors right up against that. H. The CP is a lovely colors. These are very strong, solid. It doesn't granulate, and it's hard because I see you get that lovely sort of combination of the two. So you're always using the paint for their different abilities. And a little bit more Lucia. And he can draw up the water that sits here, your brush. So if you draw your brush and just touch the puddle, we'll draw as well. I'm going to work under the chin and I, she stopped picking up that Lou new Earth as well. Kinda wanna keep it just a little bit warmer Randy's face. So I'm using the same colors but just incorporate a little bit of the universe as well, just to be a bit warmer. More tigers either. And this is where we, where we put those lines in. This is where we can kind of work along those lines as well. Use it a little bit about Loon Earth. You can see the shapes got pneumonia. See what you're doing. You're looking for shapes radian, and lighten dark. So we're not gonna put any lighting. We're just going to just put the dark in, which by, hopefully by default leaves the light. Some goes to theory as they say. And what I've gotta keep in mind out, we need to do these flicks that just needs a dry tiny little bit. So keep your eye on these once he starts go tacky. Mine isn't quite yet. We need to flick his foreign better multitasking. So keep an eye on that reminder for myself as well. To keep an eye on that too. I'm going to pop a little bit of blue, white and the end of his nose and be really careful because you will not detailed record. Nice and crisp this a go steady a little bit of time. So I'm going to keep it a little bit warmer. I think, and I will finish then it'll be there. Keep 0 to my sepia. I'm going to pick up my very little bush. We should be able to just flick that, should be enough paint on that loving, strong. She go to just flick it out. If it's, if not, you can always add a little bit of sepia and try and start time, start right from the h with what you want to do is gather some of these patents already in the middle of the lake or towards the middle out. So you just flicking from there and it gives it sort of more natural line as well, I think. So look on your reference photo and translate which way the the dog goes into the light. We sort of blows my mind trying to do a bit of a mind mind bending. You can squint your eyes sometimes that helps. Is it gives you a better idea. I'm hanging over cosine what I'm doing. And this is almost draw it now because it's warm and it's at the top and the paints moved down. This is dry and this is where you want to be really careful. You don't want to put anything in this area. If if you've got patches that are dry, we try and avoid doing anything. In semi semi dry, semi wet. And this is really puddle EEOC is still work in this, but you want to be careful you don't touch any of this or get any water on it. Because you'll be left with sort of funny blooms and it will go quite, quite quickly. And it will go quite quickly. Get muddled, messy, so be careful. Okay, put that one down and pick up my bigger brush again and suck up some of that. I'm just going to pick up my Luna. I just want to put a little bit on his back because what we're going to put gonna pop a bit of soap down here so we don't want, want to put sodium to something. They empathize, genuine as well. Trying to keep it nice and warm tones on the top. If you did the barn owl, but that was not dissimilar colors actually have that contrast of light and dark. And woman, coolly is lovely. Lovely class, if you haven't done that one and say, No, not dissimilar in some ways. Like, like twisting the image upside down. So I think that looks pretty good shape. So what I'm going to do is back. I'm going to grab a salt or pinch. I'm just going to sprinkle that. Just gives a little bit of texture, nice coat. And that has to dry on its own really, as society mentioned, the hair dryer, that is not ideal because what you want to, if we really want this adjoint, actually if you put a head drive that some of these pigments will be blown around and you'll lose on that lobbies with very natural flow. So it's best if you possibly can, is to leave it to dry naturally on its own. And I'm going to, I'm going to go down to make myself cutscene. It's nice and sunny outside, so I might go sit in the garden for quarter now 20 minutes. So see you in the next chapter. 5. Body Second Layer: Okay, so hopefully your bear is a lovely and joy and a wife just brushed off or who? Oh my salt. And I'm going to go for the big turnaround. You can take your little support to idle, little summing. You tilted your paper with. We don't need it tilted anymore. Yeah, you can get it. If you haven't cheated already. Human kinda get a little bit more of a sense of being caught me and see the bits of worked as lovey said, it's a light here. We've managed to keep it heavy enough. Quality of done a little bit, little more strength well, so I'm going to make sure I work on that on the next layer, but I like some of the salt marks. I've done this many times and every single bear comes out slightly different. So the joys of watercolors. And so what we're going today, pick up the big brush again. And now we're going to wet everything down apart from that back here. And the ice. We're going to go round the AIA again. And this is where you can go around and make sure you've got those, those edges really neat so I can see where I've missed out a tiny little bit better. I'm gonna make sure I take my time and West everything down around the eye carefully. And you want to go gently as you can to keep everything lose almost. Have your brush, it loaded up with water and always let it fall onto the paper. If you screw up, you're going to pick up those lovely sense of flow and looseness which kinda go follow that line gently around. We're going to go over this. Now. Working your way around. See I've missed is funny if it's upside down. But definitely found is when I was practicing because I couldn't see what it was, good and bad. I missed out. Some other people haven't caught followed my line. They kept enough. Didn't take my own advice. Okay. If you want to Oh, nice and wet and the trickiest, if you can't see the she needs just to dock your head up and down. You'll be able to see where you've, if you've missed anything. As we're painting it flats, Hopefully we shouldn't then get the areas are drawing quickly and the cooling would have been the base, wouldn't it is which way round we were painting it down. We're going to try and keep again just to emphasize that the cooler colors at the bottom and the warmer at the top. And we're going to start using that brown oxide, which I didn't, I didn't pick up on that first layer. Think that's lovely and webpage can put, add an extra bit. Sure, it's nice and wet and it stays nice and wet and doesn't dry too quickly. And the good thing about letting it dry if you've let it dry naturally is the paper won't be warm from hair drawing, She's waste a problematic thing with hair drawing, you would repay pop in that enjoys quicker. I make sure I've got my little tiny brush. Make sure I'll go mine that I just wrote because we're going to take a little bit of time and get some nice dark nice around the eye. A little bit later. We want this to go a little bit tacky before we sort of start tackling some of the head area. I've seen grips, a trope then it's just almost touching his nose. So I don't want any paint to confine that drop. So we're going to work. But we did before, just the other way around. We're going to work on this base. So I'm going to have, I'm going to pick up that brown oxide that switch your photo around. Take mine advices. Which mine around? So you're working with you bear the right way round. And we just kinda pick up that CPU as well, too dark colors in. And we're just just doubling its mark on quite blue. I was quite heavy with a satellite genuine. So i'm I might give the satellite genuine and miss on this layer lease on the bottom. And again, this is a little bit where you have to judge your own piece. If you feel you need more shrimp somewhere, then go for it. And if you think you need maybe being really bold and you don't need to do much. You just maybe need to just add a little bit of warmth. Maybe at the top or Tinker said is a little bit, judge, how you're doing painting is looking. Now I'm going to so squint my eyes a little bit. I'll need to clip it at depth up here. Let's just pick them up. But tiger's eyes, well, because as we're moving up, I just want to bear in mind and we'll join. Is upon nervous, I remind myself loss. We want to try and keep that cooler. So a woman at the top include at the Boston really nice and wet, put tiger's eyes a little bit warmer. Just lay overflow, don't worry, just it just let it be. And if you if you sitting Be really handy if you could just stand and maybe just get a little bit above it if you can. For hemophilia only for Yemeni interests. I just give you a new perspective, stops US with getting too hung up on detail. I think you see the bigger picture. January yeah. Vc pitches from a fall. So you don't ever get that close to them as a rule. Just like everything a little bit more than that. Just trying to step away from him, looking at him a little bit more unlikely, sends a light, even though he hasn't necessarily got that in the picture, are caught like that will sense of light that's on light. Almost lethal. I felt I could do it a little bit more strength here, pumping calf or don't want to read it to go too much into that. Don't want to lose my feathering is very nice and managed in a depth there. Now hopefully this line, it'll be expands on your paper. This line should stop. And if it doesn't just give a little, little bit of a muscle, we should find that opened quite nicely. Just come up to the edges. You can fill in a little bit. Careful not to disturb that, that little nice, fluffy, fluffy we've managed to push in, put some of these down, hoping use it. So I've got the brown oxide and been tigers. I see That's looking quite nice. I'm going to stop. Still pianos this just by getting them the right side. Wanted pulling too much and want to try and get it. So obviously, the more your paper the draw your paper is, the less your paint will move. It's a very easy rule to follow. If you want, you want your paint to move a lot, get loving wet and your brush loving wet, and vice versa. Now I want to get as salts again a little bit more detail. So I want this to be a tiny little bit drier. And that's the game radius is learning and judging how your paints will react, the amount of water this is on the, on your brush, on your paper. A little bit of a splurge Japan for His will be easy on the next layer when we come to Venice. I want key that photo that's, that's quite bear, is now called stop using that word. I think, just to hope this is not unlike color areas. So again, try and keep it nice and light. Really, really want chunky got light, so easy to carry on painting and lose a machine there is at the moment. You put those two colors down for a minute, pick up that amethysts genuine. So we get to Brown. That's quite a colonized line going down here isn't a square. If you squint you, are you able to see it clear? And so I don't want to do too much in we are, I've got some nice salt mock so to cover more paint them or a loser line going up there. Drop it down here. Quite nice because it's so very dark color. Heavy college gives it a little bit of a stock, goes down it too much. Try and keep the m with the SAP hana. Pick up that brown oxide as well because that's a nice deep brown. And what I want to bear in mind a little bit with this fluffy I need to get that about right, so we can flick out some of that middle bit of first. So I think I'm almost at that stage. I'm going to put those down. I think if I fading off a fatal much more, I'm going to lose some of this. Some of that nice looseness. Resist him fiddling too much. Grab my little brush and we're going to click out some of this. And hopefully now we've got two lasers should be enough paint on there to do those. If not, pick up dark color. Secular what we did that. You can then try and work. Say John, what doesn't work right on the edge, just don't work in a little bit. Again, just work your way down to make it to, to uniform try and be random. Some fixed am flicks stops it becoming too regimented. And you have to do whenever we replaces it. Think that's what he's got physical fluffy. Think whenever that don't want to do too much while I've got hold of this. And I can see this area is beginning to dry nicely. So I don't do I get a little bit tacky going to join, like to get closer. But as ever, I can't get too close because we will see is my top my head. Some point you to this middle from a distance. I've got a colonizer, but she's quite damp now it's not wet. And I'll try to use quite a lot concentrated color, which is a CPA. And I know the Cp doesn't move too much, so I know if I put that down with this amount of wetness on my paper and a white brush that won't move very far. And I can get his eye makeup and I don't think it's that big. Is it scrolling my iPad apps? If I can get that right from over here. As you can go right to say we do, do some little tinkering. And the finishing off some way. We do the eye there just to get that lobby survived my copies gotten there. Just run that down a little bit more. Strengthen the nose up a little bit, and adopt muscle that has me. So I keep keep sort of more yourself. Why every so often and just look at the picture because it's very easy to get caught up with doing those tiny details. And if you've ever worked it, just pick up. So like genuine. Just want to make sure that nose is lovely and strong, deep and dark. A little, a little turn on it, isn't it? So see if I can get that in the botanical brushes you where you could be sitting. Really nothing close to it. I just want to make sure you always, neo-Nazis of shape. Just write. Really does make a difference. Those two comes down to kind of grab a bit of lunar because this moves. So when I put that down on oh, that's going to do a lot more moving than the CPU will. It's a little bit more real. You, you're always, always drawn into the phases, noise and features like that. So this can be very loose, but it's worth spending a little bit time making making sure you circle that we want Ran, ran his face without doing too much. Heaviness. Davies nature still want to keep wanting to get too dark on top. Score. Grab a picture. Yet, I'm just sort of looking back and looking away from it. And i'm I'm pleased with him. I know if I'm if I continue, I'm going to say too heavy, too dark. So I'm going to put the brush is damp, the paint, and I'm going to let that dry completely on its own again, is quite wet and it's quite wet that I really want that love how that's sort of how that's moved around. And if I put a hair dryer around that I know lose out. So I'm going to let that dry naturally and come back to it. And we can then do the tweaks at the end. 6. Eye: Okay, So I've come back to him and he's drawing beautifully out that just by letting it dry naturally, this is left this data. You see that this here. Let's just, it's just by allowing it to dwell on its own really hard head. You, I, that, that would have blown across the page. And are there lost that nice sort of looseness step. So we're going to pop his eye in now. So crappy little brushy done here and you need a small one. Down here. We're going to use the lunar Earth. We are just going to paint in. Nothing special. She just going to paint, I mean, it's kind of funny. Oh, no. Actually, if you look at him, so we're not going to get to info. We're trying to capture the actual or in the photo because I think it's awesome. I think he sat noise from one list. We're going to put that down. Pick up a CPA. Well, that's the way you want it just damp. So a tacky damp. And we're just going to go inside and just drop. You can see how that suddenly makes a difference. If you put dog on the top of the eyelid, top of the eye, you'll get a sort of a shadow when impression of the shadow underneath the eye. I'm trying to do this. I think that's as many looks like a stop. Just want to the eyes changed so quickly. You can have it and then you lose it again to take your time long as it's still damp, you can sort of add and take away I think Income about there. So all I've done is just a little bit of heaviness on top, running underneath there and I'm just going to leave it. It does need to dry on its own, so it shouldn't take long, so too long. Okay, so I can see that's lucky and drying. So what we're going to go back in and take the minutest amount of light out right at the very bottom, you just go really carefully. Only want a tiny bit right at the bottom. Say that the lunar of glyphs really easily. So what I want to take too much out, I think that's probably enough. I can see from having to keep above it, above that, that's just perfect. And then we're going to go up a little bit of white gouache, wake them up in a nice little blob. I'm going to put that right at the very top as if the catch lights are useful. If they're going in the direction they want, you want them to look into. So that's a step in the right place. Yep, that looks right from a distance. Clean your brush off. Now we've got these tiny little chisel brush. And I'm going to take, if you look at your reference photo, he's got a little bit of twist eyelid is just going to take a little bit of color out underneath that as well. Just very gently back and forth. Depending on what paper you have, maybe more colors you've chosen. Some lift out better than others. Just go careful to start with. Let's put enough. You don't want too much. And that is your I pretty much done. I might just take a tiny bit it out because that would be he's a little eyebrow is both just sort of coming in the myeloma hair out. If you can see that clear enough. Fingers, fingers sometimes quite handy. It doesn't actually soak up. The paint, spreads a little bit. And if I look above that looks or wind might just white disappeared a little bit. We didn't get quite thick enough. Light on top of it again, just want to strengthen it has better. And that's why I done. 7. Finishing Off: So we're just going to go around and sort of finishing off now said, so we've quite handy feature to go round. Say that's clockwise as well as I thought was his name, but around you bet. So I'm going to start with that photo in the right place. Okay? So I'm going to use this medium brush, which I am actually use much halfway. So this I could have, you could have easily know how to size eight. So what we're gonna do, we're gonna try to take a little bit of cut out. So it's almost like sculpting. It depends how, how you've laid. You'll paint in some ways and how the paints fallen. But I've moment it looks like his ears pinned back is just the way the, the dogs bull and survive. I take a little bit out. Hopefully you'll say starts bringing forward a little bit of paint as well that comes down and just keep clicking your eye back and forth. Reference photo. We just say we've just taken light out. We'll pipe out, paint out a little bit here is now I'm going to paint it if you've been in as well, I think probably bold enough from that layer to get that light. Even that you can start CD looks like it's sort of coming forward a little bit more. So I'm actually going to be used to tie design because I know that's nice and soft, so I'm going to leave too many hard edges. And what we can do and almost just going to paint that in. Perfect. I think that's dropped on a will do that back here, but I won't need to dry before I put that in there. That's smudge tool I think where he was tilted upside down, paint to run a little bit. So almost got my air in there ready. Now, we're just going to work down here. I'm going to try and take a little bit of color out here. Hopefully he's darker, more beds color, lighter. Contrast between light and dark. It's probably more exaggerated in my painting, but I like that. So it should, which ones take a little bit of color and we will get rope this pencil mark out and it always makes it nice as well. So hopefully you have at it hadn't haven't done them to show more pencil, not mine. Mine is a little bit strong, so I don't know. In place it wherever that will come out. That all looks fine to me. Say if you if you need to be a little bit more messy, He's looking at right here, I don't want this lovely Akos and lumpy texture now I really don't want to miss venue that. So if you start doing that, it will start looking very messy and very patchy quickly. So I wouldn't go into the into the body too much on if you've got a lobby pseudo line, work my way around. A little bit messy. I should have been a little bit careful, little more careful when I did that. And I can if I want to neaten up a little bit, little bit until I guess I could say it's a nice soft color. Just paint that in just a touch just to, from a distance. Just gives you enough. You don't want to do too much. Pop up button and there's a lovely line here. So I'm going to very carefully brush nice and wet. And I'm almost going to let this brush for now. I'm just dabbing very carefully. I'm not going to use kitchen roll either because it's got it's unknown. It's going to take too much color out. That once it's joined to, probably just give you just a little bit of light. You can use your finger. Sometimes that's just softens and sort of enough. Work my way around here. He's all looks fine. What I'd like to do is put a little smiling. So like genuine popup medication, rhodamine, which one clinging onto that? Have the little one. School my image up a little bit so I can see he's faced with closer movie. We're going to very carefully just put a little line in there and i'm, I should take a little bit of color out as well. Sometimes these things, if you're sitting again, you may not even see that appear, but she's you step back, you're probably just about see that green. You don't want it to obvious. That's enough. I can see that from a from my standing position. Enough might just take a tiny little bit again, very carefully. So what we did here, just let the brush full almost and that's enough. I can just say it's enough. Game working my event here and I'm going to take a tiny little bit of light are here fees, no stroke. Line. They suddenly appears you feel like you're not taking sound. Oh, suddenly it just lifts a disco careful with my finger. And the would-be, if you could, image is quite dark, but there would be enough store in here as well. So even just paint that in. And that's nice and tidy. Profit. And not that we did a lot with the I and we haven't done any any issues with that. This is a tiny little bit more of a pump where he's I throw would be someone else. She just pick up that amethyst, see if I can do to just lift up a little bit of an oily. So an islet, an eyebrow, very softly. Blend it back out again. We just give me a little bit of a nose like he's lifted design eyebrow up. That would be that hump there. Hopefully by now this is drawing, so I'm just going to put this line. He's actually lost my pencil mark there where where the ear is. Can I can guess whatever that is, that wet. Pick up my emphasis again. She might do a little bit but anticodon with it. And we're just going to drop the color into the base and move up. Push down again. Just want to really see where the ear was out there. And that's enough to launch the I might go back to that. I, I've, I've looks like a little bit of a blob. So when these joys, I might just elongate that a little bit, just a tiny little bit lighter there, but I need to let it dry for us doing that now all of these I'm going to run into there, so I will leave that to dry. Well, I think we've kind of gone gone around him. So what we would do, we just need to do this little shadow might at the bottom. And that's, that's the chief quite, quite easily initially. So let's use that size eight, but you could have easily uses AI 12, it wouldn't have mattered. So we're going to make a shadowy shape. Just a long shot like that. And if we touch the edge of the back, some of that may run it, we can just read it out. If not, think I'm just going to add a little bit of amethyst and the tigers. I again, I'm assistant says to a bit of the satellite. Just going to just touch base and that run. Don't want this to be too obvious. It's just an idea, a little shadow that we keep back close to the body. And hopefully that will just, again, if you did the snow here we do something so similar, shadowing, very similar to that. And again, to step away from it and see how that looks. Cool. Ring that water out. We can draw the painter along as well. Yeah, I think that looks okay. So I'm going to put those down again. Just checking my notes to see if there's anything critical I've missed and I think I'm back. I want to know about these pencil marks. So that's that's what I'm gonna do on most of that is dry. So make sure really important. Make sure we have the paintings lovely, enjoyed before you get a robber out. So it's quite disappointing if you get to the India painting and you start lobbying stuff out and you find your, your paint is still a bit damp, so I think this should be dry. That really done anything around here? Leave a little bit there because that's why I took a little bit, carve out this foot, a little bit down. Think there's much else. See much else. Hopefully you've done this 3D. You can still see my lines in there what I sheet. So you can see, well, it's going to leave the white strip. Hopefully you've left that very clean. You haven't done any hatching? I'm not sure if I'm going to build to get an access to layers underneath there are lessons to keep you keep your pencil marks as light as you possibly can. Know what's going on. She has me. So I think That's your little bear. All done. Now you could have pondered, it feeds on the B class, you could always predict will be your little butterfly, something on the top corner. That would be quite cute better when I'm not going to do the actual paintings. Quite little. Prison idea if you, if you want to elaborate on him. So I yeah, I hope you enjoy painting and thank you for joining me. Oh, and don't forget, please please put these up on your resources and project pages because I'm yeah, I love seeing your work and I think this one's going to be a lot of fun feature to paint, so please share him. 8. Final Thoughts: So I hope you enjoy painting the little brown bear. What a great technique with little fast but great results. My soda painting. Did you enjoy the first layer? It really does stop you getting hung up on details for just concentrate on creating that lovely depth and strength while retaining the light. Remember to try and work quickly and keep your paper and brushes lovely and wet. It's the key to keeping the paint moving. Put my tips that helped. Remember the looser the painting, the more you need some nice sharp details. So it's worth taking the time at the end to get them lovely and crisp. So we look forward to seeing you in the next class.