Capture the Personality in Pastels: Draw a Portrait of a Person | Jennifer Moorhead | Skillshare

Capture the Personality in Pastels: Draw a Portrait of a Person

Jennifer Moorhead, Artist, Art Professor, Entrepreneur

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11 Lessons (46m)
    • 1. Introduction

      3:24
    • 2. Drawing techniques with pastels

      4:54
    • 3. Color Theory (part one)

      3:55
    • 4. Color Theory (part two)

      3:58
    • 5. Drawing a portrait

      4:06
    • 6. Face basics

      4:35
    • 7. Shapes and layering

      4:49
    • 8. Volume (part one)

      4:25
    • 9. Volume (part two)

      4:49
    • 10. Check Points

      5:29
    • 11. Final thoughts

      1:29

About This Class

Capture the Personality in Pastels: Draw a Portrait of a Person

In this class, you will learn to draw a portrait from 'real life' observation of a person in pastels. When drawing from life you truly understand how to draw! This is an exciting class that teaches you to not only explore the possibilities of layering with color and color mixing but learning about color theory. I will be sharing important drawing techniques and tips with you. Have fun capturing the likeness and personality of the person you're drawing with dynamic and expressive qualities. 

This class is for an intermediate drawing student that has the basic skills in drawing. It is important that you share your art projects along the way in the Skillshare Project Gallery. 

The skills you will be learning:

  1. Portrait drawing
  2. Basic color Theory
  3. Drawing techniques using pastels
  4. Mixing colors through layering
  5. Basic anatomy of the head
  6. Shapes 
  7. Volume
  8. Art vocabulary

Materials you will need for the class:

  • 11" X 14" Strathmore Pastel paper pad (24 multi-color sheets) 80 lb. weight
  • Prismacolor Nupastels ( 24 or 36 pastels in a box)
  • Color wheel
  • 3 sheets of white copy paper
  • Model: the person you will be drawing

 

Transcripts

1. Introduction: Hi, I'm Jennifer Morehead. My background is in teaching college. I've taught everything from art history, art appreciation. All levels of painting and drawing and color decide. So I have a lot of skills to share with you. In this particular to class, you will be learning to draw portrait from a live model. Using pastels recent chose a live model is really the way to learn how to draw. Drawing from observation is essential. And this way you really understand what I talk about things that recede in advance, sharing with you about the anatomical structure of the face as well. This is important to learn how to draw a portrait. It'll be fun, exciting. I'm just touching basis with things were going over color theory and also that my technique selfie sharing with you, drawing with past tense. It's a fun class. It's really Ford intervened it because in college, when we teach figure drawing, it's always the upper level. Really need to have a foundation of knowing the basic drawing skills. So you feel more confident, comfortable when you have with knowledge. I suggest you highly that you watch my class all the way through before beginning I have certain steps that might not be understandable unless you see the whole thing. And then you say, Oh, I get it. And this will encourage you to really know what you're going after and you feel more comfortable with my teaching technique. So I hope you really enjoy this right after this, don't you? Materials lists of things that you need and a few slides of what will be covering in the class. I hope you enjoy it. These are the materials you will need. You'll need pastel paper. I suggest a pad of paper. They come with several different colors and the nice size of love by 14 inches by Strathmore. I suggest also the prisoner colors cause they're fun to work with, their easier to handle, and you can get a set of either 24 or 36 in a box. Definitely get a color wheel because you'll be using that as a reference and also a model somebody want to draw. Here are the different steps will be taking for the course. First of all, be selecting paper, learning about colored what colors to start with, and then we'll be applying that in a certain technique, then we'll be applying more colors and defining the eyes once the eyes air fairly established, then we'll be adding more color and building up and doing color, mixing and layering the colors as well. This is the closer to the finished version of the portrait, and you'll notice the different colors and color mixing and layering that goes on. So it's a lot of fun. It's a really interesting technique to work with. Here's a close up view of the eyes, and part of the face gives you an idea of of how much detail that you can acquire. And then here we have the final version of the project that she'll be working with pretty exciting fun and an enjoyable technique of working with pastels. 2. Drawing techniques with pastels: this section is drawing techniques using pastels. I'd like to begin with talking to you about pastel paper. The one that I've recommended chosen for this class is an £80 weight of Strathmore, which is a good company and makes very quality art materials. It has a nice sudden tooth to it. This packet comes in a variety of shades of pastels to yield, to choose the best color to work your bottom. There's other ones. They're Cason. They have a higher weight to it papers a lot thicker, a lot more tooth to it. This is a more refined to that will be easier with paper. Pastel paper. This 1/2 sheet that you could buy in the stores that art stores. They come around 30 inches by 22 inches. By single sheets. You could notice the nice tourney edges to it, a nice, heavy weight. This particular papers smooth texture to it, and I had just ripped it in half. So if you just want to buy a sheet of paper well and just throw the appropriate size 17 middle, they are two different that sells that I've chosen for you. Pastels are different from chalk has has. Cells are primarily made of pigment, same type of pigment that using acrylics or oils, and it has a binder. The miners usually gum Arabic, so it's pure pigment that you're working with. Chalk is much cheaper, and it doesn't have that coloration that you need. I've chosen you passed out because they are a smaller stick, easier to control. It doesn't crumble like other soft pastels do in there, and I think they come in a very good variety of colors. With this project, I'd probably be starting out with 24 but showing more with 36 24. I don't a sheet of paper blue grey taking out black. Although black is not a color, it's all colors together. But there's no black in nature, so we're going to know what I'd like to begin with is taking just a few colors are usually snap peas and ham. Easy work with taking three colors. It's here, so don't be afraid to break home because you are going using. Let's start with my lighter color on recording primarily. Be working with a lot of hatching lines. What we'll be doing is building up color in between the lines so you can still see the color of the paper and the mixture of colors. Boat colors that I add to one side will definitely dark in it, as I see here with orange. But I don't want you to be working with his shoes. Start to blend it. What happens to that finds itself right into the ferocity of the paper that to through the paper and it also blood's out. You're just takes it away. You want to keep that vibrancy. So that's what I want you to practice with. A model using is that I just took a couple segments of his face and I posed him as I only want you to use photographs as a reference but not to draw from where we're doing the model because it really is much different, drawing from a photograph than it is for the model itself. You will learn 10 times more and understand your drawing, drawing from the model. So this is just giving use, just something to work with and playing with ease and seeing what happens. So I want you to constantly think about placing the pastel on the paper and working in between lines. Seeing the mixture of colors, you have shown you several examples of just doing the practice exercise. Working with the ear, I have a nag Elice colors here that I've used more complementary colors here and with this one. I started with starting dark first and then working up to light this I started light working down this I kind of worked all over as well. So just play with it just the same page, just repeating it just to get a feel for it. 3. Color Theory (part one): Here's your color wheel. If you notice the centers of primaries colors that's red, yellow, blue. If you mix all these colors together, they will produce a very neutral color, really kind of a brown color. Once you've produced that, especially in pastels it can't get away from it just kind of dealt out and ruined it. So be very careful of what colors you're putting together. So that is my first hint and tip to you for this particular segment of color theory. Your next segment is your secondary colors, and they're always associated with the primary colors, such as red is your primary to your secondary green. These are very important cause the most dynamic compositions could be made with using these complementary secondary colors with your primaries and tertiary colors, which are, try attic on the color wheel. Your primary colors air. Try attic, and your tertiary colors are also so very important To know these. I placed a white sheet of paper underneath my color wheel. I also placed my color will wear the yellow is on top. That's Yuji correct format of looking at your color will and the reason I had you use the color will. Because now you have a reference point of understating color. I've lifted out my white gray, the browns in a black. We're not gonna work with those right now, but I'm gonna talk about your other colors like you to place the rest of your colors that you have in your box, such as a taken one out here and I'm gonna put it over here is my yellow orange. So I'd like you to do it all the way through. I hope you've done it successfully, and I know you have, but I'm gonna go through it very quickly. Here's my yellow orange. Violet. There's no such thing. It's purple. That's Korea was colored blue. Violet Gu, also blue. We have here blue, green, green. I agree. Yellow, green, yellow, Gil, orange. Next, we have read forms that orange read kind of in between red violet there. But you'd have more colors. Additive this in your box 36. Now we have what are tense tones and shades. Tints are colors and white is added to it. Such as when we confirm this pink. Do you read? We have your blue green and we also have one of the ones that visually see that tends to it . Your shades are colors that have black attitude. None of these are shades to them now. We have tones, so we'll see over here. This is a tone color, so color is added to this to create that we have one over here is a tone and our brown's of tones. So each of these come off a particular color, such as this. Brown comes off the red. See that looks into that. Next one is comes off your yellow. The next one comes off your orange on. The next one comes off your blue, so you're Brown's. Also take a importance when you're doing your portrait. 4. Color Theory (part two): on your color wheel. It does divide up the differences between the warm colors and the cool colors. You have yellow green all the way to Violet and your warm colors Red violet all the way to yellow. Who colors received warm colors. Advance. And we're going to do some projects to have you understand that at this stage I'm gonna have you picked three warm colors since re cool colors. Since they're already laid out for you, I'll have you put him inside because we're going to start with them in the beginning of our project. I don't want you choose colors because you like them. I want you choose colors randomly because I don't want you get too caught up with, well, like this versus that. I want you to understand color and how it works with each other. Please do not choose any of the browns at this time. We will be working with these later. I'd like to introduce you to an artist. Johannes Etten. He was born in 18 88. He also taught out the bajo school. He also was the one that designed it. Designated all the colors on the color wheel. So If you have a chance to look at his work, it's a page out of Joanna's it in book The Art of Color. This is dealing with color reflections. I'm just gonna give you a basis of what this is about. The large square on the left is a cool color. The large square on the right is a warm color. You see the orange color in a that kind of negative square. Look in both of them. This is the exact same color, but if you'll notice they appear very different, the one on the right appears darker versus of on the left. The reason being is because your eyes air producing the opposite color in your vision, such as you have a lot of the one on the right, the warm color, the yellow because so much of it you're seeing a lot of violet. So that's why, in that orange it appears darker because your eyes already colored mixing violet in there. We're gonna do a project with this so that you have the understanding because it's kind of fun to do it here. Just a few examples I played around with Try to use your really strong, complementary colors like this one. I use blue violet E it'll orange and have a neutral color. He was okay, so I tried it over here, even a stronger contrast with a different intensity of colors. And I tried this stain formula here using a lime green. I thought that was the strongest one. So play around with, um, I think it's kind of fun to work with its projects that we're working with Really need to be done in a white sheet of paper. This is one called after image. I'm gonna place a color here, and you want to stare right at that color for about five seconds. And as I remove this, keep your eyes still in that location. Don't move around, and then the opposite color will appear as well as the opposite intensity. Here we have a low intensity and you'll see a higher intensity. Go what we see there, really looking at it. It's a very light lime green, so that tells you what's in here. Read being the opposite of green dark intensity because you see the light intensity so attract with different colors kind of fun. Now we need to select our paper. And this packet comes in four shades kind of cream color, a little bit of a off sandy color, a light blue and like, Great. So they're very muted. Obviously, they're pastel colors. Very important. What colors you're gonna use for your model. Since Jack is has a lot of pink in the skin, I'm going to go more opposite of a color and the white of his hair. So I'm not doing the cream colors. I have selected blue color for 5. Drawing a portrait: in this section of drawing, the person will be talking about anatomy. This is a wonderful book that I'm using slides from. This is my mouth that I would be working with. This is my husband, Jack O. This section is drawing person. Just your model where first couldn't talk to you about is we're dealing with the anatomy of the head. No, no. Do you about this skeletal structure as well as the muscle structure. So you understand how to draw and what's behind this, if you'll notice in the eye, areas will be the sockets of the skull. The nose does not appear. The skull is all Cartlidge, and the teeth will be in the scales well, and they'll be protruding. So it gives you an idea. The sculptural part of the face. This is a slide showing you the skull on one side and jack space on the other. This kind of gives you the idea of the sockets where the eyes are the open area of the nose and note about skull is a lot of people tend to just draw the face here here, but there's a higher part of the top part of the scale that it's part of the German. Here's a side view of the skull. This shows you the extra part of the skull on top about the forehead. You got your ear on the side that's gonna be in between the other part of your nose. And this way next is the muscles. Muscles go into bands and they go into a certain direction to begin with. But on the temple they'll be going downward. When those around the eyes they actually go around the eyes and over the lids. Because Hewlett's they'll be banding around the island in the she area, going forward and around the mouth. It will wrap around and wrap underneath it. So it was all built up. Understanding that complexity of muscle structure will definitely help you withdrawing your in this slide it put the muscle structure head next to Jack's face. Here's the banding off the muscle structures that had described earlier. This is also good opportunity to be drawing this process of our portrait drawing that will be doing of Jack. We will be building those muscles look just slightly. So do have understanding of this. The next part of this is Posey How do you want your model? Oppose? This is great. Liking is going to be a very effective manner. So first of all, we'll see where Jack to be. Here's your nice frontal pose. If you're a beginner, this much easier to deal with. I'm gonna go but more advanced with this, and we're gonna have angles you want to think about. You know, this is kind of a deadpan look right now, Jax, and it's sometimes better not have teeth in the portrait's because they almost look a little odd. So a nice doctor smile. It appears very well. You could also have a pensive look. There it is. Or he's seriously looking at something. After looking at Jack in trying different poses, I decided to go with this one a little bit here, Jack. He'll have a nice smile to him. Wonderful. And I haven't overall lighting here. I want enhances a little bit more, so I'm adding a fill light, please. Energy quality as you're drawing your portrait 6. Face basics: going to start drawing the face and building it up. And this will be a more of a practice exercise because I want you to draw they had as a skeleton and then apply the muscles to it. You haven't understanding. Then you use this as a reference guy. Here's a great paper that I chose also these air the pastels. I had selected three of my warm and then three of my cool colors. My table is lifted slightly and I want you to see how Jack is placed relationship to what I'm drawing. I'm gonna lift my camera so that you can see that when I lift my head, I could see him directly in front of me so that I can be looking at him more than I'm looking at the paper. So I'm really observing what I'm seeing. So then we're slowly going back to paper. I'm going to start with using one of my born collars, maybe medium one so that you can see it. Otherwise I'd start with lightest. I want to consider Where am I gonna place Jack? You can think about borders. You want Matt it You think about going all the way, the edge. These are things you really need to figure out at the beginning. Drawn. I'm gonna place Borders in here, so I just come mark here. Since he's I'm doing him, he's looking to his left, therefore, with the face. When using humans, you want to give a little space to where they're looking. It just visually looks better, so placing them a little bit to the right of paper position is head. That's not too large. I'm on include a little bit of his neck. It feels look too close to this edge over a little bit. That's why using lighter one really helps place it. I like what's going on here. A good way to view it is split. This quadrants in each quadrant looks interesting. How it's broken up. I've got a well, it's successful Composition started. I'm going to know, take face and create a sculpture. So since he's turning a little bit, I have to use that consideration. Remember, as I'm joined him, I want to make sure I always give myself extra on top. Start with his eyes, Yeah, sockets Constitution of this T you'll see. And it's for me. Course that That's cool. No, Ive got really looking at him as a human and really knowing what's underneath, because that's what I'm drawn. Your next step, use another color is to place the muscle structure. I'm just gonna start showing you right in here. What I'm working with. I've been adding this, using all my colors and using them to the warm vs. Cool like in the eye areas As it's coming more forward. I'm using lighter colors and colors coming up so that you can see it go back seat with my darker coat. So this is gonna can I help you understand words going? So keep just working on this and building it up, using all your creations following the lines of the muscles here have more finished version of this. I know it's kind of awkward, but it's a process of learning and mixing, making messes. You don't want to do this with your file, but it's certainly a wonderful stuff. So in there we'll go to our next step 7. Shapes and layering: we're gonna work on shapes and Larry using this as a reference knowing that there's lights and dark somewhere that I'll be staying way already know how we're gonna position our figure and we're just going to be working with these colors for this segment. Then as we go from there, then we're gonna be adding more so uses very lightly. They're just for placement and giving you the reference of darks and lights. Start with your very lightest solar and a warm colors Face about here. I want to get too close on that side. This what you're currently create right now, it's just a very gestural drawing, very light loose. From now on, you will be thinking of the face of working from the inside out. We're not doing a harsh outline and just doing a filling, but you're building it up much of refer back to your color wheel, the colors that were working with the very current full of mixing too much of those complementary colors like your red and green. Here you're opposites. You're blue in your orange opposites because otherwise you're gonna get those muddy colors . So that's something that you really know. You guys know already. Starting with the light is first and we're going to start with their warm colors and we're gonna be viewing Jack of everything. That's the things that are protruding out the most with the refer to what we had with our drawing before. So we're going to know that it's gonna be do these hatching lines and we're just starting out just very loose because, remember, we only have a few colors from working with, and we're gonna be working with a lot more colors here in just a few minutes. And what's gonna help use also the highlights? Would you have a certain lighting? My lines are very loose. Yes, I'm going. Just do a little bit for his hair. So I got placement doing a little bit of edging, but not harsh edging and start to look at the edging on the face meeting. Where does this shoulder Compton is there? Spacey. Between here with Jack. I've got a right about right in here. So there is not that bad. Some oranges and reds on the lightest part of green. Very little colors. Being candid, I'm also making sure living some of the paper to show through. You don't want to cover everything up. And here I added a little bit more color, some blues ingredients. At this stage, you really want to start planting out where the eyes are gonna be and started just to draw very lightly noses, looking at angles. His always What you're doing is always relating shape to shape. Yes, there's certain dissections you could take with this. But I want you to draw what you see. You know, maybe it's not gonna be absolutely perfect. Man. It's gonna be great. I come down here. Where is that Here That I see. I go usually across. It goes a little bit about here. Just said before at eyebrow. But you want to be able to see it. I have the nose here across here. A nice angle coming this way. Have the edge of his cheek coming here just slowly. I want to be worked with too many straight lines in the curvature of the face because 8. Volume (part one): this segment is on value and we're going to be completely portrait. We've done and worked with all our particular colors. Now we're going back in and using colors that we really want to work with to build it up when it be choosing my lightest colors in here again, working with all the warm colors, I'm gonna wait with my brown color still to the very end, so I don't get it muddy, and these air will be softer colors to work with. I've already used a lot of this color, but I want to start adding a little pink in here. And one thing I'm adding is a lot of green on that pink, especially areas that you see back. So I have more of a volume of colored. Added to this we go. You can start moving it and other directions because this was really in application of how did just, like color down, be very careful about colors you're choosing because it's starting to really color mix. Wonderful thing. That way we started. We had worked all over, so we have enough color that's going to work itself together so it doesn't feel so isolated . We could go into different areas and so choosing one work. This is a close up of the technique that I use. These are the diagonal lines and you can see the papers showing through this next slide is what I've been working on is I started with the eyes. I find that this is important to me in my technique and drawing. It gives me a close up view of the portrait of the person. I start dark with it because the lines in this particular area of the eyes are very small. So I put the lines in and then cover them to make them smaller. Using no black, it's a dark blue and adding those colors. I think once you capture the eyes, you've really captured the essence of your person. I'm going very slowly with it, really looking at shaping the eyes by looking at the whites of the eyes and placing it in very carefully. I'm using a lot of colors mixed together. Usually they're all in my hand. This is a dark blue building it up, looking at the shapes very carefully. In this slide, it shows ume or the color that I'm adding to it. You can see the violets to the left side, the right. I get a lot of depth and you'll notice in the irises. I started with darker colors, and then I highlighted it lighter batting violence to get a darker and just breaking colors . So it's very expressionistic. I've left this up here because if you wanted to figure out what the colors will look like together, how to get really dark colors despite bloody them together, you get very dark. Noticed that the angle of this one. I want to be consistent with setting it down there. You always come back and and coming in Highlight. Bring the lights in. It's just going back fourth with this and in color, not over saturating it with color. This is a close up of the I. You could see the multitude of colors that have been added to it 9. Volume (part two): I've had a little bit more to the eyes like this is just showing you a slide of a detail of them and building up more naturalistic colors but still using the cool colors and the warm colors together. Gonna be finalizing the portrait acted divided out a lot of my warms and cool colors, adding a lot more color, also adding, In my browns, I started out a little bit with my red brown going into where the shadow areas are coming over even some of the violent areas just to tone it down. Remember, when you're drawing something, star courses like to give it value, something has to go darker and lighters. You can see the variances up depth. Here we have right here the edge of the knows that is lighter and warmer, and then to the left, we have the intensity a lot lower spreading it up. Let's begin going in more detailed in the areas if you if it helps you really look at your model, just squint and see the dark areas. Make sure you let your bottle rust here and there. And remember that this you can show your project any time up up in the project gallery. We talk about it, and it's a wonderful place to critique with very positive comments. So always be welcome to me. If you ever wanted to talk to me and have you know specific questions, go up my profile page and then leave a message up there. So I'm just playing around and do a very quick lines, just describing Bring Jack out a little bit more. It's more of his face in here, one his face. That's why it's so great to started out like because then you could make changes, even minding that the eyes a little bit because they were a little bit too close and it was noticing my connections of shapes were working. So here we've got a nice Prada face in here really exciting at this point to really see what's going on. So I'm gonna be feeling a lot of this color. I ended in a little bit more. We're looking at darks and lights again. Volume is very important. I know my light source is definitely coming from the side. So really sure ducks on this just kind of place in his hair because that you know your shape or is it coming in from I want to sit. So you're getting the character really kind of coming through with this? I'm gonna start working with my blues a little bit more. So I'm gonna start with my cool colors and will come back in. I bet it's more blues than its reds. I looked at the side of the face reworking at building it up. Did the nose little bit to get that more three dimensional. So building it up, I'm next going to do some more colors and start to even this out a little bit more. And it's some Contra lines in here, but I'm going right to the edge to it. So I got a nice shape that's going back. So it's not appearing flat meeting some of the papers. Still, I was saying that bottom looks gonna be a little bit lighter because it comes out this final stages really almost like color blocking, putting color down a little bit heavier, but you're still seeing the other colors found that a very dark brown gary. You could also use this darker blue with skits. A very furia placed in there. Then come back in with highlights. But you want to use strokes as you do this as the here, so that it has a realistic quality too. So start blocking the Syrian and do a little bit more. 10. Check Points: the segment is called Checkpoint. This is really going and making all the final decisions. There's areas in here. I want to work with the nose. I did a little bit here, Gave me some little more shadows. Definitely in the lip area. Not pleased with that. A little bit over this area here. And I I think the eyes are needed. Come over a little bit and the ear needs to come down. So look it. Look, look, look, go. Just gonna use a medium tongue to work with to redefine things. I'm coming in here finding this to be down a little bit more. I use my blue here. I guess this angle comes in here. Really? Look at the gym. It's not in the straits to it. I'm noticing With the chin here, I have a slight tilt coming this way. So my chin ist tilted that way. That's gonna have toe also work, but more with my eyes. Really. Start looking at that. All the shadow effects to really get the volume going here. So we're gonna work piece by piece, pinch of the eyes, much happy with them. They feel like they're really looking with same direction that peoples are correct. I looked at the nose, structured it a little bit better, but he didn't more defined highlights. Here's a detailed close up of the nose. I'm gonna be working on this area next, my dear, here, working with my purple right now. And I'm still just going in slightly and coming in. Remember going back to your muscle structure. It's a little bit curved in this area, making sure that's happening. Really think about the structure, how that's working. I feel like I'm getting pretty close to it. More defined in here. Still have to do my dear Place my ear in here and make sure the angle of it and how large it is and really start looking at that and getting just some highlights in there and darks . It doesn't have to be very detailed. We're gonna do the hair. I'm color blocking, meaning on putting areas of blocks of color where I see darks in his head. Then you'll come back in with a lighter color. What do you use this green? Because I think it's Nick. Really nice contrast here later on other lights that you need what's happening now on. And this is where you could use black cause you're gonna make values, so you be able to get very dark in these areas. You can also add into your pupils to darken them a little bit just in areas not enough not going all over the place and getting out money. So just getting those docks because they really make a difference and make it more circuit . Don't use a lot of it and just go over it with another color because you'll be making shades. And now for the background, which hey, this is a fun part. Since mine always kind of blew back there, I could just just clean days. I like that color side of it. All those marks. I He has a kind of a dark shirt on, kind of great with black colors, and you could smear in this areas points bringing colors in here so it doesn't feel so isolated. My finishing touches on through. I feel I am done here. Here's finished Jack, and then I've done another version of Jack using more limited colors, just playing with it. Experimentation is great in the learning process of art, and so do that. And don't forget to post your images up on the project gallery. Be fun to look at them and hear wonderful comments from everyone else in the class. 11. Final thoughts: I helped you enjoyed my class. Learned a little bit about color. Next scene you learned about color theory. Learning to draw portrait Hope you really enjoyed it. I just wanna let you know, Be teaching a lot more classes and painting such as oils and acrylics and watercolors. They'll be coming up very shortly. And if there's any ideas or things that you want to learn, please send me a message on my profile page and I'll get back with you. So if you want to learn something, I'm here to share. I've left a few slides at the end of this. I want to show you some portrait's have done with animals and I've also done them in past sales. You can easy apply what you learnt today to working with animals. I've also taught classes in drawing animals as well. So look into that. I hope I see you next time. Enjoy. Be creative in half. You hear the portrait? It's up animals that I had done. I had a business called Crazy Dog Studio and I did pet portrait. It's so enjoy. These in the very last image I have here is new painting. I just painted in acrylics. That was fun. I'm trying to do something lottery. Close up asses both far away. So it's always fun to explore it and do new things, and I hope to see you again.