Experience Watercolours: Paint a Chickadee | Melinda Wilde | Skillshare

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Experience Watercolours: Paint a Chickadee

teacher avatar Melinda Wilde, master teacher of watercolours

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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

9 Lessons (53m)
    • 1. Introduction and Inspiration

      2:08
    • 2. Supplies

      2:10
    • 3. Transferring and Masking

      5:15
    • 4. Rich Dark Background ...Just Slap it On!

      9:05
    • 5. Render Branch

      4:19
    • 6. Super Darks

      11:03
    • 7. Local Colour and Legs

      7:40
    • 8. Shading for Plumpness

      3:12
    • 9. Tweek ...or should I say Tweet!

      8:32
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About This Class

This class will show you how to make a rich dark forest background to enhance your feathered friend that we will paint step by step. We will use masking fluid, transfer paper amd photo reference which is provided in the project section below.

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Meet Your Teacher

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Melinda Wilde

master teacher of watercolours

Teacher

Teaching Youtube https://www.youtube.com/channel/UCkRR5TW5Zy8zMz9BwiZ-E1g

Instagram:@melindawilde

FB: /MelindaWildeExperienceWatercolours

 

Hello, I'm Melinda. I've been in love with watercolours for 35 years. I've been teaching for over 30 and love watching my students when they realize yes, they can create in this marvelous medium. I live on Gabriola Island, Canada and love the God given beauty and inspiration this place provides. Pursuing my art was the perfect thing to do while co-raising 5 children who are now grown and gone. Teaching is my main mandate these days and I hope you'll join my first class and look forward to the many more to come!

Gabriola is a real gumboot community so I couldn't resist painting all ou... See full profile

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Transcripts

1. Introduction and Inspiration: here, Melinda Wild. Welcome to another session of experience. Watercolors. Well, spring has sprung and the birds are twitter pated. So today we're going to paint one of my favorites, a little chestnut backed chickadee. So he's a cute little guy, and we're gonna put him against a really rich, dark forest background so that he'll just pop right out us and look really alive. This is a little more challenging than some of my other classes, so it's great if you're an intermediate or beyond. If you're a beginner and you're brave, have at her, I think you'll be just fine. So let's get to talking about supplies. 2. Supplies : So let's take a minute to talk about supplies. I've got my watercolor paper £140 cold press taped down all the way around with some masking tape onto a board. And then we're going to use Racer just in case a couple of pencils got a couple of round brushes here. You don't really have to have two, but if you do have to go for it because it just saves you having to clean your brush quite often and we'll talk about that a bit later. And then I've got a one inch flat for doing our background. Um, let me see. We're going to use a limited palette again. So I've just got six colors, got a yellow, which is gambo shoe, turquoise, burnt Sienna, Carmine, ultra Marine and oppression. And then I've got some masking fluid and some toothpicks were going to use. And I will show you what therefore bit later, and some graphite paper for transferring her image onto our watercolor paper. And hopefully that will cause it's not to have to erase very often. Okay. The other thing I have are my photo references. So today we're gonna paint this'll. It'll gaffer here and you'll notice I've also got a black and white reference. There's a couple of reasons for this. The 1st 1 is when I go to transfer my image. I want to trace around the edge of this guy, and I don't want to have to use that one with the pencil marks on it, because the pencil marks cover up some things. So it's really nice to have another image to look at. Besides the fact that this color one shows you what color goes where on your bird. The other reason I like the black and white is because the value changes air much more evident. The darks and the lights are much more evident than when you look at a color peace. So good idea to have both if you can. And I'm gonna put both of these in the project section of this class so you can upload them from there. And I think that's everything. I've got my absorbent rag here on my right. I'm right handed. So everything on my right. So let's talk about transferring 3. Transferring and Masking: So, as I mentioned earlier, you can use graphite paper to do you're transferring or you don't have graphite paper. Do not panic because here's of your quick and easy thing you can do instead. If you have a 246 B pencil training image over graphite the back of it quite heavily, then turn it back over. Decide where you want it on your image. I'm gonna put this guy or on your paper and put him about there. Take a little piece of keep, take him down, and then just drawing on top over top of this will cause it to transfer. Now, the reason I showed you two pencils in the first place because oneness soft for putting on the backside and one is a little bit harder so that you can get a nice, sharp line when you're going to transfer. I'm just going to show you how this does transfer deals. You could see my image there. You don't want to press too hard or you'll score your paper and the pigment will run in and you will never get it out. But otherwise you can use this or if you have graphite paper you just take it, slide it under here, dark side down, and you could do the same thing. The transfer paper transfers a little more heavily. So you want to be careful not to press too hard, right? I'm going to carry on and transfer my whole bird, including these interior lines around the color changes and the eyeball and, of course, the feet and the little twig that he's standing on. Now I'm going to just sharpen a few of those lines. Make sure that the whole thing makes a lot of sense to me. Little feet be really careful around the feet to get your bird right. But the feet wrong can look a bit wonky. I'm gonna take this right off the page here, and I guess we could just give him a little itch. Okay, Time to move to masking fluid. So let's get to masking. As we've discussed in my previous videos, masking fluid will trash your brushes and your clothes, so be careful to put it somewhere out of the way where you're not gonna dip your elbow into it. Which is exactly what I would do if it were anywhere else but right about there. I'm soaping my brush to protect it from the masking fluid. And then when I go to dip in Mulligan a dip halfway up the bristles. Our trusty toothpick is here, and I will show you what that's for. In just a moment, we're just gonna mask the entire bird all the interior. So the toothpick, when you get to the edge of where he's got little fuzzy bottom, just show it to you Here. Got these little tiny feathers in here very fuzzy to flying to paint with a brush. So if you just take your toothpick, lay down the masking fluid, just pull it out, but pull it kind of randomly. Not all exactly the same direction you wanna have. Um, well, kind of fluffy. Not like he's had a bad freight. And his here's all standing on end. Just gonna look over that and see how I think it looks. It looks pretty good. Maybe make a few more little fuzzies down here, and I think we'll let that dry and then we're ready for paint. Now you can dry it with a blow dryer. But a word of caution. Don't let your blue dryer be too hot or too close to the masking fluid cause. Sometimes it will adhere the masking fluid right to your page, and then you'll never get it off in. The whole point of this is that we do our background, and then we erase off the masking fluid so we can paint our bird without having to worry about painting around it as we make this beautiful background. So go ahead and blow dry. But be a little bit cautious about heat and a proximity. One more little thing about masking fluid. If you have a larger area to mass that you absolutely have to be white has to be. Wait a mask, it let it dry and then mask it again because sometimes little air bubbles get in, and then the pigment will seep through those onto your paper that you want to be white. In this case, it's not such a big deal, because the only part that has to be completely white is our little cheek patch here on this guy. But if you were doing something that just really had to be white, mask it once. Let it dry, mask it again 4. Rich Dark Background ...Just Slap it On!: Okay, So masking fluid always feels a little bit tacky. But you know what's dry if it's not coming up on your finger when you tap it? Okay. So I think we're good to go here. We're gonna go on to dry paper because we want our colors rich and dark and vibrant in order to make our little chickadee stand out. So the first thing I'm gonna do is consider where I want a little bit of a sun spot shining through my forest in the background. I'm thinking probably right about here, So I'm gonna take my fingers, Did them in my water bucket, shake them off a bit and just do this into that sunspot area. So I'm just laying down a little bit of color about on my fingers. There we go. Just laying down a bit of moisture that I'm gonna take my yellow Excuse me and use it flat . My brush flat rather than perpendicular but a little bit flat to the page and quite thirsty . Don't want to have a ton of moisture in it. I'm just gonna pat around that sunny year. You I'm gonna take a little bit of turquoise. Yeah, I do the same thing. Okay, then we're gonna get really brave. And let's just grab the yellow really thick. Just slap it on all over the place here, remember? Or bird is masked so we can just paint right over top of him. Then I'm going to take some of the turquoise. Same thing. Slap it on nice and juicy onto dry so that we're not diluting the paint as a swell is having to with our brush to put it in the paint. We don't want to be diluting it even more by painting onto a wet paper. Okay, maybe that's gonna be a bit of bright. We'll just take that down a bit. When we go more, you and I'm gonna move into the burnt sienna. Just be brave. Slop it on. Okay. Basically going to cover up Well, the weights in the background, and I'm gonna move into my Prussian, which is a very dark blue. But when it gets mixed with the other colors, it makes kind of a pretty greeny color very reminiscent of the force around here. Very dark forests. Okay, this is giving little hard edge because it's starting to dry. So I'm taking my brush clean and thirsty and I'm just gonna soften those edges a little bit . I don't want those heart back into the oppression. Not this really nice and dark, especially around my bird. Back into the Sienna. Notice. I am not adding any water to my brush. I'm just going colored a color without cleaning my brush up. I know that's hard for some of you guys. If you're really like here palette to be neat, but just try it once. If your colors are all squeezed out there hard and you're only dirtying the surface anyway , so just get at it. I am gonna clean out my brush a tiny bit here because I want to put more yellow in this area. And actually that little sprinkling I did at the beginning didn't really do what I thought it might. So that's OK. We'll just carry on here with depression really deep and dark. Seanna really deep and dark turquoise, really deep and dark. You almost can't make this two door. And then here's a couple fun things to try. Well, actually, first I'm gonna wait my edges because I just don't want to risk a lot of that paint from the edges running into my painting and creating back runs around the edge of my painting. All right, then, if either if you feel there's just not enough happening or you get any really dark places that are homogeneous good ideas to just grab a little bit of turquoise on 1/4 dry brush, and then you could do a little bit. So you can also take yellow on your brush and just give it a little splutter. In here, I had a little levity. And then, while this whole thing is damp, here's what I like to do. Take some pure burnt sienna. Let's just make a tree trunk top to bottom. It picks up a lot of the other color, so it's not gonna be really stark. Hopefully, your pages still moist enough that you can play in here with this. Let's take another one. Here we go. When you do this, make your tree chunks different distances apart, different thicknesses, and then let's take a little bit of the ultra Marine Just shade down one side of these guys . Little Tareen. This is all background stuff, so it does not have to be super accurate, super strong. And then I'm just gonna take my a round brush with a little sienna. A little ultra Marine on it. I'm gonna make a few branches back here. These a rolling behind our bird. It's kisses. A lovely, rich, dark forest like this is a little bit bright. So I think I'm gonna just take a little more turquoise, take the moisture out of my brush in just for a little more Turco's on there. A little more oppression on their on a little bit of CNN as well. Kind of like this yellow going on over here. So I might just add a little more. The beauty of this is you can play with it. It's wet for quite a while. You can play with it, make it the way you want it. If it gets too dry, I recommend a little Mr Bottle something like this, and you can just squirt it and that will moisten it up and give you a little bit more time to play. Okay, I'm just gonna a little bit more filled. Yeah, I like that better. Maybe we'll just make that a little more definite. Here. We go and a touch of these branches a bit. Yes, I say I'm not too picky about everything standing out exactly. So because this is way in the distance and once or ticketea we paint him, nobody's gonna be saying, Oh, that branch doesn't go the right way. Okay? And if you again end up with an area that you're not really crazy but or it doesn't fuzz or bleed enough again, you can dip your fingers in the water and just give a little flick, and that will separate the pigment. See how down here separating the pigment. So I finished my background. I've taken it to the dryer. I know what's dry because it's fairly flat, and I can now remove my masking fluid with my handy dandy masking fluid eraser. You can also use just an eraser as well. Something to consider, though, if you're not happy with your background, if it's not dark enough, they're just stuff you don't like about it. Feel free to re moist in the whole thing and just go at it again. It'll be darker, which might be a good thing. Might not be quite as fresh looking, but that's OK because this is gonna be our main event. This is all background stuff, and all we want to make sure of is that it's dark enough. If you've done a beautiful background that you really love and it's still not quite dark enough, then I recommend a glaze. You could take a little turquoise and just glaze over the whole thing, and that will push it back a little bit more or a little ultra marine glaze over. The whole thing will drop the background back a little bit more. But let's erase are masking fluid For now, this is easy with these remover is because the masking fluid sticks to them, so it just makes removing it so much easier. Here's our little toothpick marks. Is a couple of here too? Okay, we're ready to go and paint our little ticketea 5. Render Branch: so a couple of things before we get started. If you're masking fluid did leak on you. Now is a really good time to address that. Take a clean through steep brush. Say, for instance, right down here. There's a bit of a leak, and you can just scrub those colors and block them to just lighten them up. They won't go completely white, but they will not distract you from whatever you're gonna paint on top of that. The next thing is, we want to reinstate the interior lines. So grab your color photo reference and let's draw in the I again draw in where the block little cap is going to be and the approximate shape love some of the other markings. We've got Wayne here, Rico, and this leg here comes little up into the body. So let's just draw that. This guy's behind and we got her feet. So this little toe goes around the stump on this one. It's there. This one is the other two toes on the other side. Now we're gonna re mask these toes because that'll allow us to paint the branch without having to worry about painting around them. So Let's do that first. Okay? Every mast, my toes. Let's start by painting the branch. So first I'm gonna moisten it. Not totally wet, but moist. I think I'm gonna pick up some burnt sienna and just run it down one side. Make your brush fairly thirsty. So the Sienna doesn't run away on you, and you need to have also a fair bit of paint on your brush, but have it quite dry That makes any sense. Thick paint. Not a lot of water. Gonna leave that little tiny white tip. They're kind of like that. I'm gonna take it and just put another a little bit of it on the other side. Not quite as much. I can paint right over those toes, cause I know they're masked here. I got a bit dry at the bottom, so I'm gonna take a clean, thirsty brush. Just run it down there. So that was just soften. I want to make this twig look plump and round, so I'm gonna grab a little bit of ultra Marine. Just run it down the shadow side there, while this is old dam. So much and watercolors happens when things your damp timing is everything as you will find out as you play a little bit on the other side. So a little sienna down both sides, a little bit of ultra 1,000,000 on the edges. I like to leave these little light patches. Here is the idea of brilliant light hitting something you can also add if you want to make it look even more round with a very dry brush and using it very flat to the surface of your page can add a little scum. Billy scum Billy marks like this Words or hits and misses just suggests shape of roundness on your branch. You want to do this after it dries after that initial wash dress, There we go OK onto painting our bird. 6. Super Darks: So when I start my little critters, I'd like to paint the eyeball first and that the reason I like to do this because I like him to look a little bit alive and like he's looking back at me. So the first thing I've done is I've mixed some ultra marine and burnt sienna and I've made a lovely, rich black. Now I'm gonna keep my black and white handy to refer to Because at this point, we're just gonna be painting all the dark areas in Have your color photo handy as well, because you will need it later on. But for now, let's just start off painting his little Aibel. Now, as you see, there's a little white patch of what I called life in his eye. So the first thing I'm gonna do is just paint around that little patch and actually, you know, I think I'm gonna show you this a little bit bigger with a slightly larger brush, and I will show you from here. So if this is your eyeball, there's a little bit of light in it paying around that little bit of light and then we'll fill him all around the whole thing. This is much thinner than what we'll actually put on our painting. But just to give you a visual that you can actually see, cause the other one is so tiny and then from there will begin creating strokes around the eye. But like humans, they have a little bit of membrane around the edge of the I. The feathers don't come right up to the I just a little bit of membrane. So you want to leave that little tiny like edge as you begin to put the feathers in around his eye? Okay, well, here we go. So I zoomed in a little bit so you can see him a little bit better. Here we go. Let's go around his little eyeball. Mary. Our sweet. Now there's a little bit of life in him. Okay? Referring to my black and white. I'm gonna begin by painting the feathers all around here. Noticed there's a riel sheen going on here, so we want to make sure that we leave some white patches to suggest that she even though his head is black, So starting off right around the eye, it's gonna go around his eye, leaving that little bit of membrane that we talked about earlier, then begin to make stroke strokes in the direction of the growth of the feathers. Now there's a very sharp gleam on his beak, so we want to make sure we don't paint over. That could be a little bit tedious, but I think it's worth it to make our feathered friends look the way they really do. Look, keeping one eye on your block and white just off to the side. Here, a little more pigment. The other thing my students to quite often is they let the pigment on the brush run out, and then they get kind of a gray head instead of a black. So be sure to keep reloading your brush, your stroke. Stay nice and clean and sharp. Here's the gleam. Great patches painted all in solid black. And the other thing I want to mention his Don't go right up to the edge of your way of mast . Just leave a little slip of light on. That also suggests that the light is hitting. I don't want to have it be the same width all the way around, like a 1/16 of an inch white Joubert. But a little bit of glow here and there skips the whole thing a bit more life. Okay, a little. Now he also has a dark breast. So let's put that again working in the direction that feathers grow, leaving that little slip of life here. Okay, let's talk about his beak. She's a little bit more challenging because it's so tiny. It's quite dark on the underside. But I do want to leave a little slip of light because I want you to be able to see the differentiation between the beak and the background. So leaving that little slip of light on a little bit of dark on the top? Yes, well, clean out my brush, make it really, really thirsty. Just soften over top of this break patch lifting out a little bit of the pigment. Now his beat goes a little. The way is into his head. You don't want to have it just stuck on the end like a snow man's nose or something. And I'm just looking at the shape of this black. But here it actually comes down a little bit more. You would kill. Okay, so now let's get some of these darks on the wing feathers in Wana. Start down here. There's a bunch of U shaped little U shaped feathers, painting a few of those and leaving the light in between. It's a really lesson and observation. This this class I see there's some darkish lines that run this way. If you want, you can be so picky is to count the ones on your photograph. And then we're gonna put in this little pool this over so you can see what I'm referring to . This little corner guy here it goes from dark to a little bit lighter. So I'm gonna put in the dark, clean liver, make it thirsty. I'm just soften it into the later area. But I'm not going to moisten beyond the shape of that feather because I wanna have a little white edge along so that I could put the other feathers next to it without them running together. There's another little dark feather in there comes to a bit of a point, nothing little going up here. This is why I like the black and white because you can see the values, what needs to be dark, what needs to be light. Sometimes it's hard to see when things air colored where the dark sun lights are, but you've got both toe work from. So by all means, use everything at your disposal to get the look you want. No, let's see. It's dark there and a bit of dark on the to It's tails at an angle. So I'm just gonna paint some of castrated feathers that come up into underneath his wings. All right, I think we're ready for a little bit of color. You should also mention before we go much farther. Say you took your mask off and you're just really disappointed with your masking job Before you get to painting your bird, you can go back into those deep, rich, dark background colors. Say, for instance, right here, there's a little lip, but I'm not crazy about. I could go back into the dirt background color and just just a little bit. And then I'll clean my brush and make it thirsty and just soften it into the background. No one will be the wiser. Same up here. Maybe just take this a little less, make a little less. Wow, we go clean my brush making thirsty and soften off the edge. Here we go. All right, let's put some sienna on our chestnut backed ticketea. 7. Local Colour and Legs: So in order to paint the chestnut on our chestnut back ticketea to run a soul in here and underneath here I've mixed a little burnt sienna with a touch of yellow in it, and this is where it's handy to have a couple of brushes on the go because you can use one for putting on paint and one for softening paint. Not necessary. You can clean out your brush and softened with the same one, but I just find it's kind of nice not to have to do that. Okay, so let's put in that chestnut color, and I know there's a little weight patch here, so I'm gonna do the edge of that first to make sure they get nice thin strokes up into that weight patch. Careful every birds a little bit different. So don't worry if you get a stroke in what you think is the wrong place, because it probably be just fine. They'll be some bird out there with a white patch. That's that shape, skin, and Chestnut comes down to here again, leaving a little white slip here and there. It's these transitions from one color to another on a bird that you want to be really careful with, Make sure you get nice random strokes, nothing to regular. We'll take a little more and let's put it under this wing because there is some chest under here, too. We will paint shadows on our bird at the end. For now, we're just interested in getting the local color on. And he actually has a little bit of a late breast, which has sort of turned away from us now. But I'm gonna leave little suggestion of that. Yeah. Then, as he gets down into his Billy, the chestnut becomes a bit more random. It's intermingled with kind of a gray and a soft Wait. So do a little bit of our chestnut. Now we'll get into the other colors. Yes, Well, okay, Time for a grey wash. So before I do this great wash and want to make sure that this is all really good and dry. So I'm going to use the same color I used for my head to make the black only going to dilute it down because one is deluded down. It makes a lovely gray, ultra marine, burnt sienna, and I'm going to just glaze over top of whose feathers here, where I put the dark's do want to stroke it too much, or you'll end up picking up with the color that you lay down those darks you want to shine through. And the reason I like to do this after I've laid in the dark's because I feel it makes them settle in a bit more. They don't look so contrived. This will marginalise transition goes into chestnuts. Switch to my brush that does a better point. And put some of those graves in here, especially around the legs. Be careful not to cover up all this little weight foresees that I put in. But if you do, don't worry, because I will show you something you do to fix that, too More darks Here. Go back into that deep color again. This make of you more destroy Haitians here, you look a little more believable. I'm not happy with this transition here. So back into the chestnut little strokes there. All right, now let's do with the feet and legs. These were masked. So take them asking. There you go. The legs on a ticket e r block, but in the light they have quite a lot of sheen on them. So I'm gonna take same color that I used for his head. Ultra Marine, burnt Sienna. And I'm going to just run it down one side of the lake, leaving a little white edge on the side. I'm taking it down and a little larger white edge on the other side. There we go. Do the same here. Now I'm gonna take my brush clean and thirsty. Just soften night off of it. A little bit too harsh, but trying to keep little slips of light along the edges. And they have quite a black toenail, so let's just paint those toenails in. 8. Shading for Plumpness: So while I was showing you the shading, my camera glitch doubt a little bit. So I'm going to show it to you again. You can see it's already been done on a little guy here, but I wanted to talk to you a little bit about color. First of all, I'm going to use Ultra Marine, but I want to show you something. If you're ultra Marine is quite sharp, like that one there at a tiny bit of sienna to it or earth tone, and you see how we can just make it a little less brilliant, then the straight color, and that's a better shade to use for your shading. OK, this is where it gets a little bit scary because we love our little bird and we don't want to muck it up at this stage. So here's what I recommend. Take that little bit of ultra Marine with a tiny bit of sienna mixed into it. I like it to the blue side still, because the blue makes it look shaded and shadowed, and round it pulls things away from the eye, which causes it to to move away from you on the corners of the bird. So I would say, Take that little soft, little bit of this guy here. Then I'm gonna lay it right down one whole side of this guy. Clean my brush, make it thirsty, and just soften it off when you're softening, soften from the white into the color. If it pull from the color to try and soften it, you're just gonna pull that color over the entire weight part of him. Okay, The other very where it needs it on the other side. So right down here under this little Billy clean, thirsty brush self go around that leg. I wanted to stand out a little bit more and right across this guy again. Clean, thirsty, brush softening it off. You don't want to stroke too much, or you'll lift up all the texture that you laid down. There we go. Now let's take a little bit of depth and put it here under the wing because there would be a little shadow cast by this wing. Let's put that in, and I'm gonna leave that without softening it, because it would be a sharp edge because the item casting the shadow is very close to the shadow, so it leaves a sharper edge. I do want him to be a little plumper. And through here something do that same thing. Clean and thirsty. This causes him look more plump and round and a little bit of shading. Do this part of the leg right next to where the foot hits the Trumper. Twig is nice to make that little bit darker. Here we go. Okay, let's back up and have an overall look. 9. Tweek ...or should I say Tweet!: okay, I think our little guy looks pretty good. However, we could add a few more Twiki details. I feel like perhaps we want a little bit of white, just soft, white, fluffy fuzzies that you might see on a bird. So here's a way we can accomplish that. I'm just going to take a little bit of Chinese white, squeeze a little into the corner, my palette here. And then we can take our very fine brush and dilute it down Onley as much as is necessary to get a smooth stroke. If it's too thick, it will glom. If it's too thin when it dries, it will turn transparent. So it's a fine line, and unfortunately, you just have to play with it to figure it out because you can't really measure a millimeter or gram of paint in a mill. Leader of water. It's It's just not that scientific. You just have to get the feel of it. Okay, let's zoom in again so you can see this better. So here we are, zoomed in a bit, and I've got my wake washing the corner of my eye board here. I'm just thinking, perhaps I want to sharpen up some of these little whites along his bottom so very, very carefully with the white wash. Just add a little fluff there. Same and through here. Just watching these transitions where there's a bit of light on the breast. Maybe you could just put a few strokes A soft wait. Luffy pits. It wasn't a very good it's true. Okay, up in through here, like I lost a bit of weight, I was gonna read State some of that can. That's got to be thick enough that when it dries, it won't go transparent on us. But soon enough that you can make a stroke with it. Voted stripling across the page, so each person's painting will need a little different type of tweaking. So it's up to you to decide what you're painting needs. If you're feeling like you just don't know, take a picture of inter scan it, put it up in the Projects section that I would just love to give you some Well, my two cents worth, anyway. And if you're just thrilled with what you've done, I would love to see that, too. So now is a good time to look back at your color image and start to compare with one you've produced. You can tweak any little bits and pieces that you think need tweaking. I was saying some of my weight fluffy Nissen here got a little bit thick, so I'm just going back in with a bit of CNN. Thinning them out had a little more CNN up. Here is a look at the black and white I can see. It's got a little bit more Sienna through here. This transition well, completely zoomed in like this. Every little thing shows up, but this is not what your view is going to see because the camera picks up a lot more picks up, you know the slight little ripples in the paper. So let's zoom out and have a look and see if there's anything else that needs doing. Okay, let's look. I am still feel like it's not quite as fluffy. And here is I would like it to be. Take some of my white again. I just love this guy up a bit. I feel like this blues a little bit sharp. Take a really thin glaze of sienna, just too much moisture. Just soften it back it's not quite so blue saying within here. This is a different brand of ultra Marine than I usually use. So not entirely familiar with exactly how sharp it is. A little too sharp. I feel like this branch is a little flat, so I'm gonna take a little bit two Marine again. Just room it down. Show branch. Just skip over the feet now because we have no longer mast and then clean, thirsty brush, soften that edge. Okay, I would like that. Better. Doesn't jump out at me too much. Perhaps this line here I said to leave a little slip of light here and there. But I feel like there's just a little too outlining their so it's gonna take a little bit. I'll see him again. Harry. Strokes. Feathery strokes. Take that down a bit. Perhaps a little bit too. Looking at that weight again. Just one. No more little fuzzies. Here we go. Let's take over now. This has been a challenging project, so just say very proud of you. If you got to the end and it's just flip this over, So what? Back ground. Here we go. One more Twiki little thing. We might like to do is add a little cast shadow on the stump or on the twig. So, for instance, his leg here might be casting a little show right next to it. And then perhaps that shadow comes across stump like so it should all just blend into this shadow here. And then perhaps this guy does the same thing a little shadow right next to him. And then by here you're gonna get a shot off the whole bird Ross here. So let's play a little bit of that. Just get lends a little more believability to it. And again, I hope you enjoy this class. And I hope you'll upload some of your projects for me so I can have a peek at, um And if you're confused or need any information, all please do send me a message. I just love to give you a hand. So thanks for joining me and enjoy your feathered friends in your neighborhood. Hey, thanks for joining me for painting our little feathered friend. I hope you enjoy the class. I hope you follow me on Facebook, Melinda Wild instagram, Melinda wild and do post your work. I would love to see what you've done to post it. So thanks again for joining me. Enjoy the rest of you