Galloping Brown Hare. A Free-Flow Watercolour Master Class with Jane Davies | Jane Davies | Skillshare

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Galloping Brown Hare. A Free-Flow Watercolour Master Class with Jane Davies

teacher avatar Jane Davies, Professional Artist and Teacher

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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

11 Lessons (1h 28m)
    • 1. Introduction

      3:17
    • 2. Materials

      4:39
    • 3. Sketching Out

      1:11
    • 4. Zoom Lines

      5:03
    • 5. Head and Body First Layer

      9:24
    • 6. Body Second Layer

      8:35
    • 7. Head Second Layer

      11:20
    • 8. Eye

      7:11
    • 9. Head and Body Third Layer

      17:34
    • 10. Finishing Off

      18:31
    • 11. Final Thoughts

      1:16
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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 speedy brown hare without any brushstrokes, but merely placing paint onto wet paper, along with some interesting watercolour techniques that will add light, interest and texture

As with all 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 your watercolour journey and haven’t done my beginner classes, I’d suggest taking a look at those first, they 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!

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I will show you:

  • How to create the beautifully flowing background 
  • How to create a sense of speed and movement
  • How to achieve depth and light using layers!
  • How to paint a simple characterful eye
  • How to pull the painting together with the smallest of tweaks at the end
  • How to do all this with barely any brush stokes

You will be painting this brown hare 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 watercolour, straight from the tube. For me, this resulted in the best watercolour 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"

“Jane is an excellent teacher, and her clear instructions mean anyone, even complete beginners, can have a go and produce a piece of work that they will be very pleased with. Highly recommended.”

“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”

Music by Audionautix.com

Meet Your Teacher

Teacher Profile Image

Jane Davies

Professional Artist and Teacher

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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Transcripts

1. Introduction: Hello and welcome to this intermediate watercolor class. We'll be painting these fabulous galloping brown hare. We're going to be using a few of my favorite and much loved watercolor techniques. You feeling a bit daunted by this? I would like to try something a little easier. Have a look at my beginner classes first, and these can be found over my channel. I'm Jane Davies. I live, paint, teach, I 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 has been fun and sometimes daunting, but it has allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis or as part of a group in a wonderful studio in the heart of the South Downs. I also run a successful commission-based business, painting pet portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time, or I can guide you to keep your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way too. I've provided you with a beautiful reference photo and template of him in the Projects and Resources pages. Don't feel using the template is cheating, this class is all about painting and not drawing. I'm going to show you how to create a zoom lines. It's very easy but an effective technique, and it helps it get you into the swing of the painting. I'll guide you through adding three layers with absolutely no brushstrokes, all the while, keeping him lovely and loose with that great sense of movement and speed. I'll also show you how to achieve an expressive eye using two layers and how to adjust if things go a little wrong. Of course, I'll share with you my tips, tricks and musings at the end to bring your painting to life. If you'd like to learn more about me or my work, please pop over to my website at janedavieswatercolours.co.uk. This can be found on my profile along with links to my Instagram and Facebook pages. I'm very active on my social media pages, for I love sharing my art, especially on stories with many ideas, works in progress and tells of studio life. I really hope you will share all your paintings on the project's pages as I love seeing animal species. 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. Come and join me. 2. Materials: Welcome along to this lovely speedy hare world calculus. I'm going to run through all the materials I'm using today. I'm starting with my paint selection. I've got a nice collection as usual of the Daniel Smith paints. Appreciate you don't necessarily have all these colors I've got, and I don't think you necessarily need them. However, with your paint draw and just find colors. Have a look at that reference photo and be guided by your instincts. If there's a color you particularly like or you favor, or you like the look of, or how it acts, use that. Some of the granulating paints do give a nice texture but again, it's not necessary. You don't need to have that textured look. The paint colors are a little bit up to you. I don't want you to get too stressed about having to have the same colors as me because it's not necessary. I will run through what I'm using. I've got lavender. I like some sort combination into my paint. I tend to have something along a lavender or lilac or purple. Sienna lite genuine, one of my all-time favorites. Some people say, ''What would be one of your favorite paints?'' Sienna lite genuine would definitely be one of those and that's a very dark blue. This is some of the heaviness in this painting. I'll stop there. That's a little bit just of white aggression that's just used a tiny little speck of our eyes. Burnt Tiger's eye, another of my all-time favorites. That is one of the paints that give this nice granulating look. I've got sepia. That's just a nice, strong, heavy color. Doesn't granulate and doesn't move around too much. That's used for majority ash just around the eye really. I've got [inaudible] that as the red coat. That's just again used for the eye. You could use a combination of all sorts of different colors. You could have any sorts of oranges, reds, yellows you obviously mix. Again, definitely, you don't need all the red code. I have got a goethite. It's a brown ocher and I haven't pronounced this very well. Through the recording, I've called it [inaudible] that it's not quite how it's pronounced. You can find all the names of the paints in the resources pages. If you're unsure how I'm trying to pronounce that, have a look on the resources pages and that gives you all the materials I'm using today if you're in any doubt. Just got a little mount. That's just a frame. Give it an impression that it's mounted, it's quite nice to see what it looks like mounted. Underneath, that will get out the way, I'm using [inaudible]. That's 140-pound naught and this has been stretched. I would encourage you to stretch your paper before starting this because we use a lot of water and ideally you don't want your paper buckling because it just makes the work a little bit harder. If you are unsure on how you stretch paper, I would go and have a Google because it would explain a lot better than I could. Then I've got my pot of water, obviously, a little rubber. I've got a little, which I use just to lift my board up because we actually paint. Paint within tilted through quite a lot of it. It just pops underneath there and allows the paint to run down. Anything that's probably [inaudible]. I've got a toothbrush. That's used for spluttering if you like spluttering. Again, it's not a necessary part of it. Got a tiny little tie is number two, and that's used for doing the eye and some little whiskers and bits and pieces. [inaudible] I've got a little eraser brush, which is really good, it's called eradicator, worth the investment. This was actually a gift from one of my lovely Skillshare folks. I've got a Size 8. A hairdryer, I do use a hairdryer. Again, it's not necessary, but if you want some speed to process up a bit, it's quite nice to have it. A quick blast. I think that's all the material. Come on, let's get them painting. 3. Sketching Out: I've already sketched him out just to save you watching me do it. But I shall give you just a couple of little hints on the best way to go about sketching him. If you've used a template, it often and you've drawn around your template, will often give you some so-called blunt end. Definitely worth once you take your template away. Have a look at your reference photo and really so sharp on any, especially its nose and the ears it can give you quite a blunt end. Make sure what we get is lovely curves, these legs. That's quite important to give a really nice shape and a hunch on the back. We also need to have this little line in here because we actually separate the two certain layers. Again, take your time, get a nice shape of the eye. A little bit of mouth. I don't think you need to do anymore. It's just a nice outline. Yeah, take your time with this. It's something nice to look at and appealing to look at a moment in. It makes you feel more inspired. I think it's a paint. Once you've done that, we'll crack on with the next layer. 4. Zoom Lines: Okay, are you feeling ready? So I'm just going to get rid of that because I don't need that, and I don't need the very little brushes at this stage. Clear my desk a little bit. So pick up your big brush, load up your brush with water, no, I need you to put that, whatever you're using to height and give your board a little bit height, put that under there, so that allows you to run this way. So what we're going to do, we're going to wet the whole hare down. Don't worry too much if you don't stay in the lines at least round the head area because we really only concentrating on the back-end here. And this is a bit of an option. If you don't fancy these, go first to lines, which I have to make also so keen. But I'm doing them anyway. So if you don't like the look of them, then just skip this stage and carry on. Part of the class is I'm going to do all the elements and if you choose not to do them, and that's absolutely fine. Choose what you like the look of. So we're going to go down the leg here. Just saying, I'm not going to worry too much about staying in the lines really, just roughly. And then once that's wet, kind of from the back-end and sort of the peak as well as the top, we're just going to wet all the paper behind him, including that rear front rear foot [inaudible]. And if you've got a bigger brush then use that, but a little brush this size will be absolutely fine. It just takes a little bit longer. I want it lovely and wet, so don't be afraid to get it nice and soaked. We're probably going to lift this ball a little bit and get some paint to a bit more running. You want it all covered, they won't have any white or sort of dry patches. And you can test that by just dibbling your head up and down you'll see if you've left any bits. Lovely. So I'm just going to be using lavender, and this brown, the goethite brown. I'm going to put on his back. Obviously, it's going to run off his back and down behind him and that's what we want. We want the go-faster stripes. We're just going to apply some paint and we give it a bit of tilt I think in a minute. So sort of apply them on him rather than to the space behind him. So actually put the paint on the hare. Don't worry about what colors, just whatever you fancy, whatever you like the look of. I have only used these two colors because they are quite the softer two colors. A bit more up here. I'm going to give this board a tilt in a minute and see if we can get some of that running because this is not really running very much. I'm going to put those down. Using my hand, I'll just do that another way [inaudible]. Because that wasn't running I'm loading my brush up with some water and I'm just dropping it and I'm encouraging that paint to run behind. And if it's sitting in puddles here, just encourage it to run off your board onto your table or wherever you're working. I want a little bit more lavender. This is where actually some plates would be handy, or a palette. I'm just going to pop a little bit more lavender there. Just because mine hasn't, yeah, I want a little bit here. I think I'm going to go to make these go-faster stripes. If it's not moving, just add more water, it's the only reason. Once you've got something that go-faster stripes, then we're going to just rest it back down on that little support. And then we're just going to let it dry. It needs to dry thoroughly before we can restart the painting. And you can give a little wheeze with a hair. Once it's got to that sort of tacky stage, then give it a blast with the hairdryer. But, let's say, probably I've said in previous classes, you don't want to put a hairdryer on it while it's still wet and the pigment's still moving around because you'll just blow it all around into a bit of a mess. So we just need to let that dry. 5. Head and Body First Layer: Once that's lovely and dry, we're ready to start the next layer. Now, if you have a slight line where we wet that down, the back behind, then don't worry too much. That can be erased right at the very end. Don't panic if you seem to have a bit of a line here, which I have slightly. It's all part of the process. What we're going to do, we're going to keep it on a tilt. Keep your little [inaudible] up and we're going to go carefully around him. This time take your time. Make sure you stay within your lines. We're going to miss the eyes. We're going to go around the eye. Now I'm beginning to wish I'd actually put a tiny bit more pencil marks on here. I almost lost him. I think I can see. Yes, I can see his little tail. I'm just going to fill in the back little back bit. I'm not going to do the white areas, so just the black. All the legs. It's been a methodical thing, isn't it? Silence. I can feel the silence. Down here, we're not going to get too carried away with all the feet. Obviously, that disappears into the snow anyway. We're going to leave the feet a little bit to the imagination. Read carefully around the face as well, particularly the face because, obviously, your eyes are always drawn to faces. If you start going outside your lines, you'll find you've just slightly distorted him. Actually, I'm going to miss out the far front leg, this one here. I think we'll pop that in at the very end. I've had two ideas of that. But as I'm wetting it down, I'm thinking it'd probably be better left to the end. Don't wet that bit down, and if you have, don't worry. It doesn't matter. What you want to be careful of is any, because we've got less of a tilt and we've added a lot of water, you'll find you end up with some puddles down here. Just so it close up, either with a brush, so you clean, you don't need to clean your brush because, obviously, we're working with clean water, but a dry brush. You can soak that up or we can use a little bit of paper towel and just soak it. We want it to be nice, lovely and wet but not puddling. A bit of a puddle there. Just wash those. We're ready before I add the paint. Now, I'm going to start at the top of the head. I'll put that soggy piece down there. I'm going to keep this quite light. So I'm just going to use the lavender and the gulf light. I'm just going to be dibbling. Just let it all run. I'm not going to do anything, any mark, or anything particularly here. I just want to have just a little bit of violet, I also like the lavender, and a little bit of the brown because we're going to do several layers. It's almost just creating a little bit of an under color. A lot of people asked me to do dogs. This is probably the similar as I can get to how I paint my pet portraits. This is a good exercise and roughly how I would go about doing the pet portrait traces. Just a lot more layers and a lot more sort spent tinkering really, which is not very exciting for you to watch, and I do it over several days. It's a tricky one. I'm just going to start picking up some of my other colors. I'm going to leave the sepia for now, and I'm going to have the other four colors. I've got sodalite, I've got tiger's eye, lavender, and I've got that [inaudible]. I'm just going to dip all the colors really. I'm not going to try and think about it too much. I will obviously want this quite dark up the top here because he's got a dark area up there. I know the tiger's eye and sodalite are really lovely in granulating. I know by placing there, I get a nice bit of texture. You want to keep an eye on there because I can see my tail is starting to bubble if I'm not careful. I'm going to end up with a runaway tail. I'm just going to soak that up. I think what I need is actually [inaudible]. I draw a piece of kitchen roll. It's got a bit soggy. I'm just going to keep working my way. It's best if you got anything on the tail is to work at the front because this area is going to dry a lot quicker obviously than this, so it's always worth starting at the front. Keeping everything as loose as I can. Make sure we follow that lovely line. The back [inaudible]. It really does make a hare a hare, I think, because of these really archy lines. You can squint your eyes and say we're trying just to build up where the light and dark is. We're just working on the dark areas and leaving any light because it's quite light under here, and I'm going to leave this quite light, I think. I'm just going to pop a bit more tiger's over here all while it's lovely and wet and these colors are lovely and soft. They're all just going to blend. Go onto here with the sodalite because, in theory, it's going to be darker underneath. I know it doesn't [inaudible] obvious hare but it always helps. Sometimes you have to do a bit of interpretating. Obviously, underneath is going to be a bit darker than on top. Now, really apply myself. I'm just going to put those down for a second. I really do need another bit of kitchen roll. Grab that across the studio. [inaudible] soaking that up. It's also allowing, I don't know if you can see the paints now being, because I'm sucking up the water, it's pulling the paint down as well. Again, encouraging that sense of movement as well. Let's get rid of that soggy bit. I put that back there. Keep an eye on how it's looking. I'm standing. I normally do. If you're sitting, just get yourself a little bit away from it and see how it looks to you. I just picked up the [inaudible]. I'm just working with that again. It's quite light under here. [inaudible] that chest. I'm not going to do any two obvious with the legs, and I think, at this stage, just a little bit of colors. We're just popping that on the top. In the next layer, we section areas off. Don't worry if it looks like it's running into all the other legs. It's absolutely fine. I'm not going to obviously put anything in there. But like that's doing there, it's running around us. Absolutely fine. This I can see is beginning to dry. Once you get to a stage where it's getting a little bit tacky, just leave it. Any marks like this look a little bit hard. Then on the next layer, it'll soften down. Now, I'm actually quite liking how that's looking actually for this layer. I know that we've got another one to go. Make sure I get the arch of that back just right. I'm just going to put that one down. I'm actually going to pick up the sodalite. I'm going to just encourage that, just [inaudible] tail to be really dark. [inaudible] put that in there. It's got a bit of an old puddle going there, but that'll be fine. I think I need to leave him there, and again, that needs to dry. Again, you can pop a hair over it once it's gone tacky and this isn't puddling anymore, then that's absolutely fine. It speeds the whole process, doesn't it? 6. Body Second Layer: You can see them coming together now, can't you? I love when they appear after the paper. I've lost my line. You may have been a bit better. I'm just going to put this line in that separates the head. If you look at your photo, there's a line here. So go down, we're going to wet here all over the body and we're going to actually miss a little part of his leg as well. I don't really want to put a line, but it is going to be something like this so this part all down here is going to be left dry. So pick up your big brush and we're still on a tilt as well. Still want to encourage that whooshy look. So by tilting it we're allowing that paint to keep running down the body, and again, go really careful around your lines. Don't forget about your front leg, keeping the front leg dry. We bring it to the head then. If you do, don't worry too much. As long as you've got a divide, don't panic. Also, I haven't got my cup near to me and that's usually what I do when I'm painting as well, is dip my brush into my cup of tea. That's way off-camera shot, that one. So back down. I'm just going to leave it out for a minute because that keeps pulling into the tail, so I'm actually going to miss the little black bit on the tail and keep coming around here and I'm going to arc. So you got an arc like this, just fit in that little bit there. All become apparent as I say. Now, again, because this is going to dry quicker in this area and also because I'm giving a little blast with the hairdryer, it warms the paper up so in my painting that you can enjoy a tad quicker, and all we're doing again is just building on those dark areas. We're ignoring light areas and building on the dark. I'm going to again start from the top again, going to pick out that graphite. I'm pretty butchering that name, I can feel it sounds wrong but hopefully, you know what you did. I'm trying to keep everything loose and just dibbling. Lovely, super-richly brown here, isn't it? A little bit underneath [inaudible] there. Hopefully by doing that, as you can see, running outside of that leg, so that's all ideal. [inaudible] When we squint your eyes, it has a corny thing to do, but it really does help. I'm going to pick up, I've got my tigers eye. I'm going to do the lavender. I'm going to pick up that back up again, that coffee. I think I'm going to leave the cell life just for a minute. It's quite blue down there already. It is a stronger color than the others on that first layer. It can get heavy but it's got enough blue so judge your own piece and the colors. You think you've over-egged it on one color, then just leave that color out. I'm just trying to concentrate on the dark areas. Poping bits of lavender just another little bit of color really just to get more interest or while it's drying you can carry on and put color down to say. It is best to concentrate on higher up and we're going to try and get that line in and I think roughly that's where our funny line was there. [inaudible] when it was drawing. I think it probably shifted down while I wasn't concentrating on where I was putting that line. I'm actually going to pop a little bit dark. A little tiger's eye just in there. I want that really to run across his leg. Again, watch I can see I'm getting quite a puddle there so I'm just going to suck that puddle up, that way on the next layers, we lay flat so we didn't have to keep an eye on that puddle. A bit more tigers eye here because it's just got a little blue so I just want to get a little bit more variation in the color there. Trying to keep everything nice and light. A bit more tiger's eye. Judge your own piece. Squint your eyes. Just keep everything lose but have the courage to judge your own piece. Step away from it. Sometimes you can look at it so much you can't see what you're looking at anymore. You are on top of it too much. I shouldn't really be up here anymore because I'm seeing this is beginning to dry. I'm just going to wet that quickly down and we're going to do those legs. Didn't wet these down, did we? So just wet your legs down again. I should have done that wetting-down part but it doesn't matter. We're just going to pop color just at the top right where that joint is. I have just cleaned my brush off. I've taken the excess water off. I'm just going to just pull it down, just encourage it down to those back foot. I really want this to be quite washed out. I don't want it to look too obvious. I'm going to pop a little bit of tigers eye just at the bottom there. Still a little sense of darkness heaviness there. You might even have a little bit of some light there. Nice thing about holding the paints is it's really spontaneous. They're right on top of you. I do like working out of tubes and somebody asked me how I avoid the paints and soon squirting out you take lid off. I think when they're very new, it's very hard or sometimes tack the bottom before I open the lid but I do have a little plate with paint thats escaped from the tube. Apart from that, it's a nice way to work. If you haven't tried, have a go. I'm pleased with how that's looking. I have some some nice movement down there with the paints flowed. I'm just going to soften this line a little bit. Be careful you don't touch. You want little tiny dry line there. It's very tiny. Just kinda let us soften. Be careful you don't touch those legs as well. We will sort this leg out and another layer and fingers are quite handy. They do screech the water around instead of actually soaking it up so sometimes the fingers are quite handy, actually. Although I tried to stop my thought going into the tail, I somehow managed to find that tail again. I'm just going to strengthen that around the tail again. I don't want the tail to be lovely and dark. I think I'm at the stage where I need to leave it so I'm going to clean my brush off, put my things down and let that completely dry again. 7. Head Second Layer: Lovely, how's yours looking? You can start to see that strength being built up; can't you? On the other flip side, you do get an ugly medieval stage with this kind of technique, because we haven't got an eye in there. There's just lots of squishy paint really at this stage, so don't panic if it looks a little bit odd at this stage. What we're going to do, take a little support away. I don't think we need that for the rest of the painting. We're going to be working on the head, and it's a little bit easier when it's flat because we're not having to worry about some bubbles of water. What we're going to do, we're going to wet the front here, not the back just the front, down his neck, and we're going to go to this line, where we wet this down toward where we're headed. There's a joke there somewhere, isn't it? As I'm painting a head. I won't mute myself. Go really careful around the eye. I'm having to do this as usual from a bit of a distance, to avoid my head going underneath the camera, I'm trying my best to make sure I'm staying in the lines but you'll be able to get really nice and close and actually if you like sitting, this is quite a nice time to be sitting now, because we're going to get a little bit more precise. It's always at the beginning everything is loose with the movements said to be in our solution, keep away from your painting. As you progress through the painting, the work comes a little bit more detailed and you could be sitting a little bit closer to your work. Now, we want that lovely and wet but not sopping. I'm just popping my head up and I can see that's a little bit too wet. Be careful when you wet another layer down, not to swap too much of that layers you've already put down. Equally if you've got little spongy bit like I did there, you can just have a little bit with digital softener, hasn't it? I'm going to start making up some of those effects, quite obvious markings that they hair so we're going to work on the bits we want to spread the most and as some details around the ear, that's where we can use CPO. I don't want you to move as much, so obviously the wetter it is the more the paint moves so it's judging what you want to have spreading the most at this stage and what you want to be kept nice and sharp, I believe the sharpest after as it dries. We're going to do some eye makeup and I'm going to try and leave that more to the end. I'm just squinting my eyes, and seeing whether the dark areas, have just picked up the graphite again. He's quite dark around here, isn't he? The head, I'm going to pick up something light. Probably I should target his eye and the satellite are probably my favorite colors if I had to choose. Bearing in mind have you viewed your animals? There's lots of beautiful colors out there. We get to play with those two in Pet Portraits, I'm to try and get that's brown. When I say I want this to sort of spreads, I'm going to add these. We're going to have to take a little bit of color out. We're not going to go anywhere near any of the whiter areas. Going to keep those reserved [inaudible] to understand here, isn't it? At the back of the neck, I'm going to use the, let's see, get them so you can see the names. [inaudible] go Talk Design and the satellite genuine. Popping them on the brush at the same time. A little bit darker on the back there. We will at least should just flicking my eyes back and forth the whole time, almost superimposes itself. This is looking quite good. A moment, I'm going to go and we're going to keep out of the tiger's eye. I like Jan Jan and pick up CPF. [inaudible] You ever played that at one yet have ways to give up your muscle to get that lovely dark tips at the top of the ear. Just placing nice concentration that's owed to the CPS is a lovey, dark, concentrated color so it doesn't spread too much. One of the reasons you have tiger's eye and so like spread and very granulating with this is almost the opposite. A little line down is there, lovely white area there, isn't it? Definitely don't wanted to go into that. As he sees drawing now, my paint shouldn't move as much. Again, a little bit of control. That way the tiger's eye is so soft, mist disappearing on me. We'll add a little bit of sepia with it, stops it spreading out much. Quite often I'll be used paints for what they do almost rather than woven and the color they give me. Pop the tiger's eye down, satellite again. Do you want it to be nice and dark there? All must be working with my little brush at this stage, almost in your big clumpy this big brush. I think that's so now, [inaudible] when we do the last little bits and pieces, I can take some color out and adjust when needed. You're going to pop a little bit of a dark down here, isn't it? You can pick up [inaudible] and suddenly you have a feeling it was too big. Always trust your instincts. If you can be happy. A little bit better shape. Now before this dries the back of the neck, I want to just pull out some of that fluffiness. Like we've done with the other subjects in the other classes, it's just a matter of push to be better. Justly you start somewhere here and just flick out. Don't want to go too crazy with it. Just a little bit. I think that's probably enough. Got a little bit of a line going here [inaudible] him and resold to make sure I go in there. Certain things that make your hair-hair. Add these dark marks. Definitely it will go wrong like that outside those pencil lines. Just leave it because that can be tidied why to the very end. Because if you try and tidy now and add water to it, you'll spread and spread for you, before you know is halfway across the paper. Now, I can see this joint just about perfect. Just a little bit. It's still damp. But hopefully if I put the CPU and there we can do heat only makeup. Again, nice concentration on a little brush and go really carefully and try my best to go from a distance. Hopefully, if we catch it the right time, it should just gently blend up constraint, detonating, keep going around and build up that sort of eye makeup. This way, if your eye some reason I didn't look the right shape or you've put in your own while doing the layers, you've gone in a little bit, you can reshape it at this stage and go in a little if need be. Well, I can see that looks okay. Booting excuses for myself put him away from his paintings a little bit darker there. She going to add just little light up here. I'm just going to take some of that color out just while it's damp still. Bosch again, be really careful because if you're using the same colors is made the tigers, I comes out ever so easily. I think that is looking pretty good. I think that back here looks okay. Now it's beginning to dry a little bit. Make sure I get that nice little white because that's the real character of these hairs. I'm going to put the most tiny sit line. I can manage this from here. Just down here, just give a little wipe there. I think I've managed it. Pop my little error there, which is kind of distorting my view of it. I'm thinking I'm pretty pleased with it. So that's just got to dry again. [inaudible] Patient. That's almost dry enough. I could almost use a head rush right over that. Let it completely dry and then we do the next layer. 8. Eye: It's on with the eye. I've got to get rid of that little mark there because it's distracting me. I've picked up my little, I call it eradicator brush. Definitely, one of my lovely Skillshare folks gave this to me. A really lovely gift and it's brilliant. That's better. Put that to one side again to pick up my little brush. We're going to go inside the eye. We are going to, really carefully, wet the inside of the eye. You want to just touch the make-up or the eyeliner that you put into the very end we put that line round, didn't we? You want to go right up to that. We have here aussie red gold, or a similar color. It doesn't have to be this. We're just going to dibble that in. Almost just painting, you just put in the color in. Nice amount of strength. Then pick up your dark light. A little bit too much water there. Just dibble that underneath the eye. Just to give it a little bit of darkness. You can see it's darker at the bottom, isn't it? Than it is at the top. I'm just going to pick up that aussie red gold again, clean my brush. I want this quite sort of sticky. I want it quite concentrated. That looks fab. That needs to dry. I'm going to let it just go off a little bit and then whiz it over with a hair dryer. Once it's nice and dry, grab your little brush again and we're going to pick up the so delight and sepia. I think on that reference photo, he's obviously looking behind him, a little bit worried. I don't want to follow that exactly. I want to put the pupil just a little bit forward so he's looking forward rather than backwards. I'm going to start down in the middle and we're just going to gently work out because always looks really strange, especially hares because it's got such an obvious pupil. That is quite odd at the moment. Don't panic, just keep going, just gently keep working outwards. I'll go really quiet now because I'm trying to get it right and look away. Put your head up or take a little step back and have a look at it, See how it's looking. I still want it a little further forward, I think. I don't think that's actually too bad. I'm going to do a little bit more tinkering in a minute. I'm going to do now on my sepia. I'm just going to close this in a little bit. Just a tad. Keep an eye on that reference photo and just shape the eye. I'm just using that sepia. We'll wet all of this down again in a minute. There's a strong line. I'm just going to re-emphasize this line again. Put a little bit in the front. I think you could actually shake that a little tiny bit more. I'm just going to pick up the graphite again. Actually, what I'm going to do is take a tiny little bit of color, at the top. I'll clean my brush, taking all the excess moisture. You don't want it that wet. You want it just moist and really carefully. If you're in doubt, let just let that dry, but I'm just going to go for it. I'll take a little bit of color out at the top. This is where you could fiddle for ages. Don't be afraid. If you want to fiddle a bit longer than I'm doing, because I don't want them aware of your watching me. You don't want to watch me spend hours. Hours would be an exaggeration but a little while. Just getting this right. Take your time, look at your reference photo and really get all those shapes just right. I really want to get a little bit close to it. It looks alright. I know when we a wet this down again, I can just gently reshape. I think this little bit has gone a little bit too far up. I think that will be fine when we've done that next layer. What I'm going to do, I'm going to let that completely dry. Although it hasn't got a little white catch light, it always helps. It makes them just to become alive. Let that dry first there. I've got that little bit of white gouache which has been to the side of my table. It didn't look aesthetically pleasing next to the other paints, so it had to sit aside. Just going to wake this up. It's always quite creamy. You can always test it on a little scrap of paper just to make sure you got it lovely and thick. We're just going to pop a little tiny bit of cash light just by the very front. That's helped, hasn't it? I know I can tinker a little bit further in next layers. If it looks a little odd to you at the moment, don't worry too much but if it's on the outside, we can tinker with that. Let that dry and it's onwards. 9. Head and Body Third Layer: On with the next layer. What we're going to do, keeping it nice and flat, we're going to wet it all down again as we're going to do that leg as well. Really carefully, especially around the head because we've now got two layers but we're going to miss out that back ear, that's going to be gone. Just a little hint of it that's going to go on at the end. So I want to go really lightly over this. I actually don't want to do anything probably to that hair and probably not a lot to the head. I'm going to just tinker around that eye and strengthen and not take anything out. So go really carefully. Although I'm wetting everything down, it doesn't necessarily mean to say I have to alter the whole subject, it's just to avoid any lines. You may have a line here at the moment, where we've joined the two up and obviously a line probably within that leg as well. Lovely and light. So you just let that brush fall. I'm only going to do the front leg again. I'm going to leave that back leg. I'm going to do it along with the ear. Carefully work all the way around. I'll put that back. Again, I'm going to miss out that tail for a minute, although it's not on a tilt. I quite like to leave it separate for a minute. We're hearing lots of noises on the back of the audio at the moment. I've had all sorts of things going on today. I've had tractors and lawnmowers. So you have to excuse any background noise. I'm just going back over the head because where I put a reach the head right over it and my paper's warm so it's dried a bit quicker. You want it all lovely and covered so you go really careful. Take your time. There's no hurry at this stage. All nice and wet. Again, you don't want it puddling, and I've got some big old puddles here which I'm going to just take out with my kitchen roll. Yet again, my paper stretching probably hasn't gone quite as good as I had hoped it would've done. So it's buckling a little on me. Lovely. This stage, we're just looking at either taking any color out if we think we need it. Sorry, still fiddling. I think we're quite warm in this today maybe we should be struggling with this drawing on me so I'm just trying to keep it all nice and wet. Again, we're either going to be strengthening or taking out. So have a look at your piece. If you think it needs strengthening somewhere, go for it, strengthen it up. So I'm thinking this line here hasn't got very dark. I have the tiger's eyes. I just have a little bit of a handful going on here. I think I'm supposed to use that lavender as well. That should be the [inaudible] behind my bush, it's not. Let's just get rid of that very carefully. [inaudible] That's better. I don't want to make it too obvious. [inaudible] might make it a little too obvious. Let's use a bit of tiger's eye to soften that again and one on the back of the neck. This way, you can take a little bit of time in getting any markings here that you think you may have lost or haven't put on strong enough. Equally take it out. I'm going to take a little bit of color out in a minute. Let's have a little bit of strength in that. Keep coloring up a little bit. Let me touch on this nose, just getting that shape right. So if you can [inaudible] get the shape right, this is overall a great time to deal with that. Nice little tinkery parts, and because now we're on our third layer, you'll find your paint won't move as much. This is where you gain a little bit of control. You can see we've still kept that join. You can still see the whiteness of that front leg compared with the back, if that makes sense. We've still got that join, haven't we? Actually if I add paint here, it's not really going into that front leg. I'm just going to open up a little bit down there, and if it does, just gently soak it up. I'm going to try and be a bit methodical. Let's try and go round in some sort of order. If I try and work around this way to join this leg a little bit of color once, that's a bit of burnt tiger's eye. I have little bit of graphite. I don't want to make it too obvious, the legs, because they're obviously moving really quickly and I don't want to put too much emphasis on them really. Let's have a little bit of lavender. We haven't used it, have we yet? So dip a little bit of lavender in there. Always try and clean your brush off between each dibble with the paints. I wasn't about to. I think that's almost enough for that leg. I don't want to get too involved with it really. I want to make that a little bit stronger there. They're moving really quickly so if you put too much emphasis in detail I think on the legs, it makes it look a little bit more stationary again somehow. As we're going around, let's have a little bit of soda lite. What was I saying about cleaning your brush off between paint? Picking up the lavender. A little bit of soda lite, a little bit of tiger's eye and I want to do some fluffy bits. So I need a little bit of paint to pull out those colors with. So in theory, be a little bit heavier and darker down underneath, though it doesn't necessarily show in the reference photo. Sometimes you have to do a little bit interpreting. Again, just pull a little bit out very carefully. You don't want to go too mad. Leaving me a bit of a thick fluff. That's better. If you painted this really large, you could have made this quite nice and obviously quite fluffy, but this is not a huge piece, so I can't get it quite delicate enough. I think that's certainly enough. A tiny little bit on the hair, isn't it? Add a little bit of [inaudible] to my brush. I'm going to add tiny, tiny flicks, trying to keep everything as loose as I can. Starting there, not on the edge, but a little way in a little bit. It just helps your brush make a nice natural movement rather than being stuck in the end. They're all going backwards because he's obviously flying along. Again, try not to put your hand in the foot, so I can do this angle. It's beginning to dry, so I want to try and get this fluffy bit before the paint dries too much. Not too much, that's probably enough. There's a tiny bit here, isn't it? We're going around doing fluffy bits. The foot dries. Now, I'd like a little bit of that [inaudible] a little bit further up here. I'm just going to tap a little bit in really. I'm just going to add a little bit more water. While it's just tacky still, as long as everything is just tacky, he's peddling here and drawing up here. Not having my paper stretch properly. It's just looking a little uneven to me. It's not following through enough, so it's worth just looking at your piece of paper, looking at your painting, just getting away from it a little bit. Sometimes it's worth, between the layers, go away, make yourself a cup of tea, come back and assess and look at it in case you'll see it with a completely different set of eyes. Too strange. Or take a photo of it. I found that really helps bizarrely. Sure there's some reason for that, but if I take a photo of my work. I'm adding a little bit of lavender because I feel I haven't added that. I like the lavender. Sometimes go with your gut instincts. If you feel something needs something somewhere, what color needs adding somewhere, then add it. Yes, taking photos of your work with the camera phone really helps. It's a strange thing. I often right at the end of pet portraits, I'll take a picture and will work for my camera phone because I can see it somehow from a different perspective. Now I'm just going around a little bit squinting. I just want to add any heaviness. Honestly, I want a little bit there. That tiger eye spreads a little bit too much and it's quite a sharp, precise, little bit, so I've just poked up a tiny little bit of sienna, sorry sepia. Sienna, I haven't got any of that today. Sienna has a little bit of tiger's eye. Well, I think I rather like him, and I think if I do too much more, I'm going to lose what I've got. It's looking quite nice. I can see this is nice and wet still, but I just want to go and concentrate on the tail. I'm just going to add Sodalite Genuine and a little bit of sepia. I'm just going to join that up now to his bottom. We will right at the very end, we'd join this little line up here with some wet water. Water generally is wet. With a little bit of water. But at this stage, we just need to emphasize that really dark. I am obscuring the painting. I'm just going to do a few little flicks really carefully as I am going backwards because he's moving quickly. I'm going to pop those down for a minute. I just want to go back to the head and see if I can correct this eye a little bit. Now, they have quite white around the eye and that really shows in this reference photo as well, doesn't it? Just by gently, with a little brush, it's clean, and I can just take that color. She said it's clean. Take that color out. I can adjust the eye if I felt it was a little wrong shaped. Just very, very carefully adjust it. I'm having a huge difficulty seeing it clear enough from where I'm standing, but I think that's looking all right actually. I'm just going to pick up a sepia. He's got quite a dark eyebrow up here, isn't he? Well, I've taken a little bit of color out. I've almost taken a bit too much of the paint out along with it. Let's say just beginning to draw, it's a nice, it's a really lovely consistency at the moment. I know I can really build on those markings. You'll get like a sweet spot and you think, "That's just perfect. That spreading just enough." I'm going to pick up Burnt Tiger's Eye along with it because that's a nice, soft color. It's getting to know your colors, really, and how they work individually. It's got dark down the back there, isn't it? We haven't touched that ear because I was quite happy with it. I'm not actually going to do anything to it. Put just a little bit of dark down there to try and join that up. At the moment, that spread there is making it look like he's got a funny grin. Just get rid of that. It could be tiniest little bits of paint movements, and you've added something or take an expression away. It's extraordinary. I am pleased with him. How he's coming along. [inaudible] that little bit of dark patch in there for his nose. I don't want it to be too stuck on. It just adds a little triangle, isn't it? At the moment, it's just nice and soft. I'm just going to spread. Give me a little tiny bit of the spread but not too much. I'm just going to pick up my bigger brush again. Put those down. That's a tractor going past if you can hear it. I shouldn't take a little bit of color out of here because it has got a nice white patch underneath it, hasn't he? Actually, I need something there because it looks like his neck, that body is coming up into the neck. Just add a little bit here. This way you can spend a while doing these little tiny bits, and that is what makes a difference. It's not always that much fun probably for you to watch because you've made different marks at this stage than me. But I'm just glancing away from him. I think he looks pretty good. Just this looks a little bit clumpy to me. With a clean damp brush, I'm just dibbling a little bit just to take some of that clumpiness away. I'm just going to take a little bit of color out of there, just background that leg again. It's got quite a nice sharp white line there, hasn't it? By taking color out when it's still damp, it leaves it soft, it doesn't leave it too hard, so it's worth taking bits of color out while it's still damp. I probably took a little bit too much away. I'm just adding it back in again. Pull that leg up a little bit more because I've got a lot of water sitting here in a moment as you can probably see. I can get a swing of that leg going up. We are already dibbling. Try not to paint. I really need to leave it there because I feel myself over-fiddling. That, again, needs to completely dry. Then we can do the furnishing little flourishes really, and at this stage, your hare is almost done. 10. Finishing Off: I think this is one of my favorite little bit. It's just to finish all these little odds and ends off. You've got the back ear to do and the back foot. Got a little tail to do and I'm just going to have a little tinker with this eye to me. Obviously, your eye is going to be very different, I'm sure, at this stage. It got a little bit too deep here so it might be helpful for you to see me have a little tinker. I'm actually going to do that little bit first and then do some other little tiny adjustments. Then I'm going to put the color on there just so I don't do something silly like that and put my hand over it. I'm going to wet my tiny little brush down, I'm going to take the excess water off, and then I'm going to try and just take a tiny depth. They've got quite a lot of a white surround around their eyes. I'm going to try and see if I can get that back. That's automatically already made a difference to me. I might actually put that one down and just pick up this little razor brush, give me a little bit of a harder edge. I'm going to go just very carefully. Nothing is wet. I've got all the time in the world here, I don't need to rush it also. Just take your time if you're taking bits of color out so it's actually with just a damp brush. Now I'm just basically scrubbing the paint away, there's nothing much more technical than that. I have a tiny little bit here. I don't want to emphasize it. In your reference photo, it really looks like he's going looking backwards. There's quite a emphasis here on the white, I think because he is staring backwards, which I don't particularly want that look. I'm going to make sure the white's a little bit further forward just so it looks like he's going looking forward rather than looking back behind him. I think that's just isn't enough for that eye, what I will do is put a tiny little bit more brown just to give that a little eye make up back in again. But I'm going to let this little area dry first before I do that. I just want to do a little bit harder edge out of that. I can dab that again with my paper towel. That takes a little bit more out, doesn't it? I'm just going to work my way around the painting where I'm going to take light out for the moment. I'm just going to do a little nose, just a little bit light here. Isn't it a little white? I mean, you could be very clever and reserve this when you were actually doing it but I don't. I tend to take color out with the little brush, little tiny bits anyway. We've already taken that white out of there, underneath his neck earlier on. But I might just, just in case there's any line here. I just want that to really give that a lovely look of lost and found there. I just want to get rid of any line that might have been there. Work my way around, I don't think there's any. Here I might just swap brushes again, something a little bit softer. I'm going to use my big brush. He's got quite a defined leg because we've let one of the layers at least wash over the leg area. I just want to see if I can take a little bit of the color out of here. Again, just tiny amounts and sometimes you need to get away from your picture a little bit, stand up or even just look up a little bit if you're sitting. Because sometimes you can work so close that you don't notice the overall effect when you're taking color out. I can say it's worth trying to get a little bit of a distance from your painting. Dab that out. If I look away even with the fact that I'm standing, I can see that looks a little bit better. Just giving it a little bit of definition around that leg. That's probably enough. Back leg, I don't want to do too much, although there's no light particularly showing on the reference photo, I might just do a tiny little line, dab it with my finger. It's just enough, I hope, for the eye to see that there's two legs and they're not just joined. I'll just delete that with my finger. That's enough for me I think. Working around, I don't think there's any light I want to take out of here. I'm going to take the minutest, it's quite a line here, I want to take this line and get rid of that. Really gently, I'm just going to try and get rid of that back line there and it's the most tiniest of movements. That's just enough for us. I've just lost that strong blue line that I had. Rest of it, I think I quite like. I don't think there's anything else I really want to take out. Oh, it could be I could take a little bit out of the ear just to regain that white, so I might have a go at doing that. Let's see if I can reclaim a bit more white back there. As I said, probably earlier if you've done this larger, you could have actually worked some little bristly hairs like we did with the bear. We did the bear class. On his back leg we worked in little bit of hairs so it gave the impression of hair into that white. I feel I'm beginning to waffle, and [inaudible] if you haven't taken the bear class. But this would need to have been bigger to have been able to do that. Because this subject is not huge, but if you'd upscaled it, it would give you a little bit more scope to do some finer details, but I think that's looking all right actually. I don't think I want say much more. I hope someone's not going to be left with a bit of a hard edge. I'm going to go and do this back ear first so I'm going to pick up my big brush, take a little excess water off, and we're just going to wet it down. Just go really carefully, make sure you stay within those lines. I'm going to pick up my Sodalite Genuine, and the burnt Tiger's eye. I'm going to put the two colors on our brush at the same time, I'm just going to touch the very top. That's gone a little bit Sodalite Genuiney so I'm actually going to add a little bit more brown now. I only want the minutest of hints really. Working it down if doesn't want to spread away down. I'm going to put just a little bit of a stronger tip. It spread a little bit too much so I can just gently suck it back up just like that. Because that brown is really soft I'm going to add a little bit more. I want to strengthen this part and leave this little bit lighter out of the two sides. Actually, I think that's job done. I'm going to do so similar to this back-rear foot as well. Again, wet it down, stay really well within your lines here, just take your time. All I'm going to do is try to emphasize. I'm just going to just paint around here so I'm going to start off the Tiger's eye. I don't want the Genuine. Sodalite Genuine is a little bit too harsh, I think, and hard. I'm just going to drop the little color so that's the lavender and tigers eye together. Make sure you really want a little white line. Make sure you get it right against that front-rear foot, I don't think we have feet there. I'll say judge your own piece. If it's looking a bit harder, how do it feels like you need a bit more color or vice versa then, yeah. I've just added more water that has just allowed the paint now to start to blend in. That again, I think I'm going to leave at that. I really don't want to make that foot stand out too much because this is already quite a pale front foot. That's done for the feet. I'm going to pop those two down, and we're going to do the tail. All I'm going to do, I'm going to wet the black, and then I'm going to run roughly where our line, probably like me you probably can't see the line anymore where the tail was if you drew it in. But I think you can probably see it clear enough using your reference photo. Just by wetting the top of the tail and all that painting there, that should just spread enough down to the bottom and just give you the impression that's a white tail with a little bit of fluff. Again, you can put your bigger brush down, get a little one, and you can pull out a little bit of fluff. You'll be surprised once that dries up, it'll just be enough to give that impression that it's a whitetail there with a bit of shadowing, so don't over-egg that. Put that down. Actually, I'm going to keep holding that. I'm actually going to grab that sepia. This is probably something you probably won't need to do because you may have done a perfect eye. I want to just, I can do that from where I'm standing. I just want to add that little bit more makeup. I'd just taken all of the brownout and it was a little bit too much for taking that much out. I'm just going to very carefully paint it back in again. Again, it's just a tiny suggestion and it might be just a little bit that goes on. There's probably worse enough there. I think I'm done. It would be nice to get a little bit closer to it. You don't want to do this from a good foot away and it's a bit tricky to see exactly the tiny small detail, but from what I can see, that lack looks about right. I'm going to put the sepia down, and then we can do some whiskers. I've picked up my gush, I'm just going to, given lobbying sticky because you're going to do some quick lines back. You can practice this. I should start a little bit behind, slowly work my way down. You can see that hadn't got a nice tip to whither down again, I get a nice tip. I end up doing this suggestion till I actually hit the paper, and then I can hopefully acquire a nice quick little movement of lines. Now again, if this would have been better probably you had the hare been a little bit larger, we could have actually put some masking fluid for the whiskers better. The masking fluid on something a subject basically. The subject is a bit too small, so the whiskers already have been a bit chunky I think. But I'd say if you would up-size your hare, you could have done that. Is more from a filming perspective or I haven't made this hare a bit bigger. I can't fit it all in my camera. Actually, what we'll do, we'll put that down. I'm going to pick up the sideline genuine. Let's put a few dark whiskers in as well. Now let's point here. When this whisker is chunky. Again, same movement. You can practice this essay on a little piece of scrap papers, you can get the kind of feel for it. Oh, that's what you need to avoid these putting new big old hand in your painting, I think is still wet. It's going to try and do some back whisker, backlashes. This sudden get rid of in a minute. Once that's dry, we can take it out. I think that looks quite good. I don't want to do too many. I don't want them going forward either because of as he's running, so these whiskers are going to be whisking out behind him. Whisking, I am not sure if that's a correct terminology, but they're going to be blowing up behind him so that you don't want to necessarily add them forward. I think we're almost there now. I think would take it out. Still like to get a little bit on him, I'm going to try and do a little brown this time. Troubling me having to, I use to get them strong enough. Better? Yes. I think that looks better. Minute things, isn't it? I don't know, join that out so I can improve on see to be clear. Be careful if you do take color out like this. Is not to touch these wet area, leave a tiny little white line because if you wet, I can show you. If I wet this down to try and get rid of it, obviously encourages water back into the foot and then water back out to here. You want to try and avoid doing that. Ideally, you leave it completely dry and take it out, but I want you to see the finished picture while filming it to see what it looks like when it's completely done. Mr. Bolivia, actually one of the things I was going to do is a few flicks. I don't know if I really want to add flicks, but I'm going to see see, you can see what they look like. Again, is worth testing on a little scrap of paper before you sort of commit to these, but it's just for the toothbrush. Let me see if I can move this out the way before I can plank a piece of paper on top of him as well. The flicks off, you get a toothbrush finger underneath there and you pull backward. You should get a nice refined flick with toothbrushes. Alternately you can tap, and in theory, it gets a nice big bloops. Want to be doing but let's pop a little bit big for our hare. I would definitely stick with the flicks. Now, we're confident now of how these flicks are going to look, get rid of that. Make sure you bring back the hare. I'm just going to right-angle, just going to flick the feedback from here. You may decide you don't want the flicks, but I like to give you all the options. I think that's plenty. I think I'm done. I was pondering, putting a little bit of ground in there. Let's have a little bit ago with a bit of ground. I'm going to put those flicks on there. It's going to give a tiny impression of a better ground. The only reason really I quite like them, I don't necessarily like surfaces on them from honest with them. Because our foot sort of a bit of a blunt end Disney there, it's not going into anywhere. I'm going to pop a little bit of lavender in there as well. Let's give just a tiny, tiny little impression on this. He's actually got something to, he's running on that. Soaking on it wet, to get rid of that. Well, my thinking's now got you. I think that's the job done as they say, so I'm going to put this down. I don't think there's any else we need to take out or fiddle with? That's my friends, is your lovely galloping hare done. I look forward to seeing these on Skillshare. Please do load these up and share them because we've got a lovely community we're going now. People do love to see other people's work so please do share them. I hope you enjoy painting him. 11. Final Thoughts: Hope you enjoy painting the scalping brown hare. It's one I wanted to share with you for quite a long while. Did you enjoy creating those layers? One on its own isn't very exciting. The building him up like this, you can see how you can influence the painting. How did your eye go? Hare's eyes can be a bit shocking when you first paint that pupil. Stick with it and don't panic. Remember, you can always step away for a few minutes. It really does help. Did those tweaks at the end pull your painting together? It's really important to take you time. It can make all the difference to your painting. We look forward to seeing you in the next class.