How To Paint A White Tiger in Acrylics | Charlotte Jordan | Skillshare

How To Paint A White Tiger in Acrylics

Charlotte Jordan, Artist | Entrepreneur | Teacher

How To Paint A White Tiger in Acrylics

Charlotte Jordan, Artist | Entrepreneur | Teacher

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12 Lessons (1h 9m)
    • 1. Introduction

      1:50
    • 2. Supplies

      2:04
    • 3. Background & Prep

      1:36
    • 4. Base Layer

      7:00
    • 5. Second Layer

      9:05
    • 6. Stripes

      8:48
    • 7. Shading

      3:29
    • 8. Final Fur Layer

      7:48
    • 9. Painting The Nose

      10:28
    • 10. Painting The Eyes

      12:56
    • 11. Whiskers & Finishing Touches

      2:18
    • 12. Final Thoughts

      1:16
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About This Class

This class will show you step by step how I paint a white tiger. This is an advanced class for students looking to gain new techniques and develop their animal painting skills. I hope you learn something new from this class and are inspired to tackle your own painting of this level. Remember that you always pause or rewatch the class to really grasp the techniques that I use to create the semi-realistic tiger.

Meet Your Teacher

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Charlotte Jordan

Artist | Entrepreneur | Teacher

Teacher


 

Charlotte Jordan is a Florida based artist from England. She is also a student of veterinary medicine and a animal enthusiast. In her courses, she will teach a range of artistic skills that she has honed over the years as well as ways to market your pieces.

Her work explores the surreal and the beautiful. The animals she paints are often brought to life with her unique style and perception of the natural world. Felines are one of her most favorite creatures to paint, but she loves to experiment and challenge herself, as well as teach and inspire others to use their creativity.



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Transcripts

1. Introduction: Hi, my name is Charlotte children. I am a real animal artist based in Florida. Today's class, I'm going show you how to paint this White Tiger, Red Pine me here. It will be in advanced fast, and it will also be in acrylics. How about many of the techniques I use can also be applied to foils. I can painting all my life. Over the years, I've picked up some techniques and a few tricks and even shortcuts to create really realistic looking animals. Almost as if you could reach out through the painting and pack them. If you need a refresher on how to use acrylics or just to get comfortable with the medium. Again, they do have a beginners class that you can take, as well as a few others to really get back into working with acrylics or just refreshing your memory with some techniques. So I hope you enjoyed the class. Feel free to stop the class at any point or rewatch certain parts to really grasp the techniques that I'm using. And let's just get straight into the first session. 2. Supplies: So for this class we're going to be meeting some supplies. Obviously I will be using acrylics. And for the brushes, we're going to use a small selection of brushes right here. First brush you're going to need is probably a wide flat brush. This is sort of a medium size, nothing to beg. And this will be really useful for covering a lot of ground. The next trial be using quite a lot is this brush right here. As you can see, it has bristles splayed out to create the fur textures that we're going to go for. The next brush we're going to use is this flat angle brush is quite a small size. You could say, this will be really useful for covering some of the areas and getting into those Next and crannies. And then finally a little detail brush here, used for details. Quite straightforward with brushes. I'm only going to be using these four brushes at for this entire painting. So really simple, very straightforward stuff. Obviously only a jug of water, your palate, as well as towels to dry our brush as possible on. And we'll be using a few select colors for this painting as well. Obviously, black and white is going to be our main colors. Reds to make our pinkish colors, as well as a little bit of yellow and obviously some brown as well. You can use either burnt umber or raw umber, Whichever you have available. And occasionally I do like to have some glazing medium on hand just because I find this stuff is really, really useful for tinting colors and creating really nice depth. So glazes also really good to have. You can also have a spray bottle on hand with water and just to keep your palate or your paints, wet, washes are still working with them. You may also want to use some Prismacolor pencils. I just have a black and a white one for the whiskers at the end. You can use paint for that as well, whatever you prefer to use. So let's get into the class. 3. Background & Prep: So you can see for the canvas I am using, I've already gone ahead and sketched up my tiger. Again. You probably want to use a reference photo for your image or your tiger that we're going to be painting today. Just to keep as accurate as you can get it. I have included a little moth on my tiger. Again, you don't have to include that. And this is just for my own painting that I was working on. I will actually be doing a class devoted to painting different kinds of moths in the future. So that will appear in that class. And ask for the background. He can choose any colors you want for the background. You can see I've been spraying on some sort of pink paints and then I'll be going over that with a palette knife and just putting some white while stack is still wet just to create some texture. And so it's not so pink. I wanted to go for a very light palette, whites, yellows, and pinks for this particular painting. Further, if you want to do a regular colored tiger, can feel free to use oranges and things like that. And then as for the background that you can include a background if you want, or you can just simply paint the tied off, whatever you prefer to work on. Again, I would advise having a reference photo just because it will really help you see all the different aspects of the tiger that you're working on. 4. Base Layer: So to begin our tigers, we're going to be using a large angle brush here or a large flat brush of any kind. And I'm also going to be starting with some burnt umber. Now the reason I'm using burnt umber is because it is warmer compared to a raw umber. So that is something you might want to consider when choosing your colors for any painting. What's Walmart, what's cooler? What look you're trying to achieve? I was trying to achieve a warm kind of look with my tiger, with the pinks, yellows, and then the burnt umber. So I'm starting with the burnt umber. I've added a little tiny bit of black to it to get really dark burnt umber. And I'm starting to fill in the areas of my tiger that will be the darkest values. Now you want to pick an area where a light source is coming from. For me, I decided to choose the left side, or in the tigers case, it would be the Tigers right side of his face kinda more towards the top of the canvas. That way I could focus the light on that side of the face and have the shadows focused more on the other side. So you definitely wanna pick a light source for where your lights and shadows are going to be. This is very important to really help you understand how it's going to look and it really gets a nice base on for your tiger. So we can really have that shows through the different layers. So I'm just going in filling in the areas that will be the dark areas on the tiger. Again, it doesn't have to be perfect. It can look a little scrappy looking just as long as you get a basic just the different shapes and areas on his face. You'll notice that even in this stage, I am following the direction of his face, trying to stick with the directions as best as I can because it just helps portray the illusion of his feet pointing in the right direction. And you'll also see that some of the areas where his features are drawn in, I've left some little gaps. This just helps me find the features later on so it doesn't get to muddled or too messy. Now, we will be adding a little bit of light or white into our dark brown that we're using right now to create a midtone. Now we're going to use this midtone to fill in the areas that are not the brightest but are not the darkest either. The mid-tone, you'll probably cover quite large portion of your value layer just because it's pretty much a light piece. There's not too much shadows. You do want to keep most of your paint wet when you are working in this layer because we are going to be softening up the rough edges and also blending all of that in a little bit. So do try and keep your shadow areas as well as everything else you're working with. I would recommend having the spray bottle. On hand just to achieve that. And then finally adding a lot more white to that mid tone that we're using to create our lightest value. And we're going to go in and start to fill in some of the brighter areas on the tiger's face. I also want to mention if that is a point in this class that you feel confused or that you need to pause the video or rewatch a segment. Feel free to do so. This class is meant for advanced painters by understand that some of these steps, you may want to just pause and see how my tiger looks compared to yours. So do feel free to do that if you get a bit confused. All right, so now we're going to switch over to a rake brush right here. Wraith brushes just approach that has some little bits on the end splayed out a bit more. Really, really useful to have in your toolkit. I would recommend that you keep it break brush on hand. If you paint a lot of animals, they are just super useful for creating. For. Now I am going to go back in with my angle brush just for a second, just to reapply some wet paint in the dark areas just because we do want to keep the paint wet so we can easily blend it all together just so it's not a little rough looking like it is now. And then you'll take your rake brush. You want to keep earache brush dry. Don't need to have it where or with paint on or anything like that. But just going to be softening and blending those values together to create more of a gradient feel across. And it'll also help to add in some texture. Along with that. Again, keep the brush strokes in the direction that for typically grows. You may want to study your tiger reference photo or any animal reference photo really that has for this is a really good way to learn how the firm grows, which direction it typically faces on a lot of your animals. So keep that in mind all the way through your painting process. It's very important that you keep a realistic mindset in place when you are painting semi realistic or even hyper-realistic and animals. There's going in with a rate brush, there is no paint or water on my brush and drying it off every now and then just because I don't want to pick up too much paint and accidentally drag in any dark paints into the light areas, cetera, et cetera. You'll notice the lines were little gaps that I may have left open earlier on now filled in pretty much a few places around the jaw that I leave just for the time being. But that's pretty much all you're gonna do for your base layer. It's just a really easy layer to create, to find our values and get our basic shapes. 5. Second Layer: So once we are waiting for these layers to dry on our previous base layer, I'm actually going to go in and fix a few things with my background as well as a few things on the tiger itself. I just wanted to add a bit more of a pink defining line between the background. Thus the tiger, simply because I'm doing a white tiger on a very pale background. So I wanted to make sure he would stand out. As for the Tigris self, There's a couple of areas that I wanted to patch up, such as the edge of his main there, it looks like It's been taken out of that. So that's what I'm doing right there. Now for this next stage on our tiger, we want to wait for our base layer to dry. You can add some dark areas onto your base layer if you're wanting to deepen up some of the shadows, don't worry too much about the value layout right now, because it's just giving us a fundamental base. That's all it is. So once we're done with the base and have finished patching up any areas that look a little strange. Then I'm going to move on to the next stage, which would be taking our rake brush and putting on that first white layer. Now because I'm doing a white tiger, it will be a white layer. If you're doing a normal colored tiger, then you will choose the colors appropriately. This white that I'm using is not completely white. It's, it's not pure. It is more of a off-white that has a little bit of that light brown that we used for the light value layer mixed in. I wanted to do this because you want to save your purest whites for the final layer of first. So he really looks white in certain spots. And then of course, it's all to do with your values and making the values come out as best as they possibly can. So again, I'm taking my rake brush and I'm just going to brush on that first white layer of the tiger. Again, when you're using gouache brushes, you want to keep your paint thin down a little bit, just because if you have your paint too thick on a rake brush than those little strands on the brush itself. We'll just clumped together and you won't get those individual third textures that we're going for. Now, you could argue that at this stage, it doesn't matter too much because it is still the preliminary first-stage really isn't going to affect it too much in the long run. But I'm just going to cover the entire tiger with this white pretty much all throughout his body, including the ears and areas where he typically isn't white. You'll notice that the reason that you keep the paint thin as well is because you can actually see those darker base layer colors coming through the first, which is what you really are going for. You want your base layer to show through just a little bit, just enough so you can still follow those guidelines of the values that you laid down. White fur is never typically straight, white. It usually has reflective colors in it. It reflects the environment in which it's in, as well as the skin tones of that animal. Now, I'm going for a earthy tone with the tiger itself because I used the brown. Brown is very earthy and I'll also be adding in some pinks and yellows later on to reflect the moths that I'll eventually have there and the colors of its background too. So you do want to keep in mind the colors that you're using in your picture when it comes to white fur. And you also wanna make sure that you can have it translucent enough that you can see the layer beneath it. Agreed. Now I am going to go in and start to add in some stronger, thicker and fuller areas on the tiger with a little bit of a brighter white. Again, this is not the purest white that I'm using. It's still a little bit muddy compared to pure white. So this is just to really start to define and block in the lightest parts of the Tiger. This will really help him look almost like he is white as he should be, especially in the areas where the light is affecting his face more. You'll also notice that the longer the firm, the more clumps the fur has, the more shadows and other colors will be reflected within. And the shorter the first. So for example, probably the shortest fell on his face will be the bridge of the nose. There'll be a lot more smoother looking. So when you want to paint semi realistic or realistic looking animals, you've got to have a nice balance between the light and also the firm. And how smooth or rough it looks. Obviously the rough ER it looks, the more gaps, more clumps, the smoother it looks, then the less of that texture that you'll see. And that's typically a parent in much shorter, which is typically on the face or the nose for example. So now we have our tiger, really white. He's got a fair on him. He's looking fluffy and that is really good and we can still see some of that base layer poking through. So now in the next class we're going to be focusing on some of the stripes. We're going to start mapping out the tiger's face a little better with this. Hello. 6. Stripes: So now I'm going to be using my rake brush and some straight black paint to go and add in the stripes. I find it easiest to start with the stripes that typically connect to the eyes. You'll find on most tigers, they have this stripe that kind of stem from the corner of that eye out and then form a semicircle around their face. So that's one I'm starting with. It's typically the easiest one just because you can start to then shape it to the face and the cheekbones and how the four comes out. So from this you can then form the other stripes. And you'll notice I'm leaving some gaps within the texture of the stripes. And this creates bit more of a realistic look to the stripes itself. Like the white fur and the black far are kind of intermingling and leaving those little gaps. Again, you don't have to add those, but I just like to give those therefore, a more realistic look. And you basically going to be doing this on the other side of the face as well. You can have a stripes alternating. You can add in different stripes if you'd like, or markings on the face. So it really is up to what you wanna do with your tiger. You can have fantasy markings or stripes. You can have body paint. You can do all kinds of stuff with this. Really. I'm just going to be trying to copy symmetrically as I can, the stripes on one side of the face to the other as well. This just gives a bit more, have a look for my tiger, which is why I'm kind of going for anyway. And then you're just going to fill in the stripes. It's pretty straightforward. Just use your reference and pigments attention to the direction of the stripes and the thickness or thinness and how they are shaped typically. And then just pay attention to it and you should be fine. Now when it comes to doing the mouth, or you want to, again, look at your reference, but the mouth is pretty straightforward. You're going to be doing a couple of different lines that typically I do four, sometimes five lines going horizontally away from the center of his mouth, basically. And that way, you can also look at how the lines of forming. So some kind of curve up for some curved down, some good straight across. But typically they get darker towards the edges of his mouth. So remember to look at your reference and see how your tiger is, how his mouth markings appear. And also don't forget to add a couple of little dark spots on his jaw or chin below. Because some tigers actually do have those. A couple of patches below as well. The next section. Now, out of all of the stripes, I would say the forehead stripes can be a little tricky sometimes just because they're often an odd shape. And they can, if done well, they can look really well, but if they're done badly, then they can look weird. They can distort his forehead into looking narrow or too thick or too thin. So just be aware of that as well. Typically it's like this branch or a tree that has all these other stripes stemming from it. So that's typically what I try to follow. Obviously above his eyes. He has too little markings right above the eyes. So that's typically what most hikers also have. And then of course, the tree-like markings on his forehead. And also don't forget to fill in his ear, as well as the markings on his body. Really. Three greetings. So we've pretty much got all the stripes on to the body. Now, keep a hold of your black because we are going to be using it in the next class to do but a shading around the tiger. You may notice that he is looking a little bit flat right now. Despite all the work we've done, that's okay. It's all a layering process. All the work that we're putting in is to create subtle effects across the whole Tiger. To bring out those values and those lights and shadows and the detail and et cetera, et cetera. All of this work adds to the subtlety of the realism of the tiger. 7. Shading: So for this next stage, I'm actually taking my brush still. I'm going in with some water down black and I'm keeping it fairly translucent, just using water to thin out the paint basically. And I'm creating some shadows, some more defining shadows throughout the tiger's face and on his body, starting on the chin, because typically the chin costs pretty deeper shadow on the body below. So that is one of the areas that you might want to consider putting a deeper shadow on, as well as around the whole mouth area where his body might meet the on his face or coming up with his cheeks that waste cheekbones may lay. And all the other places that you want to consider at where the light may not quite heads or where the shadows because station set. And you'll notice that I use my finger to smooth out some of these areas to I just find that using my finger to blend these various out is just a really effective way to get soft blend without using a brush. Sometimes I find brushes will pick up paint rather than put it down, especially when you're trying to blend into that Canvas or whatever surface you're working on. So good tip to use your fingers more often than you think. And don't worry if you get paint on them because it washes right off pretty much. Obviously I'm putting a moth sitting on this tiger's head, so I am putting some shadows are where the moths will eventually be setting. If you're not putting a more for, if you're just doing a tiger, then don't worry about that. Of course, that's completely your choice if you want to do that. Also, you may notice I'm putting a little bit on the nose there. Cats typically have this sort of dark patch right where their nose meets with the, on the, on the bridge of the nose. So that is something I would study and look at your reference photo and different reference photo from mine, then that's perfectly fine. Now before we move on to our next class, you want to make sure that your previous layer, this layer is completely dry before we do anything else on it. So take a break, give it time to dry and completely settle. And then we will come back to do the next layer. 8. Final Fur Layer: So now we're going to be working on the final layer of and for this, I'm actually going to be using my big brush again, as well as some pure white. However, to start, I'm actually going to water down this white quite a bit. So keep the paint quite thin. I do want to be able to see the layers underneath that. Whilst I'm working on with this white paint, again, over all the areas of the tiger with this paint. Obviously you want to be careful not to cover up your stripes too much, but don't worry if they do get a little bit hidden. You'll still be able to see the majority of the stripes as you work through it. They can really see the glazing layers have created quite a multicolored and shaded area around the tiger's face as I hoped they would. And it creates really nice depth into the actual painting itself. Remember to keep your brush strokes in the direction that the firm is borrowing from. In this layer, you also want to really make the first stand out. So you want to have more clumping going on. You want to have the for going in different directions slightly where the firm is longer. And again, it gets a little more clumped it so it gets a little more directional in certain places on his body. Obviously, as I mentioned before, the shorter the firm, the more uniform it's going to be. And also the smoother it's going to look, the longer, the more directional it'll be a little more shared at all, luck as well. So just take your time and keep at some areas subtle and you can see in the darker areas of his face. So I'm doing a little bit of the FRD there just to get a head texture, as well as put some of that whiteness and back into the flow of the tiger. 3333. You can see on the longest segments of the further looking a little more wispy and draw a few bit sticking out here and don't forget to also put some of the fur in a way that it overlays certain areas of the body. So for example, his ear, but the one that's folded over with the spot on is going to be a little more pushed back onto his head. So you want to put a little bit of white fur covering that connection between the ear and the head to make it look like it is actually nestled into the head and not just sort of stuck on the canvas there. You also want to remember to fill in the cheekbones a little bit just so they're not looking so awkward. Put some for covering those areas to really fill in his face. And given the fuller look, you want them to kind of look like a cute, cuddly, fat and happy Tiger. And you'll notice I'm also going over a little bit some of the stripes just to bring some tuft up to make them look a little bit more wispy. And also being really careful to not put too thick of paint where the shadows are under the eye or Anthem wants to be the moths wing. And of course around the darker side of the face. As I said before, you want to have some areas, the brightest areas on the face, such as where the bridge of the nose and the light hits that and one side of the mouth and cheekbones and et cetera, to be very bright, white and almost smooth because those are going to be the most highlighted areas of the face itself. So this is the final layer of before we move on to doing the features and anything else on the tiger. So you'll want to make sure you're completely happy and finished with this layer. Before we move on to our final few stages, everything up to this point is looking really good. It's looking subtle. He's looking fluffy, looking white with a little bit of color tinted into his verdict given that life-like appearance. So far so good. Hopefully you picked up a few techniques for creating as well. It's always really good to have a rate brush in your arsenal of paint brushes. So do keep that in mind maybe the next time you go shopping for paint brushes as well. In the next class we're going to start to work on his nose. And then after that, the eyes. 9. Painting The Nose: Now we're moving on to the final features of the tiger's face, starting aware that the nose, I'm going to go ahead and use my smaller angled brush to mix some white and red together. We're going to make a nice pinkish color for the base of the nose. I'm just using my crimson red. Again, doesn't really matter which particular right of use, whichever one you've been using for the painting. And mix this pink color. And we're going to basically fill in the nose area. Now throughout our painting process, it may have gone a little bit covered or it may have lost a little bit of its shape. So you want to really redefine the shape of the nose with this. And this is why it angled brushes really good because you can get into those small corners with the point of the angle brush. And you don't have to really worry about messing up too much. Now it's pretty much straightforward shape. It's basically like a very thick T-shape. For most cat noses. I'm just filling in the entire nose with this color for now. Nothing too difficult. Next, I'm going to be mixing a little bit of black in with that pink that we were using to create this look grayish, pinkish color. And I'm going to start to put in a little bit around the edges of the nose, again, referencing my light source, we're basically putting in our shadows or starting to put in our shadows. Keep it towards the edges. This way you'll get that sort of curved look because noses are not flat. They are sort of a 3D shape. And I'm also putting a little bit in that center line that cats often have this line that connects their mouth to their nose. See you want to put a little bit there? And then I'm going to go in with my fingers. I find that my fingers are again, one of the best tools to use for blending and smoothing things out. And I'm going to soften up those harsh lines to create a more subtle. As I've said before, creating a subtle effect is kinda of your goal with any semi or hyper-realistic painting. Obviously I do semi realistic. So subtlety really helps it to come out better. And you're going to also mix in even darker shade of this grayish pink was add a little bit more black to your paint because we're also going to go in with fat to start to deepen up those shadows just a bit more. You'll see that I focused those darker lines of more to one side of the nose. Again, using my finger to soften and blend out those shadows. You'll notice I put a little bit off at the top of the nose as well. Typically, cats have this sort of dark shade, whether knows the top of the nose connects with the bridge of the nose where the first line starts. So it's also a useful thing to put up there. Again, look at your reference photo, really study how those particular areas and shapes and everything look. So now we have our shadows in place mostly. I'm going to take that pinkish color and mix a bit of white in with it to create a lighter shade. And then with this we can start to add some highlights to our tigers nose. And this is really going to help this 3D effect come out a bit more. Again, focusing on the areas where the light would be hitting the nose. And then I'm lend out again, removing any globs of pain because we have too many globs of paint and you try to blend it and you're just smearing a thick amount of paint around covering up the areas you've worked on it. So do make sure that no really thick globs of paint. You can just remove those with a brush or whatever you have. And then I'm just softly blending those into the edges now so you can see it's starting to have more of a 3D to it. And then again, we're going to add a little bit more white to that light pink to create an even lighter pink. And then again, doing the same thing, just adding that into the lighter areas of the nose where the light would be affecting it. Now, I am going to be going a little more textured, the light Rigaud because noses do have a texture. So I will be kind of very roughly blending these. I don't want it to be overly smooth, but you want it to be smooth enough that it looks like a nose really. You can see how the texture is starting to give it that look. Again, being really careful not to over blend it, but also being careful not to leave it to roughly where it looks more realistic. So it's kind of patchy. In a way. You can basically go back and forth between your shadows and your lighter colors until you're happy with how 3D and looks. It really depends on how you see it and what your reference photo that you're following looks like. And then I'm going in with a dark hello, dark gray again. Just help to find that little line that goes down the cats noses. Step bringing that right down into the lip of the tiger. And then I'm also taking some really dark paint and also filling in right where the nose, these are holes begin basically, just to really help neaten up the edges as well as making the edges darker. And a little bit on the bridge of the nose like I mentioned before, and just blending that into his And little bit. And of course, defining some of the edges of the bridge of the nose, right? That whether nose and visa connects the same for kinda anywhere that would create a little bit of a shadow. I'm just defining those little bit of black. Now. I'm going to go in with some white and I'm going to add some pure highlights onto the nose and go start on very small patches, very small places. And then I will again blend those in a little bit with my finger so it's not so harsh looking. We will be adding in some harsher lines with the white because we do want to have flat shiny effect. Right now we're just creating some more highlighted points on the nose. You'll notice I'm doing a sort of rims of the nose as well with this highlight. This helps it make it look like it's like actually wet, like an actual node should be and I'm just dabbing it with my finger, just get any excess off and just dial it down slightly. And then I'm blending that whites and any excess paint again, you can just wipe off by you see me wiping off a little bit with my fingertips because it's too much. But this is pretty much how you do the nose. And then you can add some very highlighted areas, very defined spots with some pure white. And that's pretty much all you need to do for the nose. Three greetings. 10. Painting The Eyes: So now we're going to be focusing on the eyes, which is one of the last features of the tiger's face that we need to complete. And I'm going to start with my angle brush again and some pure black paint. I'm going to start to fill in around the actual eyeball itself. So all the areas about the eyeball sort of sets. It's pretty easy just filling it in. You'll notice that when I get to the corners of the inner part of the eye, I actually smudge that out with my finger a little bit to create more gradient, just so it looks a little more natural. Where the sky meets the Bot, et cetera, et cetera. Next I'm going to take a pencil and a Masha going to sketch in the pupils of the tiger's eyes. Just so I can make sure they look even and they match each other and they're not cross-eyed or look in a little strange, one might be bigger than the other. So it really helps to just sketch these n. Sometimes I'll sketch them in, that's before we even start the whole painting process of the times. Because I typically do my eyes as the last thing in the paint. We'll do the sketching of the pupils kind of lost or when I go to work on the eyes. So it really depends on what you like to do, how you like to do your process, things like that. Now, because the color of the eyes are going to match the moth that will eventually have it sitting on his head. Again, you can choose whatever color you want for your eye. My tigers eye color is going to be a pink and yellow themed eyeball. So just really pretty colors to help match the rosy moth that I will eventually have sitting right there. Just filling those in basic colors. But let's not worry about anything too complicated. I'm just putting a little bit of a yellow kind of in there as well with the pink. Not really blending them too much because I want there to be a defining line between the pink and the yellow. You can choose whatever color you want. If you're doing similar colors to mine, then you can use an old king corner with yellow wherever you would prefer. Now I'm gonna go in with the detail brush and a little bit of that white paint, whilst the colors beneath are still wet. And I'm going to start to put a little ring around the pupil a little bit, kind of in that centralized area with the colors. And then I'm going to. That brush. And then I'm going to go in and start to blend those ever so slightly to create a little bit of texture within the eye. And it will also help to create some highlights which will bring life to the eye. Now we don't want these to be our brightest highlights, because again, we want to save those for those final details. And just taking a slightly damp detail brush and just sort of slowly blending that in. Again, you don't want it to be too bright, so you want to get away any of that shiny effect that it might be creating, just creating texture and a little bit of highlight here. Now I'm going to go in with that same detail brush and some black again. And I'm going to start adding some shadows to the top of the eye to make it look like it's sitting in the eye socket more rather than stuck on top. And I'm going to be very careful how I blend this. You can do this when the eyeballs completely dry. However, I'm doing this pretty much straight after. Just say it does blend with the colors a little bit, don't worry about that. And you can also take this opportunity to darken some of the black areas in the eye socket. That way it looks really dark and we can really make those highlights a stand out a bit when we go to do those. But right now I just want to keep the shadows of the top of the eye. Nice and dark and you want to keep them as somewhat smudged out loud too much. You don't want to lose any colors of the eye too much. And then I'm just going in darkening those areas that we painted before. Next, I'm taking my detail brush and some black and filling in the pupils. This is pretty straightforward. Just trying to make sure that you keep them even same kind of position and same size as each other. I know sometimes that can be a little tricky. This is why I choose to sketch on the pupils earlier, just so it helps and acts as a guideline to finding the position and the correct size and everything like that. It will help if you stand back from your painting as well. If you just take a step back and look at it from across the room, or just to make sure it's. Looking correct and how it's supposed to be. So now I'm going in with a detail brush again and some pure white. And I'm really carefully lining the eyes and putting in some highlights it throughout the actual eyelids and the internal areas VI that I'm being really careful doing this, not pushing down too hard on the brush. I want to create these lines as carefully and subtly as I can. And then using my finger to smudge out certain areas just to soften them up a little bit. You want to pay attention to your reference photo. You'll notice that typically I find it easier if you kind of very carefully line the eyeball as well as the bottom lid of the eye and put a few highlights here and there in the corners that it really makes the eye come to life and look like it's shiny, like it's supposed to be. And then of course, don't forget to mirror that stuff on the other side. Doesn't have to be perfect simply because it's a natural it's more of a natural look. It's not absolutely similar to the neighboring are hit. And of course, you don't want to forget the most important part of the highlights within an eye, which is the brightest highlights in the eye itself. I typically like to do this, so it covers a small portion of the pupil, which you'll see here. I find this really makes the tigers I come to life more. And it gives that reflection that makes them look alive. One of the last steps that I'm going to do for the eye is actually bring some of that detail down into the eye just a tiny bit. You don't want to do too much of this and you actually want to keep your fairly thin and translucent. You don't want it to be really harsh or anything like that. Again, it's all about subtlety with your details and things like that. So it's adding a little bit of that for just zoom in a little more natural around the eye. And it's not just a straight line like someone slapped on a bunch of miscarriage onto her tiger. And then the other thing I'm gonna do is add a tiny bit of pink to the corner of the eyes. A lot of animals will typically have a little bit of pinks and grays and sometimes browns and even yellows in the fleshy parts of their eyes. So I'm just adding a little bit of pink just to give that sense of its actual flash rather than just kind of a dog eye socket. And then that is everything that we're going to do to our tiger's eyes. All right. Okay. 11. Whiskers & Finishing Touches: One of the final things I like to do for any of my animals with fur is to add whiskers. And you can add whiskers with a paintbrush. But I like to use these prismacolor pencils to add the majority of my whiskers and I use both a black and white and just make sure they're really sharp. So they show up quite well. And I find that with the current pencils, they give more control and they often are a lot of wispy or looking at whispers are typically like. So I like to use these in preference to paint. You can use a very thin detail brush, carefully paint them on. But I find it quicker, easier and much more realistic. These with pencils. And I do both black to show up on the white areas and white to shop on the dark areas. And I also do a few little strands of the whisker like has just above the eye because cats typically have that right about there. I. But apart from that, all of our tiger painting is John and I hope you learn some techniques and I hope you're tigers came out really good. I'm looking forward to seeing those in the project section. But from this stage our tiger is finished. Now, the loss that is on or will be on my tiger's head, I will be doing for a future class, so don't worry about that. But I hope you enjoyed it and I hope you picked up some techniques from this painting. 12. Final Thoughts: So that brings us to the end of this class. I hope you enjoyed it and hope you picked up a few new techniques and shortcuts to help you with your own paintings in the future or the MOF that you see in my painting. Obviously I didn't do it in the class. I will be saving that point feature class of how to pay months. So do keep an eye out for that. I know already up. Thank you to all people who support my work and maybe docket, check out my other social medias and will leave a website link in the description somewhere. And you can find everything that I do on my website. Thank you again, and I hope you all have a good day.