How to Paint a Fox in Acrylics | Charlotte Jordan | Skillshare

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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

12 Lessons (58m)
    • 1. Introduction

      1:56
    • 2. Supplies

      2:19
    • 3. Background

      2:23
    • 4. Value Layer

      6:12
    • 5. First Texture Layer

      4:16
    • 6. Glazing

      3:29
    • 7. Second Texture Layer

      3:55
    • 8. Final Fur Details

      5:07
    • 9. Eyes & Nose

      10:22
    • 10. Pine Sprigs

      3:31
    • 11. Pink Flowers

      7:29
    • 12. Mushrooms & Final Details

      6:50
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About This Class

Here you will learn how to paint a fall-themed fox painting in acrylics. Foxes are perfect for the autumn months and will make a great addition to your painting collection.

You will learn how to paint fox fur and how to make your animals come to life using acrylic paints.

If you want to learn how to paint fox fur along with other kinds of fur, take a look at my How to paint fur class here on Skillshare!

My Website: CharlotteJordanArt.com

Meet Your Teacher

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Charlotte Jordan

Artist | Entrepreneur | Teacher

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Charlotte Jordan is a Florida-based artist from England and an 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 favorite creatures to paint, but she loves to experiment and challenge herself and teach and inspire others to use their creativity.



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Transcripts

1. Introduction: Hello everyone and welcome to this month Skillshare class. We are going to be painting this doorbell little FOLFOX, a themed painting here using acrylics. I have been painting professionally for three years now. And I have always loved to paint animals, foxes, cats, all sorts of critters, such as fat. If you want some help painting for. I also offer a acrylics for painting class here on Skillshare. If you want to check that out prior to tackling this fox portrait. I am a surreal animal artist. I have always painted animals and I have always loved painting nature and doing surreal things with my pieces. In this fox painting, we're also going to be including some florals, such as some pink flowers, spruce pine, and some little brown mushrooms. To give it a four themes. I have honed my painting skills over the years and I've picked up on lots of tricks and techniques to creating realistic looking animals. So hopefully in this class today you will learn how to paint foxes. Fox, a more realistic looking animal, and also a few little add-ons like the flowers that you'll see here. If you want to check out my website and my social medias, I will leave those in the description of the class as well as show them on the screen. Just want to thank you for coming on this painting journey with me. And let's get straight to the class system. 2. Supplies: So we're going to run through the supplies for the quick that we're going to need for this painting. As you can see, I'm working on a canvas board and I already have my sketch drawn up. As for the different brushes, I've got a couple that we're gonna be using throughout this painting. Starting with sort of the main brush here, which is a flat sort of angles brush. It's like a medium shaped one. This is really good for filling in a lot of space for that. Then I have the next size down. That's just a smaller flat brush, which is really good for school of paintings. And then one of my favorite brushes to use, which is this rake brush right here. If it will focus. I have many of these right brushes and different sizes. So I'd recommend having at least that medium size one as well as a small one as well. Really good for doing details on the face and things that are smaller. And of course have at least one at detail brush on you as of course you want to do some details. As for the main paints of C, you're going to want a black and white for your toning down and shadows and things like that. I also have this burnt umber here, which I'm also going to use for the background, quite a bit of it. And then finally we've got burnt sienna and cadmium orange. And remember, if you don't have the exact colors that I have, don't worry. I also have this yellow. It's like a medium hue. And I'll also be using a little bit of this entire design of purple. And I was thinking about adding a little bit of the violet, but I'm not too sure I will add it to yet. So this is a spray bottle. I recommend having one if you walk with acrylics, it's good for keeping your canvas white and you'll palette. And I highly recommend getting yourself some glazing medium as it is really useful for adding in colors and boosting vibrancy and things like that. 3. Background: So for a quick little lesson, we're going to be doing the background here. It's pretty much straightforward. I'm just taking my slightly larger flat brush and basically filling in the entire background with a burnt umber color. I'm gonna go ahead and fast-forward this for you because it's pretty obvious what I'm doing. I'm just filling in the entire background with this color. I will be adding in a little bit of white washed the paint is still wet and blending that together with a mop brush. If you don't have a mop brush, don't worry. You can still create a blend using a flat brush. It'll just take a little bit more patients and blending. Now the mop brush that I will be using is actually going to be a watercolor Mach brush, simply because watercolor brushes that don't shed as much as acrylic ones. And I find that there are a lot softer, which helps create a smoother blend with paintings. So I'm just adding in a little bit of this white here. I'm trying to focus it more around the fox so that he stands out a little bit better amongst the background. You don't have to do this if you don't want to, you can choose whatever colors you want for your painting. And if you don't have any colors in particular that match mine, then just use what you have. It really doesn't matter. Getting a rough blend with this flat brush before I switch over to the mop brush to give it a smoother blend. And there it is, quite fluffy looking. When you are using mop brushes, you want to treat it like a feather duster and go in circular motion. So you want a really light touch and just go in circular motions gives you a little bit of a wrist work out, but that's something that you can handle. I'm sure. You can see. It's okay if it goes over the sketch a little bit, it's so light that you'll still be able to see the sketch underneath. And that's pretty much all I did for the background. So now we're going to move on to actually painting that the fox. 4. Value Layer: So to start our fox, we're going to be using our wider flat brush for this. And I'm going in with a little bit of a mixture of burnt umber and a tiny bit of black to really darken up the values. And we're going to be starting with our value layer. This is our highlights and shadows and things like that that we're going to see underneath all that fur texture. And you can see me going in the direction of the foxes far with this. And I'm just mapping out the darkest areas on the Fox itself. And you'll see a couple of different colors, which I'll explain in a little bit. But all you're doing here is just figuring out where your lights and darks are. Having a little bit of a hint of texture in that it doesn't really matter too much right now, simply because this layer is going to get mostly covered. This is just to give us a nice subtle undertone of whether shadows and clumps are going to go trying to really lay on thick. As I walked through each of these layers, I do want to try and keep it fairly wet the paint so that I can work the other layers on top and blend things easier. Here, I'm switching over to my smaller flat brush and just keeping with the same color. This is going to help me get into the smaller details of the face, just because sometimes a big brush can be a bit too big for working on small facial details. I'm going to go ahead and speed it up for you so you can get a better understanding of what I'm doing and also not to drag things out too long. As I think it's pretty straightforward here that I'm just targeting the dark areas on the fox out those shadows. And I'm going to stick with this smaller flat brush throughout the rest of this layer or this value layer painting. Again, keeping the forward direction going in the natural direction that it grows. Moving on to my next layer, which is going to be sort of like home midtone. And I've actually mixed some different colors here. I've mixed a little bit of that burnt umber, as well as some burnt sienna and a tiny bit of white just to lighten it just a tad. And this is our mid-range, our mid-tones. You don't want to put your mid-range in the brightest areas because obviously you want your lightest value to be there. Now you want to work in the paint whilst it's still wet so that you can blend it a little bit later on. Sometimes the acrylic dries a bit too fast. So you might have to go back in with your darker values again and just reapply those if they dry a little bit too quickly. Next, I am adding a bit more white to that previous mixture. And I'm adding in our lightest tones of the fern out. And I'm pretty much going to cover up all the white patches on this canvas using a spray bottle to keep the paints are wet beneath so I can still work into it. You will probably see me work back in some of those darker values again, just because they do tend to dry a little bit fast. Hey, you can see me working back in those darker values. And as the paint is still wet, it's going to blend a little bit and kind of become a little bit muddy. But that is okay as we do want a nice soft blend between the values. Nothing too harsh. As you can see around the mouth area. I actually mixed a little bit of white with some of that brown to make like a brownish pale color. As foxes mouths and their chest areas are typically white. Obviously, I'm not using straight up white because we want to save our brightest whites for the final details. When we do that sort of. I'm just making that area a little more distinguishable by adding that white in there, adding a few brushstrokes are there around the fox to, so it gives them more of a natural look. And we're pretty much done with this layer. You can let this completely dry if you want to, or you can still work whilst it is wet. That is completely up to you. In the next class we're going to be applying our first texture layer so that we will be seeing. 5. First Texture Layer: All right, So for this next part of the fox painting, I'm switching over to my rake brush here. Sometimes they're called a wisp brushes. And I'm going to be using a very pale mixture of that burnt umber, burnt sienna, and of course that white. And we're going to be using this reg brush pretty much throughout the entirety of the fox. Be sure to alternate the direction that you do the brushstrokes in as it will make them look more natural. As you are going along painting as well, you'll be sure to clump. And when I say clumps or fail or see me sort of create certain sections of, leave a little bit at those values, peeking through the gaps on the fox's face. You can choose to use a smaller rake brush as I do have one I'll use later on. Sometimes it's just easier for creating those smaller hair follicles as a lot of animal faces, half. I'm basically going to be doing this the entirety of the Fox's body. And you might be thinking, well, we just spent all that time making these different values. And that's okay. You want the values to be peeking through enough that it looks subtle and natural. The values aren't going to be this huge thing that you're going to see peeking through. You want the texture to show through amongst all the other layers as well. And be sure to keep the foot pointing or facing in the direction that it should naturally grow. This will help give it a more realistic appearance. I'll go ahead and speed that up for you. You're going to want to really build up the, some of the different places. This is going to help add to the realism. As you can't see the individual strands of absolutely everywhere on the body. Some of it is thicker and therefore looks more like a smoother surface. I'm also adding a tiny bit more white to this mixture. And I'm going back over some of the brighter areas on the Fox and really bringing out the details. And again, I'm sort of picking and choosing a little bit here where I place this color because I don't want to add too much of it. Otherwise, the fox will look flat and will lose that layer and texture underneath. You might also want to concentrate this color a little bit more towards his chest or belly or under his face where his furs typically more white. Just because fox fur is sort of in two parts. It's the orange part and the white part. Don't forget to fill in the ears as well as fox is typically have some paler in and the kind of fluffy looking at as well. And that's pretty much all we're going to do for this layer right here. Now, before we do the next layer, you need to make sure this has completely dried as we're going to be glazing. 6. Glazing: So now our painting has completely dried and I mean completely it needs to be dry. Otherwise, this glazing medium that we're going to use will get muddied. And so all the layers underneath. And of course you don't want to lose all that hard work you just did. So I've gone ahead and mix that cadmium orange, a little tiny bit of burnt umber to offset the orange a little bit. So it's not so vivid. And obviously some glazing medium. And we're going to be covering the entire fox with this using that medium sized flat brush from the start. I just use flat brushes when I'm glazing because they cover a lot more ground along quickly. When you are mixing your glazes, you want it to be sort of a translucent mix. You can add more pigment if you want it to be a bit thicker, or you can add more glaze if you want it to be a bit thinner. It's just up to what you prefer. I find that having a translucent is just a little bit more thinner. You can build up the layers of glaze, which is really, really useful. I honestly love glazing. Once I started glazing, I haven't stopped since. It's just a great way to add in those colors to bring your animals to life. It also helps boost the colors in the painting itself mixed and really strong and vivid. If, for example, you've accidentally washed out your animal and it's looking really pale and just not full of life at all. Glazing can fix that. I'm going to add a couple of different colors of glazes. I'm going to add the orange, obviously, a little bit of yellow glaze here, just because I wanted to give it a different color that was a little more reflective on the Fox itself. And I'm also going to be using purple as well for my glazing. And I'm going to put the couple and the more shaded place of the fox. Here you can see how the purple is just giving Fox and entirely different look, which is great. Once we put the next layer on top, is really going to come to life as well. I like to use purples for my dark areas, especially because poplars quite a complimentary colored orange. You will do what to think about your color palettes when you're glazing and what will work well together and what won't. Now, you see that our glaze loose enough that we haven't lost any of the details from the layers below, which is what we're going for and that's great. So now I'm just going to focus on building up the shadows a little bit. And then we're going to need to let that dry before we put on our next layer. Now glaze typically dries pretty fast, so you won't have to wait too long for that. 7. Second Texture Layer: So now our glazing layer has dried and I'm gonna go back in with my rake brush and pale orangey whitish mix. And we're going to start to define those for clumps a little better. And this is the time that you can use to spend fluffing out the fox a little bit if you wanted a little bit fluffier, or perhaps if you're making it more of a slimmed down sort of thin Fox then and can do that as well. Just using the short and sweet brush strokes to create the layers. Now remember, you do want to keep in the direction that the firm naturally grows and it's okay to have some more solid patches of paint as naturally. That is what you would see anyway. And then of course, alternating the brushstrokes will help with the realism of the forward direction. Now you may find as you go through the painting process, the lighter you go with your paints and your values, the less you will put. And, and I kind of stick to this rule a little bit. When I'm painting my animals, I find that the lighter I go, the more sparing ion with the paint. And this will add to the realism and allow the values and dark layers underneath to really show through, which is going to give us the textures we want. I'm going to go ahead and speed this up for you as it's pretty straightforward what I am doing. So as you can see, we've got a nice texture going on with all of the phone. He's looking like a really fluffy fox, which is great. I'm actually going to go in with my flat small brush and a little bit of black. And I'm going to focus on the ears for pet foxes are typically black on the back of the ear. So I'm just going to fill in the backs that are showing with some black paint. It doesn't have to be absolutely perfect right now because we will finish a bit later on. But I'm just filling them in to give them more definition as I worked through the painting. And again, you want this layer to be completely dry before we move on to the next one, as we're going to be adding a second layer of glazing. And that's the thing about glazes. You can add as many layers as you want. And you can alternate between the different layers, such as your values or textures. And you're glazing layers as many times as you need to. 8. Final Fur Details: So now our painting has completely dried. Again, it needs to be completely dry before you glaze using that wide flat brush again and the same orange glaze that I was using before. Now, I'm going to pretty much go over the entirety of the fox again, except I am directing this more towards the back of the fox or where his orange patches that typically are. I am going to avoid a little bit of his chest and chin area because that is where the white fur typically grows on a fox. But again, I'm targeting the back area of the fox more with this. Because all in this class we're going to do the white patches of him. And I'm just going to be using this orange glaze. I'm not gonna put any purple in it anymore. The purple is showing through in those subtle areas which adds to the depth and gives it a different kind of vibrancy in the fox. I'm just smoothing out some of the glaze my fingers. I find that my fingers make really good blending tool. So if you don't have a brush to blend with your fingers, It's just acrylic paint at all. Wash off. I'm just really deepening up the areas where the shadows mainly. This is just going to help give more of a value to the fox's face and things like that. And now I'm using my big brush and some pure white, and I'm going to add in the white fur that foxes typically have on their chest and chin area. And I'm going to add some sort of pale strokes of this around the fox as well, just to help really define some of these strands are further. It might be sticking up a little bit more, but mainly focusing it on his chest and chin. When you're working with gouache brushes, a good little tip of advice is that you want to keep the paint fairly loose or fluid as you don't want those little bristles or the rake bristles sticking together because then you will not get the rake effect that you're going for. And so you won't get the fur texture or anything like that in that. So do keep your paint a little bit thinner when working with gouache brushes, I find it's really helpful with dry brushing techniques and things like that as well. You can get sort of more of a translucent. Then paint adds to the subtlety that we're going for with the realism. I'll go ahead and speed this up for you so you can get an idea of what we are going for. You'll also notice that I'm adding sort of a line or edging the fox's back with this white paint. This is going to give the illusion that he's also a little bit backlit. And it will also help define the back of the fox a bit more so he doesn't get too lost in the background. I like to do this to really define my animals better. But you can see with a little bit of a dry brushing technique and a more translucent paint. The flower at the back is sort of fading out that versus the firm where his chest and chin are more bright and fluffy looking. And it just adds to the surrealism and it adds to the softness painting as well. And then you just want to add any details of the highlights in the fur around the fox wherever you feel it's right or wherever the light may be hitting. Don't forget to also fill in the ears as well with the white paint because they do have white fur, typically inside the ears, where it's quite fluffy looking. In the next lesson, we're going to do the eyes and the nose of the fox. So we can finally complete the fox itself before moving on to any attributes in the background or the foreground. 9. Eyes & Nose: So now I'm going to be going in with a detail brush and we're going to be working on the eyes and the nose and the finer details of the fox. Starting with a dark gray mix of paint, just using a little bit of black and white. And I'm just going to fill in the nose with this color here. And we're going to be using different shades of gray for the nose and then filling in the inner side of the nose or the nostrils with black and then adding highlights to it. It's really simple. And because it's such a small painting and it's just small detail on the fox. You don't really have to worry about it being overly detailed to look good. Filling in that nose. And then I'm going to be adding some, a little bit more white to that gray that I'm using to create a lighter shade. So you can see the lighter shades of gray and putting more towards the tip of the nose and then keeping it a little darker towards the edges. I'm filling in the nostril with some black just straight up black paint and then smudging that out a little bit. So it looks more natural and more like a shadow rather than a black mocking. And then also adding this black into the edges of the sort of darker areas of the foxes nose. And I'm just blending those all into the area. Now as you go through the painting process, you may find that certain features and shapes become a little bit distorted. And the tip of the nose where the foxes sort of snout joins with the nose. It looks a little off, and I will be fixing that later on. And you can do that with acrylic paints because they are a thicker medium. If you ever make a mistake or if you're just struggling to get something right, just know that you can always cover something up or paint back over something because acrylics are thicker. Just blending it out. And I'm going to just work on adding some details, switching back and forth between my lights and darks. So you saw I fixed the nose so it sort of tapers off more towards the tip of the nose, which works a lot better for me. And now I'm also going to go in with detail brush and add some black to the corners of the eyes where they are typically quite dark. And I'm also going to smudge out as it will add a more natural look or a fax to the eye area. I'm also going to use this black to sort of line out the eyeball and get a rough idea of how big the eyeball is going to be and kind of what shape it's going to be in the eye socket. And then just smudging out those corners to create a little more of a natural effect. You're going to see me go ahead and detail the rest of the body with the staff such as the is, the inner ear is around the eye, the nose, and those sorts of places. So now I'm going to be using some green for the eye. As I figured this would be a nice car that will go with the rest of the car palette. For this painting, I'm just using the screen ability that's called sap green straight from the tube and nothing mixed in. Filling in the entire eyeball with this color. Just being really careful to keep a nice shape. And I'm also going to be adding some white straight onto the wet paint of this eyeball. And that's going to give us some highlights to walk into the eye so we can start creating a nice sort of Combray if you like. Typically what I like to do is add a dollop of the white and then I'll wash out my brush and just Brush without any other paint on it and what's on the Canvas. And I'll just blend that into each other. So that's creating a nice highlight in a more natural way. And you can also go in with some darks as well and start to shade the eyeball again. I think a few splotches here and there of it, then cleaning out my brush and just using what is left on the canvas to blend into the already wet paint. You want to be careful to stay in the lines of the eyeball, otherwise you're going to have some corrections to make on the outside. I'm just blending those lights into darks to create a really smooth and subtle shadow. Next, I'm going to be taking some straight up black and filling in. The IRS. Might be a little tricky if you haven't done many, IS, but I typically start with like a C-shape. And then I can go and build from that with the eye. So as you can see, I'm just adding some finishing touches with highlights and shadows around the eye and the nose. I'm also going in with some pure white and adding the little dots of white inside the actual eye. This is going to make your animal come to life instantly. So I typically add two of them. I add a big dot where the main focus of light is hitting the eye, and then I add all the little one, typically on the opposite side of the IRS. And then I very carefully with the very tip of my detail brush, add in some little white highlights all by the eyelid of the eye. And this is going to help the, I come to life, make it look shiny and where they are supposed to. And then just adding some brighter highlights in the green of the eye just to really make it look shiny and life-like. Designing minor details now with the detail brush giving the fox sort of like highlighted eyelid. They're almost like he's got eyelashes. But not quite. This is going to help it stand out better against the rest of his face. Just minor details such as a very small mark where his chin would be and a few more details of for the ears, things like that. You can basically mess around with this part as long as you need to or want to with the details. You don't want to overdo them, but you don't want to be lacking in details either. So you've got to find a nice fine balance that you are happy with. And that's pretty much how we paid our fox. Now some foxes actually have whiskers, but I'm going to be adding those much later on in the painting as like the final touch. And I'll be adding those with prismacolor pencils. And you can just use a regular white pencil on black pencil for those. So now we're going to move on to our florals that are surrounding the fox itself. 10. Pine Sprigs : So now we have completed our fox completely. We will later add some whiskers to the fox, but that will be at the very end of the painting process. I'm going to add some pine sprigs echo effect called with my small flat brush, starting with some burnt umber brown paint. And I'm just drawing in where the little sprigs are going to be facing a few throughout the painting. And now I'm going to be taking my brush and I'm going to be using some dark green sap green mixed with a little bit of brown paint. And I'm going to start to create the little fronds on each of the pine needles. Kind of treating it like a feather using the main stem and just fanning out from it, all trying to keep it in the same direction. So it's really simple. You could also use your small flat brush for this and just sort of a dab on each individually pine leaf. Now mixing a lighter green by adding in a little bit of white to our green mix. And again, going over with the reg brush to add some lighter layers, the pine leafs, you want to leave some gaps as you go. Lighter, kind of like we did with the fox fur. This is going to help the darker layer show through. So it's going to create that more 3D effect to the little sprinkles. And then finally, I'm mixing even more white into that green mix. And we're going to be adding in just a few highlights of those light-like green layers. The illusion of some highlights on the actual pine needles. And you can see I'm adding the very sparingly and distrustful of far and few between. And that's all we're going to be doing for these pine needles or pine sprigs. She'll hike. In the next class, we are going to be painting on some flowers. So, so you might want to let this completely dry before we move on to the next asset. 11. Pink Flowers : So now that we have done our little pine sprigs, we're going to move on to some pink flowers just to give the painting a different color. I'm going to be mixing some white and red together to make a sort of mid pink tone a little more pale. And I'm going to be using my smaller flat brush to begin to paint in the shapes of the individual petals. I'm only adding a few flowers here and there. I'm not going to cover the entire thing were that. But I'm just sketching out the basic shape of the individual petals. And I'll go ahead and that up for you so you can see what I'm doing here. Just adding the general shapes and blotting in the color's. Not worried about any details just yet. I'm going to be doing is taking some more of that red and mixing that in my pink mix to give a darker shade. And then using my small flat brush again, just bringing some of that dark pink up through the flower petals. This is going to help give it a bit of an ombre fact. Make the flowers and little more easily distinguishable from each individual petal. Again, keeping it really rough, It's not meant to be perfect. You can see I've left some of these centers in my flower so I can easily find them again. And just bringing that pink up into each petal. Now I've let my painting completely dry before I've moved on to the next step, again, my small flat brush, and I've added a little bit of black and brown to that pink mix just to really dull it down. This is going to act as my shadow. For each and every individual petals. I'm just gonna go ahead and start filling in, really defining each petal with this color. You'll notice I'm using my finger to help soften and blend those edges out a bit so it looks more like a shadow and not just a line painted on that. So I've added a couple of layers of this shaded color so that we can really get the shadows to pop out and dark. And in some places, now I'm going in with some white, almost white. It's a little more translucent. And I'm actually kind of using a dry brushing technique here. And I'm dragging that paint down through the petals. And because it's sort of a dry brushing technique, is going to create some streaks and the paint. So it's going to help the flower look a bit like veins. And also have that sort of ombre effect that show through the dry brushing. We're also going to be highlighting with this as well. So you can see that the top part of the petals are brighter than the ones closer to the center. So this is really going to help pull out that 3D effect in all of our flowers as well. Be doing this for each and every flower and the flower buds. Next, I'm going to be easier, again, my flat brush and I'm actually going to dilute some black paint so it's quite watery. And I'm going to be adding in the shadows underneath each individual petal where they would be resting against the foxes. What's gonna do this throughout the painting where the pine sprigs are also resting on the Fox and where other flowers may be connecting just a little bit with each other. So just throughout the painting, underneath all the flowers to give them more of a shadow. Next, I'm going to be taking some black paint and this will not be diluted. And I'm going to start to dab on the centers of the flowers where they would show through. So you can see here this flower than Angles who are more likely to see this if the flower. So I'm just going to her hat and dab it on using my flat brush and dabbing it to give more of a texture to the center of the flower. That way, it's not so neat and pristine. I'll then be adding in with a detailed brush, white dots and some grayish patches as well just to help with the shadows and highlights of the center. Finally, all I'm going to do now is to add in some green stems for any of the flowers that would be showing the stem, I'm using a slightly lighter green than I did with the pine behind it so that it stands out a little bit better. But again, any areas that might show a green stem, you may want to just put a hint of that in there, just so it makes a bit more sense to the flower. Just had to lift up my canvas board here just to get that in. So my easel wouldn't pick up the paint on the buds and anywhere else that really needs it. And that is all we're going to be doing for this class. In the next class, we're going to be adding our final little asset to the painting, which will be the mushrooms. But you can detail any other parts of the painting as much as you'd like here. Before we move on to the next stage. 12. Mushrooms & Final Details: And finally, we're going to be creating some little brown mushrooms to complete this for painting. I'm starting out with my little tiny flat brush and some burnt umber that's mixed with a little bit of black paint. And I'm going to be color blocking in the mushrooms sort of the shapes, kind of like we did with the flower petals where we just did a solid color of the shape really. And then we can go back on top of that with the shadows and highlights and everything else. So you can pick and choose what places you want to put your mushrooms. I'm going to put them all over the painting within floral areas. Next, I'm going to be mixing a little bit of white into the brown, just to give it a lighter shade. I'm going to be going back and forth just like I did the rest of the painting with my lights and darks and adding in highlights and shadows, et cetera, et cetera. And that's all you really need is some black, white, and burnt umber to do these little mushrooms that quite simple to do. And again, you want to stick to the light source that you've somewhat chosen for your painting. I've seen mine is sort of coming from the top right corner in a way. So that's sort of what I faced my painting around. Karen going to be adding some black paint or some slightly brownish, blackish paint to the stems and to the areas that are shaded by the mushrooms here. Hello. Then finally going in with a lighter brown and then eventually a bright white to add in all the different highlights to the mushrooms. Am trying to build right up to the edge of each mushroom and not leave a gap. So you'll see me smudging that up closer to the edge that and this is just going to help with the realism at the mushrooms and bringing them to life a little bit more. And then of course, when you've done all that, you can go in with some pure titanium white and add a few really bright patches on the mushrooms, and they will be all done. Obviously now is the time to add in any final details to your paintings, whether that will be some shadows under the mushrooms like I'm doing right here. It's also the time where I'm going to be adding in the foxes whiskers, as I mentioned in a previous lesson. For the whiskers, I typically use some Prismacolor pencils, both a black and a white. I find that those are best for creating really fine and subtle whiskers that aren't too in your face. And that are nice then as well. So you just do a mixture of black and white here. White will show up on any dark areas and the black will sharpen any light areas. So that's why I typically use both the black and the white just because they make a good mix of the whiskers. And then any other last minute details that you want to add. But other than that, painting is pretty much done. And I hope you enjoyed this class and learned some new tips and tricks and especially how to fund. Foxes are the perfect sort of creature to paint for fall and even for spring. This painting is more leaning towards the fall. But it could also be a spring if you really wanted it to be. But we are all done and I hope to hear from you and see your projects in the project section. I'm looking forward to seeing how your paintings turned out. And don't forget to check me out on other social medias and my website. And I will catch you all next time.