How to Paint a Winter White-tailed Deer | Larger Scale Watercolor Painting | Joy Neasley | Skillshare

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How to Paint a Winter White-tailed Deer | Larger Scale Watercolor Painting

teacher avatar Joy Neasley, Watercolor Wildlife & Nature Artist

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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 34m)
    • 1. Introduction

    • 2. Supplies

    • 3. Foundation Layers Part 1

    • 4. Foundation Layers Part 2

    • 5. Building layers 1

    • 6. Building Layers 2

    • 7. Building Layers 3

    • 8. Building Layers 4

    • 9. Final Layers 1

    • 10. Final Layers 2

    • 11. Conclusion

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About This Class

Whether for school, enjoyment, or professional artwork painting in watercolor opens the eyes and heart to the world around you.  This course takes you through painting a pair of winter white-tailed deer in watercolor.  They make great winter subjects to paint.  They are easy to find in the early mornings or evenings in parks and roadsides out in the country.  Attached you will find a preliminary sketch and a few reference photos for white tailed deer in which you may use for your painting or to create your own composition if you prefer.  Grab a journal, watercolor paper, or watercolor canvas let's get started.

Class outline:  

  • Class Introduction
  • Supplies
  • Foundation Layers Part 1
  • Foundation Layers Part 2
  • Building layers 1
  • Building Layers 2
  • Building Layers 3
  • Building Layers 4
  • Conclusion0d386545

Meet Your Teacher

Teacher Profile Image

Joy Neasley

Watercolor Wildlife & Nature Artist


Watercolor Wildlife and Nature Artist (full-time), and photographer (part-time).


 Currently based out of Tennessee, Joy Neasley is a watercolor artist specializing in Tennessee wildlife and nature.  She enjoys painting in the outdoor natural sunlight with a small pallette of quality watercolor paints, white gouache, and 100% cotton, archival HP watercolor paper.  

     Many ask if she has painted all her life.  The answer is no.  Born in East Texas, as a teenager Joy would often disappear to a nearby farm field to read, write, and draw.  By the time she was 19, Joy let drawing take a backseat to motherhood and family life.  It was not until 2009 that she began drawing again.  From 2009 she focused on... See full profile

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1. Introduction: Hi. My name is joined easily from a watercolor, wildlife and nature artist out of Nashville, Tennessee. Today we're going to paint white tailed deer. I encourage you to grab your supplies. If you don't have the exact ones from the supply video, That's okay. Make do with what you got, and I guarantee you'll learn from the lessons. I'll see you in a few minutes. Be sure to review the supply video first, and we'll get started with the lesson. 2. Supplies: Let's gather supplies. Starting with watercolor paints. They use professional grade Windsor and Newton. Feel free to use what you have. I will include with this lesson the water palette that I use if you choose to use it, but you do not have to. I also use Windsor and Newton White Wash for the white in the painting, and I use a flat angled brush aside. Zero round brush, triple zero detail brush, a large round brush and a small rigger brush. The's air made for watercolors and very inexpensive brushes I found at the local hobby store, so you should be able to locate them easily. I used a 24 by 36 inch canvas made for water color. It was very difficult to use. However, you welcome to give it a try. If you're a beginner, I recommend watercolor paper. Ah, hot press with archival quality 3. Foundation Layers Part 1: beginning with the small female deer. I've chosen a rigger small rigger brush, but not this is a medium rigger brush, and I am using sepia watercolor paint to start the under painting, working on following the direction and the contours of the face in this to make sure that even though this layer is at the bottom where you may not see all this, it's always good to continue to follow those directions and contours, especially with furry little animals. Our feathered little friends, um, other than sepia, the only other mixture I will use. This layer is black and keep in mind this is watercolor canvas. It is not watercolor paper, and it works very differently, so you will not get the same results. If you're using canvas as you do, the watercolor paper watercolor paper lends to being able Teoh layer very effectively, getting those layers dry and going to the next layer. You do not disturb the layer underneath with the watercolor canvas. You have to be very careful layering because once it's on the canvas one layer, then the next layer. Yeah, you can only like brush over the area once without disturbing the previous layer. You can't continue to brush over the same area without disturbing the bottom layer and running what you've already done. So be very careful. The paint does not absorb into this canvas. Well, it all you can get very good results with this campus. You just have to change your thought process and not paint traditionally with the water color. Um, so don't get frustrated if you're using can't the canvases I am and giving it a try for using watercolor paper? You could have a lot. It's a lot more giving, and you'll have success with it, too. So feel free to use whichever you want. With this, this nose is a little tricky. Um, reference photo was not very clear in this area, but what I've done is when my reference photos do not have areas that are clear. I go on the Internet and I Google or search the Internet. I searched places like flicker things, places that I confined, images of the anatomy of what it is I'm painting, whether it's botanical anatomy or animals and in this case, white tail deer. So I've done a lot. I spent several days doing a lot of research on the underlying anatomy of a deer before he began to paint it. I've also observed the white tail deer so that I can kind of capture. What I saw in my observations in real life makes a huge difference in your paintings when you can do that. That's why I choose wildlife in my area, often to paint because I've observed them. And I've tried to cheese more common wildlife that you might also have in your area. It might not be a white tailed deer. It might be a different type of deer where you live. Couldn't be elk or moose. But this will give you the basis of how to paint what you've observed in your area. Okay, we're gonna pull in a little bit of burnt number here for the back side. I think Seppi is gonna be a little dark for that area because he shut the mail is shadowing the female a bit here. But the backside of the female goes back far enough toward there is no shadow. So we're gonna throw in some burn number, a little bit of burnt sienna here and there, the lighter color being the Sienna when you see it? Come in here on the neck and the back side that's facing to the left. Here. Okay, I'm gonna let you follow through and finish up with this one and give it a try. Let me see your progress videos or photos. I love watching how you all are working. If you have any questions, feel free to ask if you have a question. I guarantee you somebody else does. And I'd love to answer for you. Just go to the discussion section of this less this class and let me know how. Which thanking. Also, Go to the project section and upload your progress or you finished. Finished painting. Let me see how you did and share it with everyone else. I'll see you soon. In the next lesson, we're going to move up to the mail and get that under painting. Done 4. Foundation Layers Part 2: Now that we have the foundation on the female white tail deer, we're going to work on getting the under sketch. I said foundation. I'm in under sketch The under sketch on the mail. White tailed deer. I started out with using a grayish black mixture heavier on the blue side, um, for the under sketch. Then I quickly switched over to my Seppi again. It was just too dark, so I switched over to the sepia. It just wasn't the undertone I was looking for a little bit of burnt number mixed in here. And now I'm gonna work on the antlers. I had to look closely it quite a few reference photos for these, but, uh, you're really beautiful when you get to looking at thes animals up close and analysing their anatomy. Get a little bit of the gray in here. Remember I said earlier, working on this campus, you have to be really careful. Paint does not absorb into this watercolor canvas. It tends to lay on top, so we have to be extremely careful with how we apply it. Sorry, you can't see a little portion of this, but I'm just filling in the darkest areas of the highlights here, mostly with a little bit of that gray mixture. I had our blackish mixture. I had, um, in the sepia, and that's given me a nice color here, Perfect for the shading on these antlers. I'm working again with the darkest areas, leaving the whiter areas white, darkening the darkest areas. Since it does not absorb as much with the canvas, I noticed that it does dry a little darker than it would if it was on paper. So if you're using paper, you may need to do this layer a couple times to get the same effect using a rigger brush. Still, I'm painting along the contours every once in a while. You see me little jagged edges around there. That's where the for is. I don't want straight lines on the edges the deer have for, and I want to represent that. The only thing I have straighter, not straight lines on would be the antlers. So I want to continue to follow the contour of the face, and the body is we get to it, getting in the blackest black in the eyes, trying to leave a little bit of white for the highlight, however, I didn't leave as much as I wanted. So I'll go back and correct that later with a little white wash, making sure that I'm changing direction here for these ears because the fur is going a different direction than the face, leaving some white to fill in later with some white wash over it to create the white. For in the years I'm using both burnt sienna and burn number here for the dark brown, and I'm adding just a slight touch in various degrees of the black mixture. And if you notice I'm still painting in the direction I have switched over to a round brush . This is a probably a size six, maybe seven brush. This is a fairly large campus. It's, Ah, 24 by 36 canvas. I'm using only the lower half of the canvas, so we're looking at 24 wide by a roughly 18 20 inches tall. Here, I want the top part of the campus to stay is white space. So this is a fairly large white tail deer we have going on here. I made sure I left a little bit of white where the tail's gonna go in the end, getting in the darker areas for the shadow, continuing to paint along the contour of stomach and remembering that anatomy again. I want to make sure that I'm putting the darker darks on the areas that get shadow in the muscles around the hind leg and the front leg and, of course, down his neck and across his shoulders, making sure of paying attention all that. So, even though my goal is to paint the outside of the deer you stuff to visualize Thean inside the start, his muscular structure is bone structure, his for everything on the outside. You gotta visualize all this, and that really helps a lot. So it's really great to be up observed in person. The animal you're painting first, white tail deer are very common. So there, at least around here. So they're easy to see and observe and take photos off and get to know them. There are also because it's so popular they're easy to find on the Internet. Fetal Look up their anatomy again. I'm shading but trying to keep the curvature, the contour around his neck and those muscles that come across the back. Now this is the first layer, so this will change. But I want to make sure that I'm going to continually follow the direction. Proper direction. His back is not going to come straight rounded off the back. He does have some with to him, so there will be a slight flattish flattened areas. You can see up towards the shoulder there very easily, going down his neck, distinguishing from his face. Of course, the larger canvas. I'm using a larger brush. If you're painting smaller, you'd probably be using a size one or Seiss three brushed with the biggest right here. I'd probably be using a one if I was paying this small size eight about 10 or smaller, moving down into his legs and keeping in mind even though this just looks like I'm throwing brown down his legs, I am keeping in mind his structure in his legs, the bone structure, especially the joints and where they lie. Continue to follow along here into a few more touch ups and get down to the legs, and you can see here the rounded belly see in a minute 5. Building layers 1: Okay, We're gonna start with the background. The background is going to consist of a little of the Windsor blue with red shade in it and a mixture that with the underneath rim blue. Not sure I'm saying that right, but you'll get the idea. Um, try and I'm not being precise here, and I'm not wanting this detailed. I do not want the I to go to the snow. I want the eye on my dear. And in the focal areas of my dear, don't be afraid if it looks like it's going too dark here, the shadows air Definitely not going to be dark. We will probably end up needing to darken it even more later when we add the white quash. If you notice here, the shadow is darkest up close to the feet and the female laying down this is too. Make sure that we bring out a little three dimension in this snow with her and of course, his feet, eyes feeder in the snow, his hoofs in the snow. However, we still want to try to get those as accurate as we can. It's a lot of muscles and things that go on in these legs, joints and bone structure that we do want to get. Like I said, this is going to dry a lot lighter. Plus, we are going back with White Wash for the snow. So this blue will not be this dark later. Although I do like this so I might go back and add more dark in it later myself. I'm gonna let you follow along here and I'll be back as soon as we start on the male deer. - We're gonna start work on the female deer here a little bit building up layers. This is our second or third layer. I don't remember, but we have a long ways to go here. I am working primarily with sepia this stage. I'm also a little bit of my black mixture touching up with that, and I'm working mostly in the shadow here. I want to make sure you keep those highlights around the neck to draw it out from the sun behind, off to the right and behind getting making sure I'm painting still in the same direction. I'm using the angled flat brush here. The reason why is as a point on the end, but it's also great for larger paintings is this. Even though it appears small here, this is a much larger painting that I'm doing. You might be doing an eight by 10 or in 11 by 14 but I've done this. One is a 24 by 36 so the larger brush works for me. You may want to use a smaller angled brush if you're going smaller on your sides, using sepia here mixed with a touch of, uh, what color is that? A touch of the burnt number with it to tone it down a little bit, going back and working with the shadows here at the same time, trying to add the dears coloring. I love these different shades of brown on how rich they come out both the quite a few layers here I'm not concerned with creating for yet, but as I've always said, we pay in this direction of the for. Even though this is an undercoat building up these layers, it will make a huge difference in the realistic look off the painting. If you continue to paint along the lines of the for creating a bit of a hard edge there on the neck on both sides, working on the shadows a little. All this is different shades of brown. I'm going back and forth between sepia burnt sienna, burnt number and each of, um, sometimes have a touch of my black mixture added to it to get a little darker, like this area right here. Now I do end up actually getting this a little too dark, and I have to light it back. But you notice I'm following the for with the point of that angled brush following the contour of it in the direction the for lies. You have to kind of visualize this from the observations of deer and from studying them on the Internet. Now I've provided a sketch with this class, but the actual coloring of the deer it's coming out of my head here. So just follow along. Don't feel you have to follow it Exactly. You may feel this is too dark, or you may feel that the deer need to be a different color. Go with what you've observed and what you've seen. You may choose to use other shades of brown. That's fine. This is just what works for me. What I've learned is every artist. If they paint long enough and practice enough, they will find a palette that works great for them. There's no one way to mix a color. Very rarely. There's a only one way. Not one money, I should say, working on little white Wash here around the face with a detail brush and the little white in the for I'm sorry. That's not my detail brush that is a rigger, A small rigor, getting in a little bit of the white. For I did get this face a little dark, and I'm trying to bring out the lighten it up a bit. I could lift the color out if you prefer to go that way, but I love the texture that the whitewash creates. So I'm gonna go with that. I'm gonna kind of lighten them up. Smooth this out all over, make sure you stay with the contours of the face. Even Ah, dark colored animals will have hence off white hairs in there for, so it's always good at a little here and there, even if you don't need to and then go back over it again with the darker that will bring a little bit more realistic. Look, I'm gonna let you follow along here, and I will be back. We're going to start the mail. Um, here in just a minute and I'll be back for that. Have fun. 6. Building Layers 2: okay, We're gonna start with touching up the snow. I want to make sure that the snow blends in with the background. I'm using pretty much pure white wash right here. When you think about distance, especially on land that's flatter semi flat, the shadows will get lighter. They also get closer together and smaller because you're looking at him from so far waste. There's going to be a lot more white here now because the top portion of this canvas is going to be left as canvas. I want this to blend in to the canvas as we go up, so you'll see me touch it up. This is pure white wash right here. Now the closer I get to us, the shadows are darker and further apart and larger. Make sure touch up around the edges of the deer. I'm keeping this painting. That's why it's on canvas instead of, ah, watercolor paper. I wanted to try the canvas out and give it a shot. I have a place specifically that I wanted it. That canvas worked better on watercolor paper. You notice here the shadows are darker, but I'm still putting in the white, The white wash because you do need the highlight areas you just don't need near as many as up above darker draws things closer to you. Lighter pushes them further back. Keep that in mind when you're painting backgrounds and edges to create three D dimension just touching up the top. Now the tail will be white. I'm not focused on that right now that I'm focused on snow, just creating a slight little blend there for the snow into the background. Here I'm using a rigger brush because I'm trying to get a little more detail and I want flexibility. So rigger brush works better than a small detail brush. This is a small rigor. It's longer and flex a little more flexible to give me the softer strokes where I can still get the hard edges, though in these antler I'm using sepia and my black mixture here, and my black mixture is usually a blue just doesn't reminder a dark blue, a touch of red and in neutral. And to get this, I added that with pure sepia in various degrees. As I go, I mixes. I go for these animals there first, not one shade. One Hugh their first various colors and to bring out that realism. My mixes that go so that my color will theory being careful to get the hard edges where they belong in the soft edges that helped create that three D illusion of thes antlers. I'm not worried about total value right now. I'm looking at shadows and highlights. The first layer was just to get color down. This one is to get some definition. So my tonal values, they're still going to be off. They will be off until we're about 75% finished with the painting I consider a painting. I know how long it takes me to paint a painting and about 75% of the way finished. I'm at the point where all I have to do is add details and a water glaze. The water glaze. Bring a light water glaze, especially on campus. You have to be really careful because it's not like watercolor paper, where it can take a a darker, uh, heavier water glaze on top. But this I will use the water glaze to bring it all together, and then I will go back over that and work the details. But my paintings are usually in that ugly duckling phase until I hit that stage. And that's because that's when the tonal values are usually pretty much there. I may do a few total value touch ups in the detail work, but that's it. By the time I'm 75% finished, I've got my tonal values there, and if they are him off, you can add a touch of, ah, for these animals like this. Either touches sepia. No, I wouldn't do that. I would do a touch of burnt sienna for this little guy and just a hair, not enough toe. Show the color, really just a hair to give a hint in the water glaze and that we really draw the whole painting together, especially since undoing to dear, that will bring them together. I would probably do that with the same water glaze. No, some still painting in the direction of the contour of these antlers. You'll see me also painting in the direction of furs. We go very important, important that every layer follow that rule. My lawyers air fairly dry. They do have water mixed in them, but it's not like painting What on what and one This canvas can't take what on what? To, uh, at this stage of the game. I want the layers fairly dry. I'm tryingto start adding that little more realistic Look, as we go here getting the shadows in, I use white. Wash around the ears in the face to bring out the for When you're painting this, you're not wanting solid layers of paint. You're wanting strokes. The reason why is thes animals have under coats, especially during the winter, and the undercoat to really thick this time of year, and it is snowing. So we know that this deer has a good, strong undercoat. We want that to shine through, and by doing that, we're just creating little strokes to indicate for over the undercoat I'll go back and forth between the white wash in the color I'm using to create this effect. Remember, you have to go specially around this face. You really have to paint along with that contour, and you also need to understand the just A quick Google search will help you understand the structure of the face and the muscles go along the body to help you get that curvature that you need in the right spots, trying to make sure that all these little different directions for goes on the face. I'm following it, getting some dimension here in the ears in the top of the head again, lighter pushes it back. If you look right here above the nose, the darker brings it forward. You have to kind of mix that with the shadows and highlights that you're also trying to get going. It takes a little practice to get your eye to see these things, but it will in time, working on the nose. I had trouble finding a reference photo with the nose pointing the direction that I was looking for for this painting, some kind of winging it here. But I do understand the structure of the nose and the mouth because of my research on the white tail Deer Anatomy and only takes ah, brief amount of time to research this cause. You can find these all over the place on the Internet in ah, journaling books. John Muir Laws has a nature drawing journaling book, a guide that I believe has a type of deer in it that shows the skeleton the joints. It shows the for it shows the muscles, helps you learn how to see and sketch these things out. That's I highly recommend that book. It's the laws. Guide to Nature. Drawing and journaling by John Muir Laws probably find one used. It's been around for quite a while, but I'm when I I can't find something on the Internet or I just want to doodle. I pulled that one out often in practice. Do you remember, dear, being in it quite extensively if I remember. Right. Okay, I'm gonna let you follow along here. We're gonna go continue painting along the contours of his body and the muscles and the joints with with ah, the black mixture And the sepia alternated with some of the burnt number And on occasion, a touch of burnt sienna. And then I'll catch back up with you. Wouldn't we move further down? See you in the next lesson. 7. Building Layers 3: Well, welcome back. We're going to start building the layers of fur on the female, and I'm going to begin getting a little more detail. But our primary goal is over the next three lessons, plus this one to begin evening out thes tones. Now you'll see here. Got a little too dark with EI. We're going to rectify that as we go. Go back and forth. Um, don't be afraid to paint the dark's these dark. So what really brings out the realism in these animals creates a wonderful tonal value. Many people are afraid, especially in the beginning, learning to paint, adding the dark colors. But the worst thing that could happen as you start over. But I found that if I pushed through till I'm about 75% finished majority of the time, I am happy with it because that's when the tonal values and everything start coming together. It's gonna be in that ugly duckling stage up until that point anyway, so push through if you don't like it in the end. Given another try, I'm using a rigger brush to make sure my strokes are fairly loose here for the for, and I'm using a mixture burn number and burnt sienna. For most of this, you'll see the darker darks coming in with a little bit of sepia. Those tend to be my three colors on love with these dear Also the white Wash. Now I'm gonna go back and forth in the next several layers with the light, the dark, the light in the dark until we even out and you'll know when you look at it. If you've got the tonal values, even that or not, whether you need to keep pushing forward. Um, watching shadows and highlights of the sun, the sun is coming from the right rear. So there's a little bit of light coming around on the back side of this female deer, and I'm gonna reflect that by using more burnt sienna in those areas. Light layers, I say light layers. But I am also using less water, so they're darker layers. Each layer. I use a little less water and get a little more detailed than the previous layer. However, at this point we're still not getting really detailed, more so than the past layers. But I'm just giving the illusion of detail and darkening up areas that need darker lightning areas that need lighter keeping in mind. The muscle and bone structure of this little girl visualizing her legs being curled under her and the muscular structure, the next structure coming down in the length of her body. And I'm remembering dark brings forward light pushes back, and thats helps a lot with the getting the three dimensional look, I'm not too happy with how the eyes and the nose air turning out at the moment use the references that you have found online of what they look like. And I'm gonna keep pushing forward because I have a feeling Keep going. I'm going to get this right. There are ways to go over areas to lift out areas to correct areas and just keep following along and you'll see them. Nothing dramatic. These little deer have cute little eyelashes, but I have to be careful because going to make it look quite cartoon like, if rather than realistic. If I'm not careful, so keep excuse me, keep painting and continue with the same three colors a little bit of your black mixture here, and there is a hint inside them. The three colors were burnt Sienna, burnt number and sepia and a touch of your black mixture. And those will really bring out the natural color in these, dear don't forget your white washed, so I will come back and see you in the next lesson where we will begin the next layer on the male deer. 8. Building Layers 4: okay, I am going to start filling in some of the total value. I want my darks to become dark, and I want my lights to become light and my medium tones medium. And this is where we start working on this. We've got our basic cell down here. We've got our color going starting to see texture pop up. We're seeing Contour. We're seeing muscle groups we're seeing, especially the contour and the twists in the antlers here. So it's time to start fine tuning these a little bit, but not getting into too much detail yet. I'm gonna use my black mixture toe work in a little bit with the antlers. Careful to keep my hard edges hard and as on the end sides and then coming into the softer edges with shadows, I'm kind of pop out our fate away. I should say it appears I'm using black here. I am using the black mixture, but I've got different shades of neutral. Brown's mixed in here depending on what I'm going for. And I want solid black you rarely see other than the eyes, the nose, the hose you rarely see black, um, solid black on a deer in the for there's hints of it in the for maybe a little individual hairs, but not enough to be able to see it. So I'm putting in the shadows and things, but I'm not using black black. I want to keep this more with neutrals, the different shades of brown that we've been using all along. Be sure to follow the contours of this face and the for to keep that realism going. And the contrast and the tonal values air coming together here. We've got a few more layers before they're finished. He's starting to look like a dear little, but a little touching up the darks in the nose here, mouth following the three dimension under the eye there, not painting straight down on painting kind of curved off. I'm using my rigger brush. Medium rigor because this is again a large painting. Use a small rigor if you're doing a smaller painting getting this very dark because I'm gonna go back and add white washing a minute, which the next few layers I'm gonna alternate thes. I want to make sure that that undercoat and the for look fairly natural gives it a lot of depth, darkening areas that need to be darkened. At this point, they may seem to be getting too dark for you. It's okay. We're going to keep going. All this will even out as we go. Remember that the underbelly comes up from between the legs and up to the center, Uh, the neck, not to the edge. That way you're painting according to the contour of the for rather than the shape of the deal that will give you your dimension that you're looking for And you realism around the head and the neck and the body. I'm gonna let you continue. I'm going to continue to do this all the way through. We're gonna work on that tail a little bit, will come back with some white wash and to lighten up the face. And then we'll turn around the next lesson and re dark in it. We're going to go back and forth, so enjoy the rest of this lesson and I'll see you in a few minutes. 9. Final Layers 1: our dear really coming alive. We're at about that 75% mark. I've gone and added a touch of water. Just plain water. Two areas. But I had to be very careful and stop because with canvas, it doesn't do too well. If you were working on paper watercolor paper, use your ah flat brush and very lightly and just one stroke over each portion. Ad layer of just painting with water. And that will make a huge difference with the canvas. I couldn't do that because the paint does not soak into the canvas like it does. Water is proven to be very difficult toe work on, but it can be done. You just have toe adjust to it, which is what I'm doing. So I've got my detail brush out here, plus my small rigor, and I am using that to begin the detail work on this. We've got our tones just about there. Now I'm going to work on adding detail and the final touches to the darkest darks and the lightest highlights, and this should help us of. Also, I'm going to go back in this layer and work on that. I use a little bit of the white wash toe, lighten up areas of it and then go back over with. Ah, my darks in touches rather than the whole. I wasn't too happy with the eye on this little girl. She is really coming alive, though I'm using a lot more of the sepia. And I'm sorry, the burnt sienna, not sepia. I'm using a lot more. The burnt sienna. I hear, um, very little water added to it. And then, ah, lot more of the burnt number with very little water added to it. To get this layered these details down, it's painting basically dry on dry to get these details down which have had to do most of this painting because I'm painting on the canvas again. If you're painting on paper, the water works much better. You can do a little more wet on dry or what I'm wet. Then you can what I'm doing here Now we do have one more lesson after this one toe finish thes final touches. But this lesson and the next lesson are adding all the little details. And since this is a larger painting, this takes a while for me, detail work takes the longest. But if you're doing it small a smaller painting for example, the 11 by 14 or eight by 10. This will not take near as much time as it's taking manual breeze right through it. Not recommend doing a painting this size starting out. Unless, of course, that's some people love to work in that size at first, because of my work has more detail in it. I prefer to work smaller. This orangey color is the burnt Sienna. You're seeing me adhere, creating some color coming out of here. If you look at deer, they're not just one solid shade of brown. We're gonna bring all this out. All these little details in the for out this layer also be doing touch ups. But I'm pretty much done with most of the tonal values in the contrast other than the detail work. A lot of people feel that their painting is finished at this point. But if you go, if you're going for photo realism or any form of it, I like to keep my paintings with a little painterly look to him. So they're not photo, photo realism or even hype. You know, a lot of people further, that is hyper realism. These have a realist realism. Realistic. However you want to say that touch to them Tore. When you look at them from a distance, they do look really like a photo of her. If you get up closer, you can see the brushstrokes. I love to keep the painterly look to it when you're up close so people can see this is a painting. It is not a photo. It is a work of art. Not that photos or not Art. Do you know what I'm trying to say here, watching those hard edges? There's You don't want a lot of hard edges in the for not on these, dear, but just follow along. I'm gonna go back and forth between my regular brushing my detail brush using more the pure colors rather than the mixtures that we've been using. Sticking with the same colors we've been using on and in. The next lesson will continue with these final details and we'll touch up a little more. Just be sure again to follow the contour. Um, keep the breaststroke short. Do not paint solid. You're just adding touches this point. We want the illusion of detail, not the actual inclusion of detail. I'll see in a minute 10. Final Layers 2: the final lesson in this class. More just gonna be doing touch ups here to the mail. Get him detail ready. I should say the illusion of details that IHS I'm just very lightly. This is a detail brush. I believe it's a triple zero, and I'm just lightly going over the darkest darks, making sure my hard edges are hard and my soft edges air soft in this one in this layer because this is our final layer. Here you see me adding a little white wash for the highlights and to create a little more texture on the antlers. I'm not just putting a lot of wash on. I'm using it really dry. And that way it creates a textured look. Is a brush across it making sure I didn't mess up those hard edges. And we have the soft edges on the inner side. There. What? You saw me bringing out being sure My dark edges, They're still there. See how that back, antler? By lightning it up, it pushes it to the back in the darker antlers. Our up front. I pushed it back a little too far. I'm gonna come back in a minute with some dark getting these on the other ones, adding the little highlights there and creating that texture. You see how really creating the shape that's needed to bring that other antler separated from the ones behind it, making sure those hard edges air hard and soft edges air soft here, and I'm not painting in every detail. I'm giving the illusion of details just hence here. And there's what I mean by that. If you pick out a few details that seem most prominent and most important to you, put those in around the areas that you want the I to go to. When someone looks at your painting, that's all you need on the course. That's right here around the head and the head of the female in the last lesson, making sure to get that. And here this is our final layer. So I wanna make sure that the darks are dark and the lights are like and that everything is just touched up. This is not by any means. It looks like I'm adding a lot of paint. I am not. This is just using paint that is not really diluted, hardly at all and very small brush strokes of this rigger brush off switch to here. It's a small rigor, given the illusion of for love. The rigger brush is for the for. You're in a few minutes. You're gonna be finished. Love to hear how well you did, how well you didn't do. What do you need up with? Message me in the discussion section of this class. Post your finished photos of your finished projects in the project section. Let me see how you did. Don't be afraid. One thing about being an artist is I've developed a very tough skin. Not every painting is going to be looked fondly at by everyone. And some of the paintings I thought were the worst other people thought were the best and vice versa. I'm going to continue to go back and forth here on these little details around the face. As I get further down the male deer, you will seem the details becoming a lot more sparse because I don't want too many details in that area. Stay tuned and listen because I'll pop back in here and there and add a few notes as I, uh, go through with the with the lesson X. I thought I'd put back in here for you on the legs just to discuss the shadows, making sure that they are separate. You'll need to make sure that the shadow is darker on the underside of the leg. But you also want lighter on the outer side of that hind leg so that it seems like it's going backwards. Notice that the for the white fur on his stomach. I have painted in downward motions to kind of create a three D effect. And as if the chest is coming up around it as it goes up to the front and the back, I'm adding and just hints of, uh, the idea that there are muscles and dents and things in this leg around the bones to give it a realistic look. Now I don't have the hopes completely in here is there in the snow. But you can tell that this does follow the deer's anatomy that I've studied. I hope you've enjoyed this. I'll be back in a few minutes with a conclusion, and again please send your photos in the project section. Let's see your work. I imagine it's wonderful. Probably a lot better than you think it iss. I know that tends to happen with my own paintings. I'll see in the conclusion 11. Conclusion: I hope you have a much fun as I did painting the white tail deer. They turned out quite well in the end. I love the fact that they were on the larger canvas above my bed. Even though I did not appreciate painting on the watercolor canvas. It was very difficult. So if you have watercolor paper and your beginner, this might be a better option for you. But the deer themselves came out wonderfully. Now show them to you. Here in the second, Please visit my biography to visit the profile to see the links to my shops, my website and, of course, my instagram, which is at Join easily studios. And be sure to post your projects to the and ask questions. If you have a question, guarantee you someone else does, too. Us. See you next time.