How to Paint an Australian Koala Bear | Joy Neasley | Skillshare

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How to Paint an Australian Koala Bear

teacher avatar Joy Neasley, Watercolor Wildlife & Nature Artist

Watch this class and thousands more

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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

8 Lessons (1h 26m)
    • 1. Introduction

      1:13
    • 2. Supplies

      1:08
    • 3. Foundation Layer

      12:34
    • 4. Building Layers Part 1

      15:57
    • 5. Building Layers Part 2

      14:24
    • 6. Building Layers Part 3

      23:43
    • 7. Building Layers Part 4

      15:47
    • 8. Conclusion

      1:25
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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. Today, we are going to change things up a bit.  In recognition of the animals affected by the fires in Australia at the time of this class being produced, we are painting an Australian Koala Bear.

This class takes you through painting the Australian Koala Bear in watercolor.  Whether a beginner or an experience watercolor artist, you can enjoy painting your own Koala Bear.  If you are a beginner, take a few days to familiarize yourself with your watercolor paints and brushes.  Practice mixing the color and adding water to see what it does.  Practice painting the watercolor onto the same paper you will use for this class and see how it reacts. 

Attached you will find a preliminary sketch and a reference photo Koala to use for your painting or to create your own composition if you prefer.  Grab a watercolor journal or paper, and let's get started.

Class outline: 

   Introduction to the Class

   Supplies you may need

   Painting the foundation layer of watercolor

   Building the Layers part 1

   Building the Layers part 2

   Building the Layers part 3

   Buildling the Layers part 4

   Final Layer of Watercolor 

   Conclusion

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Meet Your Teacher

Teacher Profile Image

Joy Neasley

Watercolor Wildlife & Nature Artist

Teacher

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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Transcripts

1. Introduction: Hi. My name is joined easily. I'm a what? Watercolor, wildlife and nature artist out of Nashville, Tennessee. Today we're gonna take a break from our usual Tennessee and North American animals in nature. We're going to recognize one of the animals that has been affected by the fires in Australia. Right now, that's the koala bear. I encourage you. If you're a beginner, they all you need to do is practice a little bit of mixing so that you understand what your watercolors conduce. Oh, and then go to the supply video and pick up the supplies that you need. If you're not a beginner, you should probably be able to get away with the supplies you already use, However, watched the supply video fill in any gaps you have in your life in your supplies and let's get started. 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 water colors and very inexpensive brushes I found at the local hobby store. Lastly, we have the paper. I use an archival 100% cotton heart hot press paper, £140. You can use any brand. This particular one is legion. 3. Foundation Layer: I'm happy to get started on this koala I've been researching for days, and I'm really looking forward to painting this little guy, his furs a bit different than other animals off painted, and I'm looking forward to the challenge. Here. You'll see I'm starting with a mixture of black. My black mixture today is a creation made from French ultra Marine, a touch of scarlet, lake and sepia. Those three just continue to mix him, starting with the blue, a slight touch of the Scarlet Lake and then adding in the, uh, sepia. Then go back and add a little more of the French ultra marinas needed to create the black, the shade of black you're looking for. You'll see a zai go through certain areas. I add more sepia to create a brown or black other areas. I want the blue undertone in my black and go with more French ultra Marie. And in any case, I always add just a slight touch of the scarlet Laker. It'll turn it really brown, but I get a lot of variations in my blacks this way, creating a lot more depth, then just going with a black water color paint notice. I am painting in the direction of the for around the nose here, those little hairs and the rest of the painting. Even in this under painting, where I'm trying to bring out the darkest darks of the painting and the lightest lights of the painting, which is the goal of this under sketch under painting is I always paint in the same direction, and the reason for that is thes under layers still come through in the top players, little hints of it. So you want that to go along with the rest of your painting to be make it cohesive and it create from getting to keep from creating a cartoon. Look, I did a lot of research on these little guys before I started painting and had to do a lot more research once I got going on their hands and feet because they're very unusual and interesting, and I wanted to get them right, especially Sense three. His two hands and his foot on one side there on the left side is kind of on top of each other. I want to make sure I understood the anatomy, and I'm glad I did, because they have thick, dark pad on the bottom to aid and climbing. And then they have the, uh, to opposable thumbs that, um eight and climbing that I didn't realize and that would that will make a huge difference in your painting if you understand the anatomy before you get going now, it was a little hard to tell if this was a male or female, because I could not see in the reference photo how far down the white went. So I'm not 100% for sure. So I'll let you decide that, um, the males have larger noses. The females have a white that goes from their neck all the way down there. Stomach males have a little believe. It's the males have a little brown props are but patch, but anyhow let you research for the eyes here. If you'll notice center. The I is oval with points on each end, and it's curved a little bit to create that. Their eyes were not flat. They're curved with their face a little, so I've included that here I've used What did I use? I used burnt number and a touch of yellow Oakar to create the color for the eyes, using a water down black here under the eye. Something I did discover in my research is there for is not solid gray. They're for has a lot of burn number in it. Touch of yellow car here and there. Some black undertones I always pictured qualities is gray and white getting out a little bit of the lighter color here cause the black shows throughout the tip of the ears. And again, I'm pinning in the direction of the for for all of this. And then, of course, there's a lot of white in the year, but I do want Teoh signify with at the direction with the paint here going around the white that comes across the neck and the chest. They're noticed the direction of the light and where your darkest, harsher or um, sharper edges are versus where it fades into the for heading a little more sepia to this to get a brown or grey in the for it's a lot of variances in the for color. It is a very dense for a thick, for it's one thing I noticed was painting this koala. Normally, I paint my tenancy wildlife, however, today, so many animals have been lost and brought to near extinction. A few may even be extinct. Now we don't know yet in the aftermath of the fires will find out that I wanted to paint an Australian animal for a class, will be creating a few more paintings. I don't know that they will be classes or not yet, but I will be creating a few more Australian animal or wildlife paintings to demonstrate a few of the animals that were displaced by the fire. But fires? There were many in Australia just touching on the feet. I want my focus to remain on the face. I do want to bring out the interesting features of the feet that I discovered during my research, but that's not the focus. It's not wearing what people's I'd ago when they see this painting. It's my greatest detail is going to be on the face. I assume you use my finger in my rag here from time to time to blur some edges, and I always bring it out in the direction of the for keep everything going in a proper direction in which the for lies gonna let you follow along here and I will see you in the next lesson. Enjoy this. Under painting. Refer back to your reference photo from time to time. Let me see your progress. Post a video or ah, photo in the discussion section or in the project section. Let me see your progress as you paint. I'd love to see how you're doing. I love to see other people's work, So you say no . 4. Building Layers Part 1: okay. We started with our lightest lights in our darkest darks. Now it's time to begin the process of building up layers. In this process, we will work out evening the tones gradually through the layers. See me using an angled flat brush here to try to get the general direction of the for going on the face. It's about a 3/4 inch angled flat brush like the angled flat brush because the tip I'm able to paint with it as well as the straight edge on it. I'm using the same color scheme here. At the moment, I'm adding white wash two areas where the white for I want direction in the white, for I love the texture of white wash. That's why I use it with my watercolor have been asked why I don't use white water color. Um, I just prefer the texture of the whitewash. I've tried both, and this is what gives me the effect that I'm looking for. Now we will build this up in many layers, even the quash. It's technically opaque, but I can see through it so it will take time building up layers going back and forth between the shadows, especially on the chest and the ears under the neck going back and forth between the shadows and the white wash to get it just right to build up the layers toward the textures . Perfect, adding a little around the feet here again, as much as I love what I've discovered in the anatomy with feet, I don't want my focus in this area, so I'm going to keep it less detailed yet I do want the features to show accurately notice . I keep turning this angled brush to match the direction of the for. I am painting with the paint, um, kind of milky consistency. I guess. It's a mixture of water and paint milky, and then I go back with a little bit drier and I'm using. Mostly at this point, my black mixture burnt umber at times and also the sepia. Those are bright primary colors for this little koala bear. Be sure around the faith that years. I'm sorry to keep the for a little looser, the first more sparse. Here. It's longer, and but keeping it a little looser, you'll get a little bit more realized it. Look to your for again. I'm still using the angled brush to do this, just getting in the areas that I want, getting that base layer of wash down for the white parts of for using that angle in the brush to my advantage in this area. To get some of the larger areas that showed direction of deferred down, I'm using a water down. I'm birth the moment go in, start adding it darker, which means diluted less. At times, you'll see me change up this burn number with a little sepia mixed in it, and a touch of my black mixture added to it to give that variation and the first we see it , making sure I get my heart edges where they need to be. My softer edges where they need to be, Making sure to pay attention to the muscle mass and the under lying parts of this koala bear. Part of painting is getting to the animals wildlife. It's getting to know the animal. So when I'm painting here, I'm looking painting the for. But I'm visualizing the muscle that goes into that shoulder and around that leg to get it the direction I want. That's easy to find out if you're not familiar with koala bears. Just do a quick Internet search on Kuala Bear Anatomy, and you'd be surprised everything that pops up that will help you really visualize and help your painting become more realistic. You're going to see this layer start to get darker and darker as I'm using more true or color here. Don't be afraid of the dark. We're going to go back over with whitewash and darkened and lightened and darkened and lightness. We put the layers down. Don't be afraid to go to darker. Otherwise you have a lot more layers. You have to add to it later, but to get the shadows in, have the little creases in the for and the variation in the colors of the for you can have to go dark. I'm using a mixture of my detail. Brush a rigger, brush a large round brush in my flat angled brush To get this down. I go back and forth between these brushes. Using the detail. Brush more in the detailed areas around the face and in some of the shadows, getting in some of those creases, as you can see right here with the detail brush. I'm not being really particular and where they go, I just want the illusion of detail in this Kuala bear. I'm not trying to create exact replica of the reference photo, and my reason for that is I like my work to be, um, realistic toe Identify accurately the animal. But I like to have the painterly to Now, if you love photo realism, go for it. Just be careful not to have realism across the whole thing. Pay attention to the illusion of those details that will go a long way to keep your painting from being flat versus including every detail, which will give you a flat painting and does not really produce the realism you probably looking for. It produces more of a cartoony look, so I'm just throwing in some of this dark. I'm not being real particular, just making sure I follow the directions of the for looking my reference photo noticing where these dark patches are. And when I go back with touches of the whitewash in the black to get the coloring accurate , this will correct. Right now it is going to really look like it's in that ugly duckling stage of the painting and it will stay that way until his paintings about 75% finished, have discovered that's about the time frame that the total value start coming together in the painting. The contrast starts coming together. And when I goto working more to finer details rather than color. So, yes, it's gonna look a little rough, but the end of the section, that's okay. We're gonna keep going. You'll see through the layers how this little Qala changes and becomes much more realistic . An adorable follow along. We're gonna go back and forth with the same colors, the same paint, and going between those four different brushes until we finish. Cover this whole koala with this layer and I'll see you again in the next layer. Do not be afraid to post in the discussion section of the Prophet Project section Your progress of your painting. See you in a few 5. Building Layers Part 2: our koala bear is starting to come around. We're still definitely in that ugly duckling stage. I have mixed a little more black. I mixed black as I go rather than a huge amount at once. The reason why is for the native wildlife that variation works to your advantage rather than against you. I'm also using right there, sepia. I'm using it fairly dark. I'm trying to get my darkest dark sand. This koala is really gonna look too dark towards the end of this lesson. Don't worry about that. It's okay. We're still evening out tones tonal values. And you will see me go back with the white wash splattered across the top to give the for the effect I'm looking for. So to do that, we have to really make the underside darker so that it doesn't come out to light in the end . So let's see how it goes here. You notice that you want your heart, your hard edges in certain spots, and then as it fit, the shadow fades out. You want your edges to soften, and that's what I'm using my finger for here. Sometimes you'll see me use a old cloth that I used to drive my brush on for the same purpose. Each layer uses less and less water in the mixture, and I'm trying to bring out some of this detail below here to give definition. Because the underside of the koala is not flat, underside is rounded there. There's 1/3 dimension in there that we need to give the illusion off. Also the pads of the feet that helped the Kuala grab onto and hold on to the limbs. I want a hint of that at the bottom of the feet here, so that's what the darker color is because those pads air really dark. I want to include them, but I don't want a lot of detail because my focus is on the face and the rest of its the overall koala bear get a little hint to the nails in here. The nails on a koala could be a bit confusing. Uh, they must face the right direction. But with those two opposed opposable thumbs and the direction that these feet face, and the fact that on the hind feet there's one area, one pad that doesn't have a claw. And on the front feet there's one pad that actually has two nails coming out of it. That's not a mistake that if you research the Kuala Bear Anatomy, you will see that on the pots and the hands and the feet. So that's just part of getting accuracy in here, even though I don't want my focus in that area, and I want this area not as detailed. I do want to include some identifying features that is one of them, so it helps to understand your anatomy. You see some depth starting to take place here. That's what the's darker colors air doing and the white wash working with it. Notice I always continue to paint in the direction of the for just a little hard. These qualities have very thick for very thick and coarse. I love Don't touch one someday and see whether they're softer. Not I am. As I'm painting this area in particular, I'm imagining the muscle groups in the way the legs would turn in the way the koala walks because it has that hind leg coming up. Justus, those front to or crossed to make all three legs look a bit like the intertwined with that back leg back there to hold balance. Clothes walk very awkwardly on the ground they air made to live in trees, but occasionally they do walk on the ground, especially from tree to tree at times. Now, in this area, it's important to remember that from the chin up under the neck down the chest between the legs carries forward. You need to visualize this carries forward down the stomach. You gotta include that other dimension there. Otherwise, you have a flat Kalala. Each of these layers is going to even this out. I don't want these shadows too harsh making sure I'm softening my edges a bit. Here, it's okay. If they're too dark, we're gonna be going back and forth between the shadows in the white, a couple of layers to get the depth we're looking for. The key is we're trying to look for those increases in the for that Bring it out as we paint the top layers. We're about halfway finished with our koala. Here are almost halfway finished getting a little bit of those shoulder angles in there. This guy's looking really fake it the moment. But that's okay. It's the process. If that worries you don't worry about it. It comes out in the long run water colors a lot more forgiving than people give it credit for. Usually, when I hear somebody say watercolors not forgiving, it's somebody that hasn't painted in it before. Especially since we're using White washed for the white specks and the for that will help a lot and correcting mistakes. Okay, I'm gonna have you follow along. Remember to go in the direction of the for. We're gonna work mostly with darks and then go over with a layer of whitewash. Remember, we're using less water. Then we were before, even with the quash less water where the each layer uses less and less water. As we're getting closer to the details, I'm adding a lot of number burn number. Excuse me with sepia in this layer and my black mixture, which again is a touch of Scarlet Lake. Quite a bit of French, ultra Marine and somewhat, quite a bit of he sepia mixed in with it, and that's giving me the black color that I'm primarily using. And I'm going back and forth between using more blue, the French Ultra Marine and more sepia, because that gives the variations in the box that go perfectly with this little koala. So don't be afraid to go back and forth in those colors, and it doesn't need to be exact. Each time you're black needs to vary in shade, so don't worry about it. If it's not mixing exactly as it did before in wildlife, that's perfect and works to your advantage. So I'll see you again. The next lesson. It's gonna get really dark. And, yes, we're still in that ugly duckling stage. It's gonna work out. Keep going. Remember to post or upload your progress photos. If you have any questions, go to the discussion section. Soon as I get a notification that that question is there, sometimes it takes a little bit, but as soon as I get that notification, I will answer for you. So you say X 6. Building Layers Part 3: this layer. You are really going to see this cool start to come to life. Um, as the layer progresses, you're going to see a lot of dimension showing up. You're going to see Ah, the light layers. The tonal values in the the overall picture start to come together, although they will not be completely together through this. But you will see a lot of progress in this layer should make you happy. I'm starting with painting a little more black around the nose to give it that depth. I'm the black always takes quite a few layers and each layer of black I used less and less a cover less and less water. And I cover less and less area to give it that three dimension. Look, um, I continue to go around the mouth here a little bit in the chin because I don't want this area to appear, um, cartoonish. I want to make sure the first stand out it's for rather than just a white chunk there. So I keep going back and forth to give it that illusion. You'll see me do that some more throughout the next few layers to around the eyes I also do the same thing that enables me to create more focus on this face. This is the area I want the primary focus, that little circle around the eyes, the nose in the mouth. Qualities have an interesting little mouth that the hard edge needs to be towards the top, and then it a soft edge as it goes down into the for underneath it there, the nose. I go back and forth on the little area where the nostrils is the opening to the nostrils because you want just the deepest black in the area that goes in not the whole area. Otherwise, it'll appear flat there, so you'll see me keep going over that area. But I'm only going over the little less and less as it goes further back into the nostril. The little dark spot. I'm also occasionally that the oval with the two points on it for the people of the I, you will see me occasionally go over those as I, uh I want to make sure they're rounded out. So the edge sort of the left, the right side of it is a little black earth in the left side of the people. And then, of course, we have the Joker and yellow Oakar and ah, burnt number that I've mixed for the eye. You'll see me touch that up a few times in this layer to building up the for around the nose again. This is where the greatest detail will be, and it's not painting in every little detail. I'm giving the highlights of the details to create illusion. What is it that makes that area look like it's doing what it should? For instance, the I curving curvature of the I. What is it that contributes to that? Well, the shadow on the inside of the eye. You can pay attention to the angle. It is painted, and the curvature under the eye where the white is, goes from very slender, too thick and back up with a little pink, you on the edges to give it that curvy look. And for that pink, you I used a very slight touch of water down Scarlet Lake. Let me see how many colors are we using for this painting reusing scarlet lake, French ultra Marine burn number sepia and a little Oakar and then white wash. So we're using five watercolors in the White Wash. That's all you need for this painting and the brushes or whatever you're comfortable with. I've used detail the number three, triple zero and quadruple zero detailed brushes. Um, I've used a small rigger brush have used the 3/4 inch flat brush a little bit. Here, you're going to see me try to use the fan brush a little bit. Did not work. I don't recommend that it just made the for look fake, so I had to go back over that again. You'll see that here in a little bit. I just didn't like the way it looked. Now. I had used a large round brush. It was an older one where the ends air kind of splayed out a little bit. I use that for the dryer paint to give Thea looks of the end of the course for you'll see me use that in a little bit too here, so your brushes do not need to be the exact same brushes. You will find which ones work for you to give you, which effects and you'll end up coming up with your own favorite brushes. In the long run, you'll also see your own style coming out. Don't pain exactly is mine. It's good to copy other artists that while you're learning, but in between those copied paintings I used to learn copy a lot of animation tutorials and , um, Diane Sutherland and a few other people and I would do their tutorials. And then, in between each tutorial, I would also create a few of my own paintings and through the course of doing that and going back and forth with learning to paint watercolor through other people and then doing my own. In between, I developed my own style. It's that worked out really well, and your style just takes time to come out. It's not something that you just determine. In the beginning, you will see it flow out. After a while, somebody look at you and say, I recognize your paintings from amongst others every time I see him and when that happens, you'll know you've created your own style. It's there, continuing, going back and forth. As each area dries and is completely dry. I could go back and forth, creating depth on the face here. I'm painting very little water in this area, right now, so that's enabling it to dry faster. Also under a heating vent that helps a little bit, too. It's cold here right now. Using my finger toe, Lighten the edges under the mouth. Wallace have this little look that they're smiling all the time with the way their mouth is , um, situated working on getting some more darks up here so that I can go over it with the white quash. Fill it in getting those dark undertones on the ears to before I go over with the quash. There is some black in those years. It's behind the white. I'm going really dark. Do not be afraid to do that. You can always lighten this up, either by lifting water color paint or since I'm already using white wash for texture in this. For I can use that. Also, if you're not using, like wash, you can lift with your birth a clean brush the watercolor out in areas you've gotten it too dark, especially if you're using a good quality paper and good quality paints. Artists. Um, professional quality works so much better than the lower grades in time, you learn which ones I started out with the student quality paints and it took me a while to get used to professional quality when I switched over. But once I developed how to use them and worked with him enough because there is a difference. Um, I love my wouldn't go back. This is gonna appear really dark. It's OK. I promise you this painting is going to commit just fine. My goal right now is getting those layers in and the under painting and those textures. And I'm being very careful to create the roundness in the back. You got the shoulder and the muscles and everything involved in that. There's a hint of the belly there and the roundness that goes up to the back. And then the hint further back, which is a little more faded. The, uh, backside of the koala bear. It goes down to the hind leg. A little tip. If you're a beginner watercolor artist, what's further ist away paint lighter. What's closest to you create darker and you will notice that the darker moves forward and the lighter pushes back. Now, within that, you also have your highlights and things toe work with. But overall, I'm gonna let you continue through this. You will see me go back with whitewash and then back with the darks. I'm sticking with the same colors. No changes here. Just follow along and you'll be fun. Pause the video. If you need to ask questions in the discussion session, I'm happy to answer them. Section that session and post progress. Ah, images of your work in the project section. I'd love to see it. I'll see you in the next lesson. We're getting really close. See you soon. 7. Building Layers Part 4: this Qala is really coming along. Worried? About 75% finished, Mark, we're gonna throw in some illusion of details around the face here. I've got my little mixture of black with touch ups and white washed. I'm using these colors right now with very little water there thick. I'm using them in small amounts. I'm not covering complete areas of the eyes here. Just little touch touches. And that will go a long way to creating the illusion of realism in near Kuala. Hey, still little dark will fix that. As we go, you'll see him, uh, kind of come into fruition here the yellow Oakar and Bert number mix touching up the eyes. And then I'm going over a little section with a very water Don't wash. Piece to kind of give that a little shade difference. Create the rounded nous around the eyes. There little touches of black to create the three D dimension around the eye. You don't want a line there. It will look like a coloring book page. You want just a little dots here and there. A little brush strokes and you want the's in the direction of the for that You see in the reference photo for doesn't go just one direction. It goes various directions that contours around the face. I'm paying particular attention to these areas because it's our final building layer. We will have one more layer after this, that will be our final layer itself, touching it up. This is our final building layer. So I want to make sure that the face has the greatest detail and that it has. My has the focus. When somebody looks this painting, I want them to see those eyes and that nose in that mouth first that will bring them into the soul of the koalas people. We tend to wanna read the eyes. So that's where I'm putting my greatest attention at the moment, going a little more depth here with the nose, a little more rounded depth, doing that with just slight touches of black for here. Nothing drastic. Just little touches around the nostrils, just adding that little, a little touch their remember The highlights will create some roundness there, so I don't want to cover those up. I want just to make sure that the black is black in the little spots that I need it. A little bit of birth number in this section create some interest touching up the mouth, bringing it forward. The dark brings forward, the light pushes back. That's what we're doing here. And then, of course, highlights and shadows create your dimension and your depth. Little bitty strokes. Here I'm using my quadruple four brushing my rigger brush going back between the two small rigor. Now, once I'm done with this layer, you will see me at the end of this lesson. Paint a water wash. It's an overlying water wash. And what I dio is, since we've got our tonal values correct, and we don't need any more color to unify the painting and create that realistic look that you're wanting to go for. Here we use a brush and water Justus. We would paint. We paint that water on very lightly. No globs or puddles, just a light wash. Just a She would paint in the same way you put on paint. Paint the water on in the same direction is the for I. I go over Justus. I would've layer of paint. I do that over the whole koalas. If I was using paint and that will create. Once it dries, 100% will come back and put our details over the top are finishing touches and will be finished now. We'll do the details in the next final lesson. After the water wash, which is at the end of this lesson, you'll see it. It makes a huge difference in your painting. When you had that water washed before you add your final details, you just want to be very careful and not be heavy. Heavy handed. With that brush, I'm just basically Samos. We've done with the other layers painting over the top. However, this layer uses closer to peer watercolor rather than deluded. Watercolor also uses more pure wash rather than diluted wash. It creates these little details. You'll see me here with my little tip of the brush, creating the little for, um, trying to create natural strokes rather than stiff strokes, using the tip of the brush and lifting up, making sure that the ends look like they're coming from within, the for not the side. It means the end should be thin, and the tip should be even thinner at the top, going to lighten up areas that I want to push back, create that rounded look on the face, so it's not so flat. They have cute little round faces. You know all this detail in around the mouth face. This is very important to creating where the eyes gonna look first. That's where we put most of our time. We want the I to go there, and as we want the where we want the I to move, we'll slowly and slowly and slowly get less detail. A lot of people don't realize that when you do a painting with Justin Animal in it like this the composition. You have to be very careful because you can't just put stick an animal in a piece of paper . There still rules of composition that must be followed. Um, I like the rule of thirds. It's great for getting the eyes and creating interest within the animal. The different features of the animal can play into that, and it creates an interesting composition for the animal that you're painting. Getting the little white hairs here, trying to keep them from not being to stuff all over these years keep little guy making sure to get the little toughs. It's not just random white hairs. There's toughs here and there and there's, uh, places that they come out thicker than others. They're coming from within the ear, some of them. So you want to make the hairs coming from within the year appear that they are the little hairs that are coming from the face and up under the ear? You need to add those. You see me in a minute, put a little bit of the dark over the edges again there to make sure that looks like it's coming from within the year. Okay, we're gonna continue the rest of the painting just touching up, creating mostly the lights and darks. Teoh round out the face and to round out the bought different areas of the body. So just follow along. I'll see you in the next lesson. Let me know how you do. And do not forget that water washing the end, how important it iss you will see a huge difference. But right now we're just gonna the rest. This video strategically placed the lights and darks so that we get our shadows and highlights. Right. I'll see you in the next lesson, ready to finish and touch up our little koala 8. Conclusion: Welcome back. I hope you enjoyed this class. Feel free to check out my other classes that are available on skill share. There are many of them to choose from. Even give your hand to try at another. One of the Australian animals didn't go on places like picks. Obey, uh, wildlife reference photos dot com Some of them are dot org's. Some of them are free. Some of them are small fee, and you're able to paint the photos from there. Get reference Photos can also go on places like Flicker and look for photos that allow commercial and modifications in their copyrights and feel free. Teoh Post. You're finished videos in the project section. Ask questions in the discussion section. Take a peek over at my Instagram or my Facebook. Even my Etsy shop links air in my biography and see the type of work that you could be capable of doing with just a little practice