Learn to Paint a Beautiful Rainbow Pet Portrait with Acrylics! | Juliann Rowe | Skillshare

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Learn to Paint a Beautiful Rainbow Pet Portrait with Acrylics!

teacher avatar Juliann Rowe

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

10 Lessons (49m)
    • 1. Introduction

    • 2. Materials

    • 3. Reference Image Prep

    • 4. Digital Mockup

    • 5. Painting Surface Prep

    • 6. Image Transfer

    • 7. Palette Prep and Painting Shadows

    • 8. Painting Midtones

    • 9. Highlights and Finishing Touches

    • 10. Conclusion

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About This Class

In this course you'll learn how to paint a rainbow pet portrait with acrylic paint. The course will cover everything you need to succeed in the project, including recommended materials, how to find a good reference photo and how to improve a bad one, creating a digital mockup, prepping the painting surface, and then the actual painting process from start to finish, from shadows to highlights. This project is an excellent beginner project for those who have always wanted to paint but have been too intimidated to start. Because there is no blending involved and the result is a bit abstract, this painting can easily be done in under an hour and in one sitting. The finished product would be perfect as a gift for anyone with a cherished fur baby in their lives, or as a gift to yourself! So grab your paints and choose your subject and join me in creating this lovely pet portrait!!!

Meet Your Teacher

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Juliann Rowe


Hello, my name is Juliann, and I go by Landyclaws online. I am an artist and illustrator, and I work primarily with acrylics.

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1. Introduction: Hi there. My name is Julianne. I go by Landy. Clause online and I am an artist, an illustrator. I work in a lot of different media, but I mostly focused on acrylics. I find acrylics to be an incredibly versatile medium. I really love that quick drying time. It's really impossible to mess up. And you don't have to do a whole lot of planning with acrylics because you can just kind of let that paint dry and and paint right over it right away. So in the class today, I'm going to teach you how to paint a beautiful rainbow pet portrait. I'm going to be painting a dog today, and I'm gonna be showing you that process. But this process could easily apply to a number of other types of pets or animals or even people. So I'm gonna go through that process, show you exactly how to do it, break it down, make it really easy. So the class will include a section on the materials needed for the project, both those that are required and those that are more optional. There will also be several sections on the actual painting process and also a couple covering how to prepare for the painting process, including the digital mock up section, how to prepare your surface, how to transfer the image you're going to paint onto the surface and then all the different steps in creating a complete image, including painting shadows, painting mid tones and highlights and final details. So definitely check the description of the class. There will be included a print out of all the materials used to create the artwork, and I would also encourage you to once you've completed your project or as you're working on your project included in the project section, you can include progress pictures and also the image of your completed painting. We would all love to see what you've been working on and what you've created based on this class. So I'm really excited to ah, share this course with you and I hope you enjoy 2. Materials: So first, let's talk about the materials that you're going to need to complete your painting. The first is a surface, and you can use any surface that you like that will take acrylic paints. Fortunately, there are many services that will work for this canvas canvas panel would board. Ah, heavy paper. Um, so any type of surface that you can put acrylic paint on. Secondly, you're gonna need some acrylic paints. I'm gonna be using SoHo acrylics today. They're extremely affordable. Um, and they work very well. They're really nice student paint, and I'm gonna be using those in a variety of colors. You really only need the primaries red, blue, yellow, and then black and white. I've added an orange here in addition to my primaries. Um, but you don't really even need the orange. You also need some acrylic brushes. I'm using the art sharper brushes because those were my absolute favorite brushes for acrylic. You'll definitely want something with a stiffer bristle. I'm not super super stiff, but, um, something that's differ than your typical like watercolor synthetic. You'll also need, um, a couple of water and a towel to wipe your brushes off. So that really glittery, colorful pink thing you see there. That's my iPad. Um, and I'm gonna be using my iPad to do the digital mock up for today's project, and I included it here just because it's it's so very important to my process. I love to sketch and do digital mock ups before I do finished traditional projects. I like to do that in my iPad in procreate. That's what I like for the process, but you don't necessarily need to use the iPad. You don't even need to do a digital mock up. You can actually do a traditional ma cope with markers or crayons, colored pencils, whatever you like. You can also use different digital programs. You don't need the iPad. You could use photo shop you could use. Skimp. You should. You could use paint anything like that. You're also going to need some kind of palette to put your paints on and to make your mix your paints. I really like the paper pellets. Um, those have just been easiest for me, is used to clean up. You also gonna need a print out of the photo reference you're going to use to create your painting. Um, and you're going to need some kind of transfer paper. You can use graphite transfer paper. I use Cerrell transfer paper. It comes in a number off colors. Yellow, blue, red, that kind of thing. I have a blue piece here. Um, optionally you can have a finisher. Um, or some type of varnish for when you're painting is done. I have the crile unclear glaze here that I'm going to spray on my painting. Um, after it's all done and you'll need a way to transfer your image. So some kind of stylists, like a pen or something with a relatively short point, anything like that. So some final optional materials are some very aesthetic plants to surround yourself with some candles, anything that just makes the process a little more joyful for you. Um, also a studio companion is also really, really nice to have with you. I have my beloved, uh, little doggie here soggy, and she keeps me company while I paint 3. Reference Image Prep: Okay, so we need to start with our reference image. We need to have a good image to work from in order to create a really nice painting. So I have a reference here of my brothers girlfriends of adorable puppy docks and puppy on . And I'm gonna be painting him today. His name is Lorenzo, and this is actually not the best example of a good reference photo. And I kind of picked it on purpose just because I wanted to show you a couple of adjustments you can make to help you when you're working from your reference image, help you improve on it and make it a little easier to paint from. So I have this reference opened up in a really old version of photo shop. Any version of photo shop would work or any kind of photo editor will work for this. We're just gonna be doing some very basic applications here. So the first thing I'm gonna do is I'm gonna change my image to gray scale because actually working from grayscale is a really great way to start painting. It's a great way to start learning about values, which just means how light or dark something is. And really how light or darts start? Something is It's just the most important information you need in order to create a convincing painting. So we're gonna change this image to gray scale. So the way I'm gonna do that is I'm gonna go up to image at the top here, and then I'm gonna go into mode and also like the gray scale and discard all that color information. And now we have a black and white image to work from, and the ones we have are black and white image. Um, this reference photo is not very strongly, so it doesn't have a lot of great darks and lights. I want to kind of enhance those darks and lights just to help myself out a little bit. So what I can do is again go to image up at the top, Goto adjustments and then in adjustments, I can, um, changed the brightness and contrast. So I'm gonna go there real quick and I'm going toe up the contrast a little bit and you'll see as I'm upping the contrast that's making the dark starker and the lights later on, and that's gonna help me out when I'm painting. Or when does when I'm deciding to what colors to use. Where? Okay, so now I have my enhanced black and white image. And just to let you know, you could also keep your image color or in color if you like. You don't have to change it to black and white. I'm gonna show you both digital processes. When I do my digital mock up, I'll work from the grayscale one Anil work from the color one. I'm just to show you how both of them work. So if you want to changed the contrast on your color image instead of going up to image and going into grayscale mode, you'll just go up to image at the top. Select adjustments go to brightness and contrast. And just like before, you will increase that contrast level and you'll see in your, um, new image, you're gonna have lighter highlights, brighter highlights and burger darks 4. Digital Mockup: Okay, so now we're in procreate on my iPad. And I've brought that black and white image that I just showed you how to prepare into procreate so that I can work on my color mock up. Because, of course, this is gonna be a rainbow pet portrait. It's gonna have a lot of beautiful colors in it. And I've got to figure out where all my colors go. And I like to do that before I actually start painting by doing a digital lock up. So I'm gonna show you how to do that first with our grayscale image, and then we'll do the color image next. But for this grayscale image, what I'm gonna do is I'm gonna bring it into procreate. Um, imported there and the ones I haven't in procreate on the layer that has that image. I'm gonna lower the opacity of my grayscale image so I can actually see through it. And then I'm gonna create another layer underneath, and the layer underneath is gonna be where I actually paint my colors. And I'm gonna talk to you a little bit about how I decide where those colors go because that might be a really big question for those of you who are very new to painting and new to the idea of values of lights and darks. So the way I kind of think through this process is I know I want a lot of different colors in this portrait, so it can get really overwhelming really fast. But really, all you got to keep in mind is that dark colors go in the dark areas and light colors go in the lighter areas and because we up the contrast of our image and because we changed it into gray scale, we now have a really good idea of where those dark darks are and where those light lights are. So the first thing I'm gonna start out with, I like to start out with my shadows. And it's not necessarily the case that you have to start out with your shadows, but I like to do it. Um, so I'm gonna start with my darkest colors and so black is obviously the darkest color, right? So I'm gonna start it with black, and I'm gonna put black in those very dark crevices, this darkest areas. So the darkest areas of Lorenzo here are, for instance, in his nostrils, um, underneath his neck in the space between his head and his years. His eyes are very black. So all those areas I'm gonna start to put black it, OK, And then the next areas that I'm gonna work on her actually the areas that are very close to those darkest areas because they're slightly less dark. So I'm gonna go to those areas next to those black areas that I just put in and I'm gonna pick blues and purples cause blues and purples air very dark, and we use very dark blues and purples and kind of put them adjacent to those very darkest areas because those areas are dark, but they're a little less dark than the black areas work. And so I'm just gonna keep building out from these darkest areas to the lighter areas. So I've got my purples, I've got my blues, I've got my blacks in those dark areas. So then the next areas I'm gonna work on or those areas that are really super dark and aren't really super light and that's the majority of the image, right? And in those areas, I'm gonna put sort of what we call mid tone colors. So not super light colors. Not yellow, not white, but kind of in between. So, like some orange and some pink. So in those mid tone areas that are kind of in between dark and light, and I'll pick out some examples here. We've got a little bit on the snouts. Definitely a lot of actually. A lot of areas on this now are in mid tones the middles of the ears, the middles of his little back and chest area. Here, I'm gonna put some I'm gonna scribble in some pinks and some oranges. And then in the very brightest areas, top of the top of the head, top of the ears around the eyes, the eyelids catch a lot of light on top of the nose. In those areas, I'm gonna put like my yellow's my bright yellows. I also picked out this beautiful, bright teal color. Um and I'm gonna put the highlights there. And then my brightest whites, my brightest whites, I'm going to reserve for the sparkle in the eyes because without that sparkle, he looks a little bit dead. So I'm gonna put the sparkle in the eyes with white on, and I'm gonna make sure to highlight underneath my nostrils with a very bright color. You could do that with White, actually chose to do that with a very bright yellow here. So it's kind of the process I'm thinking through. It might take a lot of practice for you to get to the point where you're thinking this through. In that way, you're kind of seeing where those values are seeing where you should put those colors. But that's why a digital mock up is so great. You can kind of try out different colors and different areas, and if it doesn't look right, then you just keep working with your colors. You keep dry trying new things, and there's really no consequence. When you're working on a mock up right, you could just change things around. That's why I like to work digitally for the mock ups. Some people might not have, you know, procreate available to them or any kind of digital procreate our digital program available to them. In that case, you can do a traditional mock up markers. Air really could waited to a markup. I just use a markers and printer paper just because it's kind of like a sketch, and it's your chance to kind of figure out where you want things to go, and there's no one right way to do this mock up just by the way, there's a lot of different ways that would work. Really. What's crucial about your mock up is that you have the darkest darks with your dark colors and then the brightest rights with your bright colors. That's really all that matters, and everything that kind of goes in between can really be customized a lot. And I kind of show that here because I actually did this process twice. I did it once with our grayscale image, and then I did it a second time with our colored image, and they turned out differently and and I'm the same painter and I did this on the same day . But they turned out differently anyways. And that just goes to show that there's a lot of different ways that you could do this project, that you can use the colors that you could place the colors, and it would still look great. So as the final step of the process in your digital mock up. Remember, we did those two layers. The first layer was the image with a lower rapacity, and underneath that we were coloring. So in the last step of my digital mock up, I actually take away the image. I turn off that layer that has the lowered opacity image in it. And I'm just looking at my colors now. And this is the This is the place where you do a lot of your evaluating. You want to take your image away because that's not gonna be on your campus. It's just gonna be your colors. So you want to see if your color of your working this is the place where you kind of make your final decisions make your final adjustments? 5. Painting Surface Prep: All right. So the next step is to prepare our surface for painting. So you actually don't have to do this. Step it all. Most surfaces that you'll buy for painting will actually come pre prime to pre prepared for painting. And I actually I'm using a just sewed canvas panel here, and I could just paint directly on on it if I wanted Teoh. But what I like to do is I like to put down a mid tone color to start from because I find it a little easier to work from mid tone colors, then to work from just a stark white background. Um, it's kind of the same concept as, like that tone tan paper. If you ever if you've ever used that kind of paper for your art, I'm starting from a mid tone can be a little bit easier. Um, so I'm gonna tone my canvas just with some with some great Pete. So basically, I'm just gonna mix some black and white together. And on my 12 12 by 12 campus panel here I am going to use a larger brush. I think this brush was just a very cheap, um, Half inch brush. I think I got in one of those Michael's packs or something, just something that will put the paint on the panel as quickly as possible. And I'm just putting a relatively fast then layer here. This is just my background. So I'm not too concerned about it being perfect. Just want to cover my panel and, uh, the other consideration you want to sort of think about when you're preparing your surface is you don't want to use the color that's gonna clash too much with your portrait. So this is a rainbow portrait, and it has a ton of colors in it. Which is why I went with sort of this mid tone grey. I might make a different decision if I were doing, um, you know, if I were going to do a grayscale portrait, I could use a Mentone gray. Um, but I might I might change my background colors. So that's the reason I'm using a Mentone gray. I've actually done this kind of painting on black canvasses before, so that's a really nice option to, and the colors show really? Ah, right and saturated against black background. So that's another thing you could do. But again, you could also paint directly on your prime surface 6. Image Transfer: Okay, so the next step after your primed, prepped panel has dry do you want to make sure your pain is completely dry? Before this next step, we're gonna have to transfer our image onto our panel. And again, there are several different ways you can do this. And three transfer process is actually something that has, um, probably frustrated artists for centuries. How to get that image onto the canvas. You can start painting. There are a lot of different options for this. So the option I'm gonna be using today is to transfer with Cerrell transfer paper. So I'm basically putting that paper underneath my image. I'm taping my image down, and then using a stylist, you can use a pen you can use, um, anything that has kind of a point on it to trace those lines and transfer that image. Um, So, like I said, I'm gonna be taping my image down. I use a low tack tape that I'm using washi tape here. You could use massing, masking tape, whatever you like, and then placing that transfer paper underneath. Now a couple of things about the transfer paper us there, two sides to the paper the side that you want to be, Um, facing down against your panel is the darker side. So the darker side is the side that has theatrical pigment, whatever that pigment is that transfers on it. So you want that basing down touching the panel? Um, the other thing you want to think about two is what color you want to use. I chose a blue because I'm gonna be starting with blues and blues and purples and blacks. You could use probably any color here. I found that some of the colors do not want to, like, come off, um, the panel because technically, you should be able to wipe off the transfer lines, um, with just some water, and I found that some of them are a little difficult to remove. Shouldn't be too much of an issue here because we are gonna be covering the panel with pretty thick coats of paint and should cover up that those transfer lines. Um, but the blue is one that I've really enjoyed using, and I don't I don't really have any problems with it. You could also use a lot of other types of transfer papers. There's graphite transfer paper. You could create your own transfer paper by, I believe, rubbing some graphite over the side of a piece of paper, coating it with graphite or some charcoal. It's a lot of different ways you can create transfer paper. You can also just simply sketch your image on. If you're really into drawing, you're very confident you could sketch the image on accurately, um, feel free to just free sketch you can use chalk Talk is a great way to sketch on to paint. Just just kids. Chalk will work really well. Charcoal pencils will work. You can also use a projector. There are projectors out there. They're extremely expensive. So that's not what I would really recommend. Um, they're a little hard to get your hands on, but ah, you could also use just a regular projector. I know there are a lot of new projecting methods out there kind of interesting ones. Um, so, yeah, just so you know, there's there's kind of a lot of ways you can get that image on your canvas. Um, just so you have a really accurate, clear image toe work from when you're painting 7. Palette Prep and Painting Shadows: Okay, So now to get into the actual painting process. So what you'll see me doing here is I'm actually laying out my paints on my paper palate. Just wanted to show you if you were curious how I kind of layout my paints and a couple of these colors here. Actually, I have any I hadn't even opened yet. I have almost all the colors of SoHo. Krilic. There was like a sale a couple years ago, and I got them all for, like, dollar to a couple dollars a tube. So what kind of crazy got all the colors? That's definitely not something you have to do, by the way. But I just kind of like to have all these colors available. But again, Like I said before, I have ah, a blue, yellow and then kind of a pinkish color. You could have a red instead and then else have an orange. Just because I'm using a lot of orange, I could mix my orange from the pink and the yellow don't really need it, but I just decided to include it on and then, obviously black and white, so you can include way more colors here you could have a green. I'm gonna mix my own green. And, you know, it's kind of that turquoise green I was talking about. You could have a purple. I'm gonna mix my own purple, whatever you want. The colors are really not important. It's is the values. It's all about those values. And we're gonna talk about that quite a lot as we go through the painting process. Okay, so I'm gonna start just like I did with my digital mock up. Now, this is why a digital mock up is so wonderful. It kind of prepares you completely 100% for the painting process. So because I already did this digitally, I could be confident. I know exactly what to dio when I start to work. Traditionally, and acrylic paint is really great because I tell people all the time my time talking about it. It's impossible to mess up with acrylics. I hear people say all the time. Oh, you know you can't erase with me. You totally could've raised with paint acrylics cover each other really, really easily. So if you have something happen on your campus like and you have this great background, you can just use that greater kind of deleted off your campus. So because of the dry time of acrylics, they're so incredibly forgiving. And this project really requires zero blending. So that means, you know, the kind of the weakness of acrylics is because they drive so fast that it's really difficult to blend them very smoothly. So because we're not doing any blending in this project, the acrylics really shine here. Okay, so the first thing I'm doing is I am putting in my blacks just like I did with my digital mock up. I started with my blacks and you'll see that I mixed a little bit of blue in my black eye. I work with black. A lot of not one of those people who thinks black is is not a color you should ever work with. It's not, you know, I'm not a purist like that, so I do use black, but I do like to add colors to my black. It's just, you know, makes the black a little more interesting. So I actually think immediately started adding, blew into my black, and I put it exactly where I said I was putting it while I was doing the digital mock up. I'm just doing exactly what I did then. So in the eyes and the crevices between the head and the ear Ah, the nostrils that left side of the nose and underneath the neck that's where the darkest shadows are. And then you'll see, I rinse off my brush a little bit and I'm getting into my blue So my blue is my next darkest color and you'll see that I'm kind of putting it right next to those black areas, right? So those are my next Stark is serious. They're not the darkest areas cause obviously, it did the darkest areas with my black. But my next darkest areas are where I'm gonna put my blue. Okay, So again, areas around the nostrils and the nose. The nose is a very dark place, usually on on animals around the ears. Right. And then I'm gonna put a little around the neck. So again, like sort of those little crevice area, so anywhere you see a cash shadow anywhere that something is kind of folding over or hanging over something else that's gonna be a really dark place on the animal and shadows air. Also a place where you kind of delineate different areas of the animals. So you're separating the ears from the head with your dark shadows. You're separating the nose from the rest of the snout. You're separating the head from the next. Without these dark shadows, everything would kind of look just like a big blob. Um, and it wouldn't have anything separating the different parts of of your animal. So again, just putting these blues in kind of my dark spots. If I overdo it with the shadows, like, say, on the top of the head I did put a lot of blue on the top of the head in my mock up. I didn't really have a whole lot of blue there That might be too much. These are just our very first layers, and this is just just the first paint layers and I'm putting down so I can cover these layers. Because acrylic is generally opaque, thes heavy body paints are pretty opaque, and they layer pretty well. I can just layer in layer and layer with with lighter colors, so if I overdo it a little bit, I can just dial that back with the next color that I use. So I'm actually now I believe moving onto my purple color and the purple again is going right next to those blue areas for the most part, right? So again, moving out to my next darkest areas. So I had the darkest and a little less dark for the blue. And then now a little less start for those purples. So another area, I guess I didn't talk about too much was underneath the eye. So dioxins have, um, pretty protruding eyes, which means that there's gonna be a highlight around right around the eyeball, like that lid around the eyeball. But then underneath I think about it is kind of like under Isis or cost on a human being, right. There are dark areas there. Their shadows cause the eyes protruding and then casting a shadow underneath. Underneath it's That's why I have I believe I put some blue and some purple underneath. Those like those eyes right, the protruding areas of the eyes. And then I'm leaving the area around the immediate area around the eyes, clear because that's where we're gonna have more mid tones and highlights. That's where we're going to get some of the lighter colors. Okay, so I'm filling in now, some areas off the neck. And, um, a little under side of his chest of under side of his chest is definitely going to be a little bit darker because right, the back is what's catching the sun or catching the light? Because that's on top. But then the underside of the chest, right, because everything else is on top of it, it's gonna be shadowed and is gonna be quite dark. I'll also add some of that purple in, um around the nostrils around the nose, just kind of fill that area in, because that's a little bit darker than, like the top areas of the snout. And I have actually mixed in. So that purple I made by mixing the blue and the pink color together. So I do have, you know, the colors kind of mixing together and harmonizing. So the great thing about using a limited color palette so appellate that doesn't have a whole lot of colors in it. So here I really only have four colors and using orange, yellow, pink and blue and the black and white. I'm not really counting. But, um, a limited color palette is an excellent way to learn. If you're new to painting takes a lot of the guesswork out of things. It's a really easy way to harmonize your picture. Using too many colors can very quickly become overwhelming and very quickly muddy. You're painting and having a lot of colors was one of the things I really struggled with when I was first starting out, and it really overwhelmed me. So, using a limited color palette, is it definitely something I recommend to you if you're just starting out? 8. Painting Midtones: Okay, so now we can move on to our mid tone color. So this step in the process, I really consider to be the most free, the most forgiving, the most flexible part of the whole process. Because the mid tones are really a place that you can kind of go wild, kind of do whatever you want. I'm here. I'm using that lovely, bright pink from the solo line. Really love it. And I'm just kind of starting to fill in some of those middle areas that aren't as important to be totally honest. So the mid tones are not that important for creating form. I mean, there they are, in a sense, but really, it's the highlights in the shadows that make all the difference that really tell you this is a dog and this is a docks, and, um and they really define the form. But the mid tones, you have a little more flexibility here, So I'm using the pink just because it's not super dark. It's not super bright. You might have seen my little studio companion over there. Um, not super dark, not super bright. So it's a great color to kind of fill in some of those bigger areas because I'm gonna have to fill those it eventually. It could be very tempting to just kind of noodle around and just kind of work. You're shadows cause you can clearly see where the darks are, right? You can clearly see where the lights are, but the mid tones could be a little confusing. So just just create kind of a patchwork here and again. Your digital mock up is your best friend in in this process, right? So I actually have I didn't mention this, but I have my digital mock up open. You might see my iPad in the corner there. I have it open so I can look at it. You should be looking at your digital mark up this entire time. There's no reason not to. You created it to prepare yourself for the process. So it's there for you. It's there for you to look at. It's not cheating. Um, it's really confusing to me when people say that, you know, using references is cheating. They don't understand why artists use references. I mean, that's that's how artists have worked for all of time, right? No need to use your imagination when you have a reference right there. And, um, I would encourage you definitely to keep it open to keep looking at it. But don't feel like you need to be stuck to it if you want to do something a little different if you want to change something up. If you have a happy accident on your campus, I'm a huge Bob Ross, banned, by the way, who isn't right? You have a happy accident. You should go with it. You should. You should be happy about it. You should explore right, so you definitely want to use your reference because you created it for that purpose. But you don't feel or don't feel like you have to be tied to it. You have to be stuck to, and you have to do exactly what you did in that reference. Eso now moving onto that orange color, which is super bright supersaturated. I love that it's looking really great against those blues. Orange and blue are opposite colors you might have. You might know this from from color theory from watching other art programs, and they really set each other off. They you know, they make each other Liberator s. I love that blue with a that orange next to it and I'm again. I'm just starting to fill in so sort of those medium areas. So not his back yet. I haven't got into his backyard, but, like, kind of his side. Now I'm working on this. The side and then the middle of the forehead is a good Mentone area. I'm probably gonna put some of that orange in the middle of the years. I've got it right down the center of the snout there. Yes. So once again, these so this this pink and this orange are really where I'm starting to fill out the form sort of fill in those empty spaces in the next section. We're really going to start working on the details eso around the nostrils around the eyelids. I'm actually starting toe work that orange around the islands because it is very bright. We'll get even brighter. Even brighter would be working tour yellows, but just starting to fill in some of those areas. Ah, So another thing I would maybe recommend to is you can also print out your reference. So I'm using my ipad as a reference I just have it open there on my iPad. But it can maybe help to print out your reference instead. So seeing it on my iPad, it's definitely gonna be brighter. And your digital your digital mock, it's gonna be a little brighter than your finished a painting product. Just because those paints can't really match the brightness of the digital image so it can be sometimes can be a little beneficial to maybe print your reference instead of looking at it on a screen just so you don't get frustrated if you know you're painting your like, why are my color is not as bright as my mock up? Well, you know, the screen is always gonna be brighter than your paint colors. So So, yeah, so I am actually, um, now working in kind of a darker orange color here, I believe when I was working on that previous orange, I had added a little bit of the yellow to it. So now I'm kind of working more directly with just the plain orange and once again filling in kind of doing a transition between that really bright, yellowish orange and the pinks, because I think I felt like that. You know, once I added the yellow to the orange, it was super, super bright, some kind of toning that down a little bit just because I haven't really gotten to my brightest highlights yet. And that mid tone orange is a really good transition between the pink and the yellow that I'm gonna vent eventually be using. 9. Highlights and Finishing Touches: all right, so we are finally to the most fun. Part of all we are working on. Our highlights were working on our finishing touches. We are really wrapping up the painting here and really making it come to life because it's it's looking great already. It's looking pretty great already, but ah, there's a lot of work left to be done. So right now I'm mixing up what might be considered still a mid tone color. It's not a color that I I really I I don't think I actually needed here, but I think I was sort of thinking to myself that the painting could benefit from sort of a different color here. I felt like there was a lot of the pink and a lot of the orange and yellow going on, so I wanted to break that up with something really different. And so I mixed up this beautiful turquoise color, and actually, this was kind of a happy accident, the that I discovered when I was working on my my digital mock up. So again, the digital mock up was so important in helping me figure out what I was going to do with this painting because I I discovered so many things when I was working and procreate things that work, things that didn't work, that I was then really informed when I went to the painting process. So when you're doing your digital mock up because there's really no consequence, right, you're not using your materials, there's you can't mess up. It's just ah, basically a trial period. You're just working things out. I encourage you to do many renditions of your portrait. I actually just showed one for the class, but I went through more than one for sure. When I was first working on these Rainbow Portrait's, I went through more than one digital mock up just to see if I could come up with things that I like, things that were new. It's not usually the case that you will come up with your best work in your first try. I mean, you might come up with something really great, but the more you try things, the more you experiment on, the more variety you'll come up with. Right? So you've probably heard artists talk about doing digital sketches first, starting out details, thumbnail sketches, right toe work out their ideas before you know they actually do their finish project. Often, when you're taking art classes, you will be required to do 100 thumbnail sketches before you even go to that that finished project to work on that finish project. So there's a reason for that. Sometimes we have really bad ideas, and sometimes we can't see clearly when we were working on something, we get too attached to it, and we're not willing to experience the experiment further to kind of improve on what we're doing. So I would encourage you definitely to do more than one digital mock up in that turquoise color, I think was a a result of trying a lot of different things. And it's a great I feel like it's a great what I would call an accent color. It's not. I mean, it's it's not necessary. Like I said, I don't think it's really unnecessary color. And there I had my mid tone colors. I have my orange. I had my pink, but it just makes the painting more interesting, and it's hard to explain why that is. It's hard to explain. You know how I came up with that. I think really just her experimentation and trial and error. So I added that turquoise color to some of the edges. Actually, I think this is something worth talking about. You might notice in some artwork kind of what is called like rim lighting or bounce lighting. And oftentimes this bounce lighting, um, is done in like a light blue. I've seen in a lot on artists who do digital work when they're working on like faces. There's like a blue kind of a glowy blue, almost turquoise color on like the chin off the face of the character on, and it really has a lot of depth to the form and adds a lot of interest and a lot of reality to So I kind of I feel like I was treating this turquoise color as kind of like a rim lighting or bounce lighting. So I have it around the edge of the years, which is kind of, you know, like an edge area, kind of like the chin. You know, I'm one of those digital creations I was talking about, and they also have it along the you know, the I the top of the the eye socket. Yes, it's hard, you know that the protruding area of the eye And it really adds, I feel a lot of interest to the portrait, and I really love how that came out and that color I mixed from. I had a blue and I added a little bit of yellow to it. I didn't want to make pure green. Actually, I think maybe in my mock up the turquoise was a bit more green, so I definitely stayed more on the blue side of things. Just had a little bit of yellow to it. She'll see me also right now, adding some highlights underneath the nostrils and look how three d that makes them look. So I added the black first in the nostrils, But then I take this light color I'm working with and I was working with a pink color and I'm add, I added that underneath the nostrils and it really just made them pop. So nostrils always have, like, a dark element, you know, the inside of the nationals. But then the rim is always gonna have a bit of light touching it. So that is a really important section for sure. You definitely want to put that highlight underneath the nostrils and you will definitely want that darkest part inside the nostrils. And you also see that I added that pink color to the top of the knows. The top of the nose is always going to catch a highlight. The bottom of the nose is usually shaded, so I wanted to, you know, defined the top of the nose versus the bottom of the nose and that also gave that part of the face of the dog a lot of dimension. And it's starting to really take shape. So you'll notice, too, that I've been leaving this kind of section in between, like in the middle of the snout dark. So there's a little bit of like an indent on the docks ins face there, and I want to make sure you leave a bit of darkness or else I'm gonna lose that little, you know, defining invent. And that's something I would definitely want to caution you guys against is removing all of your dark colors so you never want to like I know we're building here. We're building colors on top of colors, and sometimes you you dial back a color with another color. But the most important thing you want to keep in mind as you're kind of editing your colors back is you don't want to lose all of your darks because if you lose all of your darks like I said, you're gonna lose the shape of the dog, right? So you'll lose the delineation between the ears in the face between the neck and the head between the bottom of the chest on the top of the back. So make sure. And I think I'm just just now adding a little bit more darkness back into the middle because they felt like I'd lost a little bit of it. You've got to keep those darkest darks in there or you're gonna lose your shape. All right, so now I'm kind of doing some sort of noodling around, kind of thinking to myself where I want to put some colors, Remember, still checking my reference, making sure I'm following my reference because that's my my guide through all of this and as of now, pretty much worked with all of the colors except for the white. So I've put some yellow onto the back there to highlight the back of put some yellow onto the top of the ear, top of the head, a little bit around the eyes. And now I'm working with some yellow on the side of the face to kind of again, just like the shadows can delineate an area from another can, you know, demarcate kind of one area from from another area. Highlights could do that, too. So that little break yellow highlight along the side of the face tells you, Oh, this is separate from that very dark purple black area next to the face, which is actually the neck. So I can separate the neck from the head with, you know, that that very light color. All right, so now I think I've dipped into my yellow. I've dipped into a little bit of my white. I'm finally working in white and you'll see me 1st 1st things first, go around those eyes with that bright highlight. So, like I was talking about before, there's gonna be a very bright highlight on those lids, right? Because they're protruding there, pushing out from the face. Anything that sticks out, it's gonna be catching light, right? So very important to put that highlight around the eyes. They're kind of brings them forward. I'm gonna add a little bit of that. Highlight the forehead as well. A little bit on the top of this. Now, make sure your highlights aren't too thick or the highlighted areas aren't too bold. Definitely around the eyes. You don't want to go too thick with that line, so a really nice brush with a fine edge can help you out. I'm using a, um, like this I'm using. Those are trooper brushes. They have an excellent point to them. Excellent shape. I've got a cat's tongue and a round, and those the only brushes I use for the whole process. And there plenty. You could do this, This whole painting with just one paintbrush, honestly, but definitely. You know, you want to use the brush that's that makes you most comfortable you're most comfortable with. Yes, so right now, just, ah, kind of again putting those bright highlights in again, defining defining the edge of the face there. You're thinking about where I want this white ish yellow color. All right. And here I'm kind of, um, dialing back a little of the highlight. I think I felt like I overdid it there, so I'm just grabbing some of my dark color. So I went back into my blue, um, grabbing some of my blue, just kind of editing back some of those lighter areas. So this is the part of the process where it's kind of like a push and a pull right? So, like I said, you can never mess up with acrylics. You just cover them up with something else, right? So don't feel like you put a mark down on your painting and that's it. It's done. It's there. You've messed it up. It's set in stone. It's never set in stone, right? So you just keep working until it looks right. That's always what I tell people. When they ask about acrylics, You just you keep going until it looks right. And if you don't like your painting, if you're unhappy with it, that just means it's not done yet. So really, I think that's one of the major things that trips people up with painting. They get frustrated there in the ugly painting phase, because that happens in every single painting that's ever been done. It always has to go through an ugly painting phase, the right of rite of passage, right? They get frustrated in that ugly painting phase, and they don't push through. They think they've ruined it. They think it's done. But it's just not done yet, right? You got to get past that ugly painting phase. You got to get past those first layers, layers, layers, layers. That's super important With acrylic painting. I'm painting is not done with just one layer. For most pretty much all cases, a painting needs more than one layer. Okay, so now I'm working on my black. So that was the first color used, right? So now I'm going back to that first color. A. Used in the black is a great A great color for editing back. Right? So I got a little crazy with those highlights around the eyes, dialed it back with more of the black. I put more of the I back in full black on the on the nose there because the nose needs to be pretty dark, one of the darkest areas of the dog's face. Right now I'm getting into some orange and I'm dialing back. You know, some of the highlights on the eyes felt like they were a little too yellow. Really? Like how that orange looks with the yellow on the eyes there. And we're getting pretty near to the end of the process here, which is really exciting. So another question you might think of or you might be considering is, you know, when do I know if the paintings done? There's a really great quote. Um, I forget which artist it's by. I just looked out the other day. I should remember this, but, um, the quote is that, ah, painting has never finished only abandoned. Um, and I wholeheartedly agree with that. Um, and I've experienced that so many times. Painting is never done right. It could be worked on forever, but it could also be overworked. That's the That's the case to you can definitely over work of painting. So I almost like to say, when you look at your painting and you're like, Yeah, that there still is good, that looks pretty good. Good enough rate. That's a good place to stop, Right? Chances are if you keep going. If you keep noodling, you could mess it up right. So I know that's not a great answer you know, it's still like When is a painting done? How do we know what a pity is on? You know what's done when you're satisfied with it. It's not gonna be perfect because there's never It's impossible toe paint, a perfect painting. But you know, if you accomplished what you set out to accomplish if you get the likeness right, so that's very important. When you're doing a portrait of any kind, a likeness is really what you're going for. You want people to recognize that you're painting a dog if you're doing a dog or if you're doing a cat. If you're doing a lizard, whatever you're doing, you want people to be able to recognize what kind of animal it is for sure. But then you also want to make sure that people can kind of see a likeness to they see Which dog issue. No, this was actually meant as a gift, and I want the recipient of the gift to see that it's her dog in the painting on DSO. If that happens, if you if you gift Ah, the painting and the person is like, Oh my gosh, you know this This is this is my Lorenzo like my my docks. And that's the ultimate goal there. That that is when you know that you succeeded, right? And it doesn't have to be a perfect painting. To do that, you can capture likeness with very few brushstrokes with very little time. Um, if you know how to get those lights and get those Starks, That's really all it comes down to because I could have put a lot of different combinations of colors in this painting. I could do this in black and white. I could do this with only Blue. I could do this with yellow and red. You know, I could do this with any combination of colors. It's just I need to capture those darks and those lights. So the very darkest darks, the very lightest highlights. That's what I'm going for. So that's what this exercise with this painting project is really gonna help you learn. And that's why I think this is such a great project, such a great starter project. If you're just starting out in painting, if you're really intimidated by painting, this is such a great thing to start out with, because it's going to teach you a lot. All rights. The last thing I'm gonna do, um, in this last 30 seconds or so is add those bright whites into the eyes. Like I said, you don't have this highlights in the eyes. He's gonna look a little soulless to make sure you get those little dots of highlights and then very important as well. There's a little line little highlight underneath the I between the I and the island, where there's a little bit of shine from the wetness of the eye. So you have that in human eyes and in dog I so make sure you get that little highlight as well. Um, and that's gonna again. Just make the eyes brighter, make them look a little more alive, Um, and really give a lot of reality to your painting. 10. Conclusion: All right, So here's our finished project. It's absolutely beautiful. Love, thes rainbow colors and dioxins or Superfund a paint. So it's a really fun, really fast, easy project. Great for if you're just starting out the perfect perfect gift to if you wanted to paint a friends pet or something like that. So I really encourage you to take this on. I think it's really manageable. There are a lot of different directions. You could take this project a lot of different subjects you could use. It's a messy kind of abstract project to so not a lot of pressure to get realism or to get blending. So again, very fun. Very easy. Great first time project. I really appreciate you guys checking this class out. I hope you enjoyed. I hope you've learned something. I would love to see what you do with this project. I would love to see your final paintings. Your process photos Feel free to add those to the project section of the class. So thanks again for checking out my class and for painting along with me. I will see you in the next class.