Mr Fox. A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

Mr Fox. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

Mr Fox. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

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10 Lessons (45m)
    • 1. Introduction

      3:14
    • 2. Materials

      4:01
    • 3. Sketching Out

      1:14
    • 4. First Layer

      8:39
    • 5. Second Layer

      6:45
    • 6. Eye Makeup

      5:07
    • 7. Starting the Eye

      7:38
    • 8. Finishing the Eye

      5:25
    • 9. Finishing Off

      1:06
    • 10. Final Thoughts

      1:26
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About This Class

Let me show you how to paint this fabulous Mr Fox in a simple loose, flowing wet on wet technique 

Mr Fox will help embed the techniques we’ve used in the last two classes. Building up your knowledge and confidence on how to use my loose, simple free-flowing techniques on wet watercolour paper

If you’re just starting your watercolour journey and haven’t done my two beginner classes, Simple Trees and Simple Butterflies, I’d suggest taking a look at those first

If you’re feeling confident and are already familiar with some of my techniques then this will be a great class for you!

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I will show you:

  • How to tilt the paper and allow the paint to run
  • How to paint two layers/washes
  • How to apply and control paint on wet paper using timing and paint application
  • How to paint a simple eye

You will be painting the fabulous Mr Fox and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"That’s the shortest and best class on Skillshare"

“Jane has immediately become my favourite SkillShare teacher! Her unique style and explanations of how and why are fantastic! Thank you, Jane! ”

"A very enjoyable way to begin to learn the fun and skill of watercolour"

“Thank you sooooo much! I've been waiting for your class to start. I'm thrilled. Love you’re easy to follow style. As a beginner, it means a lot to me to be able to follow the lesson well. Looking forward to the next one.”

“Hello Jane, I viewed your lessons fully and will rewatch and paint. I see where wet in wet can be an enhanced feature for illustration. Listening with my headphones and the chirping bird in the background was a lovely feature :). I have a Samsung tablet and the resolution and sound is really beautiful for your lessons.”

"This class exceeded my expectations! Wow, congratulations Jane!! Just watching this through... I just LOVE trees, they are my enduring love, so I may take some time out from surface pattern designing to just relax and watch the paint flow where it wants! Love DS watercolours too, so I'll have a rummage about, see if I have some granulating ones too. Thank You! Lovely bright, cheery class :O)

"I already adore Jane's work and this class couldn't be different. She has magical hands to bring beautiful images to life in watercolour, and this beginner's exercise is a great way to get rid of our fear to work with this medium. I had so much joy, it was relaxing and I got confident of using paint on wet without that feeling that "I'm gonna ruin everything."

Music by Audionautix.com

Meet Your Teacher

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Jane Davies

Professional Artist and Teacher

Teacher


Let me tell you a bit about myself...

I’m an international selling artist specialising in painting pet portraits and wildlife. I live, paint, teach and walk my lovely spaniel in the beautiful South Downs National Park, England

Over the last ten years, I’ve taught myself the watercolour techniques you see today. Not having been to art school, finding my own way has been fun and sometimes daunting but has allowed me to develop my own unique style

 

  

 

In 2016 I began teaching my free flow methods to small groups of beginner artists. After a move in 2018, I was fortunat... See full profile

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In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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Transcripts

1. Introduction: Welcome to this intermediate 4D Kallikak. We're going to be painting the fabulous Mr. Fox. If you're just starting out in your old college journey and haven't done Y2 beginning classes, simple trees and simple butterflies. I suggest going back and taking a look at those. If you feeling confident and already familiar with some of my techniques, then you're going to love this class. Mr. Fox may look a little more daunting at first glance as he is the first animal we're going to be painting together. But don't panic. We use the same techniques that we covered in the last two glasses. I have provided you with a template of Mr. Fox in the resources pages. If you aren't feeling confident enough to draw him out as he is a little more difficult. So in this class, we will go back over the techniques such as tilting the paper to allow the paint to the one, which will give you a lovely sense of movement, will be adding another layer or wash to give you more depth and strength. Which will we, you will begin to get a sense of how layering paint those up detail in your painting. We will also be putting into practice, timing and paint application so we can pop on his nose and the color around his. I. I'll also show you some tips and tricks to painting. A very simple i, that will bring your fabulous Mr. Fox the life. I'm Jane Davis. I live. Paint, teach our walk. My lovely spaniel in the beautiful south downs National Park, England. Over the last ten years, I've taught myself the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun that sometime daunting first allowed me to develop my own style. This has led me to teach the others on a one-to-one basis or as part of a group in a wonderful studio in the heart of the south downs. I also run a successful commission-based business, painting PET portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time. Or I can guide you to keep your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way too. If you'd like to learn more about me or my work, please pop over to my website at Jane Davis watercolors CO WK. This can be found on my profile along with links to my Instagram or Facebook pages. I'm very active on my social media pages. Go, I love sharing my art, especially on stories with many ideas, works in progress and tells us Julia life. I really hope you will share all your paintings on the projects page. Has a love seeing amassed species. And don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in his liberating wet on wet, loose style. So come and join me. 2. Materials: So welcome to this Mr. Fox masterclass. I've been really looking forward to painting this one weedy. So I think to start with, I'm going to go through the paint and maybe going to you on some of the paints that would be best for you. So firstly, I think I will show you what I'm using. So I've got my usual kind of array of suspects. And I've got Luna earth, which is the noise granny lighting, light brown degranulation is is where the paint has a slight pigment or minnow in it. So it gives it a really lovely grainy effect on the paper. Some lot of people like that sort of effect. And look, we've got Italian burnt sienna, which is a nice room college you seeing there, and got burnt tigers i which is a dog and that's got a lot of granulation in yeah, changes. That's lovely. But soda like genuine. I think you'll start to get familiar with these names are E and this is my dark blue here. I've got a CPI which we only really used for the I bit is known granny lighting, painting it hold his position really well. So if I put a little speck of CPI won't spread too much though I can weighs one. I used to have a little bit of control over certain aspects and got ultramarine violet, which again is that it'll warm violet tones in there. So I would suggest for you provably grabbing for Brown's if you've got four different shades of brown, a blue, I wouldn't go too bright. Maybe a darker, slightly darker blue and a purple. Again, if you haven't actually got those four Brown's, a balloon, a purple, you can be brave and just let your imagination run away with you. So you could grab whatever college you're particularly drawn to. It doesn't have to represent that grad colors of a fox. But I would suggest probably having at least four or five different shades. Okay, so I've got my little paper white, which I'm just going to use. And he's got just an inch high. And I'm going to do is you seem to pop up my paper so we can allow that paint to run. And I've got myself a little stencils which you can find on the resources page. And I would suggest cutting yourself after stent silly. This is more about painting, is about glorying gain. I've got my little amounts. That's a ten by ten with seven aperture. Again, that is really not necessary per se. Quite nice to mount it when you're finished. My paper is a 200 pound not blocking foods. I was suggests SCO 200 or heavier. He don't want anything. Terribly lights again, it will walk and you'll find you've got puddles and it just makes, will make your life a little bit more difficult. And I've got my pencil, got a size ten, Bosch, and I've also got a small Eureka. Now a couple of people asked me what a vigorous particular actually my husband is a long Br2 UD paintbrush. So it's given named rigor because I used to do the bidding on it if I'm thinking correctly. But I use it because I haven't actually got that many small brushy, so it is the one I, I just favour so as what I tend to use, but you don't need a bigger, you can just have a little smaller Bush. Then we've got possible water, kitchen role or paper towel, head dryer. I do use a hairdryer to dry between between the two layers. So when we've finished that, firstly, you want the second layer to be really, really lovely and dry. So I, you'd dryer to quick in the process. I think that's all you probably need to know. I always suggest finding somewhere quiet and somewhere you won't be disturbed. For this class is a little bit more tricky than the butterflies in trees. So it's nice to have a bit of space where you're not going to be to interrupt it. And I think we ought to go and get Painting. 3. Sketching Out: Okay, so I've got myself a little bit of paper I'm going to be working on, I'm gonna grab me scrappy MT Again, I'm going to just rule inside him. So I've got something to work within and I'm going to get less than it. So I'm going to pop him. Watch will not boasting line. Draw around him. So you want to, any pencil marks you want to do in your main piece, don't press too hard. You don't really want to say any pencil ops in your final masterpiece. If we draw around him, sketching a little, I notice it'll tip eyes if you want to, subject to look just a tiny bit cuter than just a tiny bit bigger, not, not silly beak, but just minute Lee Smolin as well. And that's all you need to do. You don't need anymore. Notice is just a drop of pipe, so we don't need to worry about that. So he's ready for the first layer. 4. First Layer: The grab your copy. Big brush. Kindness is all wet and wet, sits lots of water. And we're going to so can down we're gonna go over this. I said everything is wet within that. Mr. Fox, minutes or go quite carefully around your lines because that paints, the paint will find wet paper. Sunny, warm day today. So here in old England, pulpy joy, quicker. We need only to look a little bit nice and wet. Again, DIBL your head up and down so you can, you can see whether you've left any UI Apaches. We missed this out cables or wires wetland going flow, this pencil line as well. So when we run the paint down, it runs into hair. She we're not left with a rocky mock the ugly sort of finish me. You don't want to. But you want it nice and nice, unsaturated, interested that layer with him. Hopefully. Okay. And I'm gonna grab me two colors, so I'm going to go up. So lunar earth and Italian boat Center together who said, oh, painting amplitudes. You don't have to paint that Egypt here 12, but it's again, Rena's concentration of paint. If I do so it's nice and an exciting time. And I'm just going to place it right along these head. Oh no, I haven't done I haven't til two, you gotta run. Hold him a bushy and moved more towards the end. Just, just touching the, touching the paper. And want a nice low on here cuz you want to run down. So if he OSes running, you probably haven't got it West enough. It's so add a little bit more water. You can always load your brush up and just drop move. If he's not western officer. I'm gonna pop somewhere in the muscle kind on top of the muzzle. Just allowing it to 21. And you wanna make sure you've covered this. I don't have to do anything specific that you just night and needs to be brown means ought to be like if that's starting to make up the life of the next layer, I'm just gonna running down. And that's what I'll call a noise might flow there. So I'm actually going to just touch a little bit. On his whole that'll be kind of big a top of his neck by having what did this paper right down here that's, that's giving the painted a little bit more room to travel so much you just might want off the pager. It just allows us to keep wanting to do a little bit more about by combining the two paints. Connie getting, I know lunar Earth is really granulate paint, but burnt sienna isn't quite as granularity. So I'm using sort of the best of their characters as I every, every plane has its own characters in your school. If you're not using exact same paints as me, then you will have their own it'll traits. And the Wi-Fi's passage. We can either clearing up or that can be positive or exercise. Now I'm again, I'm standing, I'm not sitting, so I'm I'm looking above this so I can see on to see where I'm going with the A's looking quite good for them with first layer, the first layer, which looks a little Audit, just runs a pipe rating so that while you are not trying to it's not meant to look particularly pocketbooks at this stage is just a lovely combination of colors. So I've just picked up my bedtime because I know I'm gonna just put that on the back side. It's very, very soft color. It's related as well. So I'm going just touching. I'm going to run that underneath as well. Just getting a little bit more water because it's it's quite woman here today. So as long as it's all dry, soil is all wet. You can continue adding water. If you find one little bit dry, mom bits wet, you really withdrawn it just hanging hang back and it'll be better to wait and do another layer over him than it is to try and add water. When is it? Other dry patch here? You'll end up with a funny mocks. It put me on unnecessary noise marks. Okay. So that's the his neck hung it off, picked up the so light January which is I'm going to just talk a little bit. You know, strong colonies, prey, fish, chest, Violet, my cup. So I'm just, just, just placing head as well as just gives another sort of combination of colors like that. I'm a bush, don't want too much wet here. They stage and I've just picked up there. So lot genuine. I'm just going to poke the familiar vizier beginning as he has a paper beans to draw, you get more control over your painting. The same amount if I, I'd put that that same amount of so like Jane, when when that was really wet, that would move a lot quicker as it begins to draw it ofs doesn't move as quick, sir. That's how you sort of gain some of the control over water color. That's noise has done a really good triangle. So what I'm gonna do now, and this is what we did in the trees, is load up my partially looks nice water and we're going to reclaim some of these white because yes, folksy is actually have a white chin. News have a watch through lump here, so I'll just paste in the motor, not corrupt told away. So just to give it a little bit more tilde, I'm just going to come just tapping the painter to one is going to watch some of it often, doesn't matter. Should leave you some nice flowing locks. And that's looking really good if you actually do a little switch is going to the corner here. You also get a sense movements. It looks like he's looking up. Think that's nice. Unknown could do too much more for this layer. Just gonna flatten that meaningful hot. And all I need to do now is to draw him. So I'm always a hairdryer over him. But the tip of the hedge wise, this is actually quite saturate these APA head Romney's now it will blow a lot of pigment away, will combine it all. It will make a bit of a mess, so let it dry. So it's just beginning. Cigar will then give a hairdryer, Pedro, I just finishes the last last stages really. So we'll get an OS syndrome where we'll get on with the next, next layer. 5. Second Layer: Okay, so my foxy donors and drove his little, little blas for the hair dry. So make sure before you start next layer, make sure he's really drive. You haven't given it a go over them with hairdryer. Just check he's nice dry because what you don't want to do is start the next second layer and have that still tackling weight. So what I'm going to do, I'm going to work through mainly flat anyway. And then this next one's only take my heart away. Grab me big brush. Now I'm going to wait everything down apart from the eyes. I'm going to go round the ISO. I would suggest going around the i first. And you don't forget because I'm working, I do. So you might go round neon and then wetter went down but go really gently. Know how early stage. And if you, if you too rough your muscle, that lovely first Walsh will be managed to produce some really lovely soft noise moocs and things we don't want to do now is to move in just GNP. Now how it this stage tend to go around the outside first and feeling that you want to own us wait. Outside, that pits would mark as well. If you melt, you've got a Wharton because I've been very Jin, being very gentle. Modelings won't get today is just going to quickly don't touch that and just let some of that run. She don't actually want to purely on your paper. So I'm just going to encourage someone that ultimate table attributes of a glass table. And then they investigate. And what we're going to do is exactly what we did on the first life. But you're going to build up some strengths. So you may have noticed a bit bolder in your first layer, so I wouldn't put as much. Or if you've been a different, more timid on your first layer than just be a bit older and out of the kitchen will come to that Mickey channel. So before this Droids in his warmer weather aren't gonna get going. So I'm going to pick up my lunar earth and burnt sienna. Pick up, pick up whatever colors you use. You even working with. Looking forward to seeing what you chosen. Just dabbling on top of the model, just, just touching again. Okay, and looking, you just got to keep observing your piece as it, as it begins to evolve. Things yourself. Strength. Say if it was his drawing and you can add more water to the stage as long as is all wet, you can add more watery. Just be cautious if one plots begin to join. The left isn't funny value. So the hot water milk. So I can call it unless you have pick up up until I guess I can open this back up again. So like January as well. Now I'll keep it. No, no, I I need this. I just to start with just a the area around the oil. I just just aren't going sort of tacky. Look like we did when we did the butterflies, when we did the body, we were just waiting for that sort of tacky me. So just keep on going to draw its very different rights. And Molly, will the papers x slightly differently as well? So it's tricky for me to be able to guide you on that one. So just talking a little bit about tigers on each cheek. Pickup a violet head. A little bit of imagination. With the PEW fried. Callaway, you think vital, knowing no. 3d for this is that the noise combination of colors and mocks you often see beginning to lose my nice white streak ahead. So what I'm gonna do yoga just to a little bit into what we do. But first, I'm just going to add some outta I'm just going to reclaim that white area underneath his cheek. River VUCA. Tilting database is getting some sort of Engelen him. Oh, down very gently. I'm open a pressure on that paper. And I think we're about ready to put in is just beginning to, just beginning to sort of go off. It's gonna get lost like sheen to it quickly before I do that. 6. Eye Makeup: Okay, so pick up a different brush if you're ready to do the eye makeup on the ice from actually the only oil on. A little bit about timing. So he says exactly same the butterfly you want, it just annoys tacky needs. We're not going to get a little bit lower down to analyse a doc my head into a 108 the camera angle. And we're just painting. There's actually some painting. Just not madness. Hopefully. If you've got it just about Monte should be just, just a little bit tacky. So you get a bit of a blend going on. And then you can close up the eyes of the eye is actually round. So I've just closed the ion. You're left with a circle. Here. My days looking up, looking quite good. Just about looking at even work site, keeping it. Look, go, look up. Don't get too close to you what they need. And you based around the I can be the most tiny movements and you'll suddenly go, Oh, that looks good. Just taking a little bit out from underneath the eye disc edema idea versus over a bone structure under here. Too technical. That's nice if you can gain that. So that's thinking about Bosch off taking the excess water off. I'm just putting the cholera out. He's Daniel Smith paints lift, lift very easily, almost too easily it sounds. And I think that's looking quite nice, so ok, you will need to keep an eye open for this area, for the nose. Right? So again, it's the same CCT is at butterfly body wondering if that's just about fuzziness. Self picked up the satellite. Genuine. Mod dark color is going to be for the nose. I'm just placing that at the end of the night. And hopefully they'll cease doing patient Joe's bleed outwards. And you can you can take the access more. She doesn't want to be adding too much water at this stage. That you can just blend that out little bit. Plus we can quite good. So we need to do so we can go and good. So the stage, while it's still little bit adaptable, damped steel, I can actually begin to take a little bit, kind of picked up my pick of Bosch very carefully. I can just take a little bit, come out. Let's give you an idea of eyes. Until I burn that. Any paltry, you've gone a little bit heavy weather, you can just take a little color, tiny, very gently though. You don't want to interfere too much in the middle of the body. But any HGS you can you can take out, reclaim any couple more like that. That's what I'm going to do now. Okay. So slick out some of the mind that she's still nice and wet. So I've picked up medical Bosch. Look, I think it might even have been a chest hair. So I'm starting sort of little y in and just pulling out a little bit like the butterfly antenna and the branches of the trees. Just clicking any of it. You can do a finger now if you want. I'm actually tried that with folk. And let me give you a quote and eyes look. Just kinda in the back of in and out game, but a lot of tweaks on the trees and a bunch of the treatment I do crazy. Yep. Thank you, Harry, enough. So I'm just gonna give him applause for the head. You are He just about ready to do this? I but we need we need him all dry because if he's not its face very easy to put your hand in the wet paint if you said to their weight damp and then lever. Luckily in print, but we've really only got the inside BI to do and the initial mouth. So another head drawing session for him. 7. Starting the Eye: Okay, so he's all nice and dry. So what we're gonna do, what picked up my little bush and we're going to have a crack LAI. So very carefully you want to wet the inside of the eyes are just suggest putting a little dot router and interest just gently working out. So what you'll probably end up with is a bubble of Walter. And what we wanna do is go back into my soccer but problem because the paint walls just sit on top of it so you want to just not be nice when wet. But most of the bubble. And then I'm going to pick up my butt Sienna. I'm just going to drop a column in there. Just carried it around. It looks something like that. And I'm going to pick up my slide just a dark color. We, we've got this gives a slot i sort of impression is a slight shadow underneath the eyelids. So I'm just touching the very top of the I just leave it the eyes all tricky. So I would suggest is don't panic, just, just go with the flow, enjoy it. Panic. And they take a little bit of tinkering. So I'm just just blending it just a little bit. You also probably going to look different than mine is very hard to meter to go into everybody's work. I can't see your work. So you want something like that. So it's just a little bit heavier onto the island and this is lighter here. And then we need this to dry so that we're just sort of layering the eye up. But while that's drawing, we can do the item I'm going to pick up my satellite. Genuine noise really is a bit a painting. It's a bit freaky to start with. So he won't just paint aligning. Join me. All I loamy smile. Very big, full, small, intimate. And they really quickly cleaner Bosch keyboard, so much water on it. And then you're running down to the chin TO wetting would area down in bigger Bosch and just blend up. That's just adding more water into this body area and just allowing loudmouths page is still soften into the body and it should be left with something like that. In theory. I'm just going to hear a little bit tricky working underneath my camera. So we didn't we didn't need seal top my head. Just tiny little bit. So you just take it on. Don't hurry. Just move a greener. So while we're still waiting for this to dry, we can, we can start taking a little bit of CO2 out if he needed a bit of light adding. So with my big bosch, bosch, it's quite nice and soft. I can just take a little bit color at a talking head is being very gentle. I'm to my stroking the paper. And that will lift a little bit of color on interstate, you take the moisture in the paint you've lifted and plotted onto the kitchen? Well, I wouldn't bloat. I wouldn't pick up the kitchen or I won't draw it like that because it can bleed Tycho much too much out. You'll be left with a bit of a hard edge. So just by stroking, you'll slowly lift it out and it just enough aside then stand away from it and see what you've done. You've probably just enough. You can always say if you're just staring at it in the can to closely you won't notice telling you a little bit a lot you've managed to lift up. We want to lift a little bit here, so I'm going to draw the Bosnian photonics weights. You can see that suppose I could, she's just going to, going to stroke color there. Just the impression that they II is inside the body is not stuck on the outside of a cheeto. Take a little bit different the mindset you have. Have a look, see what you think. Pick up Monica budget brush again. Little bit align very softly. Just slide in question is a bit of a strength then stop it. I need to go all the way along. You just didn't touch it at it gives you a little bit of body to seeing where that lies dry. Still, a little bit tricky. So I'm wouldn't continue down. You're going to want to talk a little bit more light. Take an hour here. So I'm just going to go back in and be very careful if if anything like if you're using a Daniel's with painful lift very easily. So go very carefully. Be lifted too much out, you're in trouble, but it's very hard to put it back in again. You would need to do is to whet everything down and put the color back in again. So it is a bit that we won't be doing that. That's just enough, I think. And I can also just do He's knows us, kids, my boss again. And if it is taking this Gideon patient is nostril. Let's just wiping cleaning the kitchen clean when you do this, actually, I'm going to take a DevOps or will not loyalty caught hold counseling. And now we can do a little bit of tinkering hand. That's gonna be straight for me. Let's just pick picked up a satellite genuine. I'm just going to magnetically please note a little bit rounder painted that any guy would wash off, going to blend out. And the complete took a little bit too much cholera. Just take your time and enjoy the process and just watch. Sometimes you just have to be either a watcher and look and see see, see what it's looking at. Still not quite dry. I'm just going to use a hairdryer over this and get him nice and dry and I suggest did not working. Just make sure that's lobbying dry before we do the pupil because it can turn Marty quite quickly. So if yours is pretty dry like mine, give it a Glasgow hydra. 8. Finishing the Eye: Okay, that's nice and drawing a little brush. And I'm going to have a little bit verse. But I guess I had a nice sort of concentration where it is working, working on dry paper at this stage. So we're doing a little tiny V dot so that the fox is looking up. So you want sort of an oval shape. So if you start in the center of your oval and just, just very carefully work outwards. Sometimes they look a bit freaky at this stage is called just, just don't say don't panic. It's it can be fully days. C was one looks like you can soften them down again by, by wetting the air. I. Iso is a lot of given site. You put a little bit when you take little bit nowadays, it's just time spent, spent painting midi and I'm practicing. Fact she doesn't look too bad. You have to look at your own piece. We think it looks okay then then go with it. Don't don't over and over do it. If it's looking okay. And then take a little bit, a little bit at the bottom. He's iter, that's clean brush. A little bit damp. And I'll just stroking the tip at the top of the head. Should just lit a tiny little bit of color out. Don't want leaflets out just a little bit. It gives an idea he's done actually, one can say I need that to dry. And what I didn't mention in my materials is a little tiny little bit of white paintings. I've got a tiny little bit of white, very old tube of glass, but it can be any kind of white paint you gotten. It's just going to be that tiny little spot on his eye. But before we do that, I'm going to put the whiskers in his eyebrows. So I do that a pencil. You can do it with a brush if you're feeding brave. But they tricky to do actually is a bit of a reach sections if you do it with a paint brushes, permanent, but at least if you do it with a pencil, you can help them out with a beer strike. So it's a touch here. And it's just working in that nice to the flick. I'm going to do some over here. So with a joy with pencil if you don't like them leaving, lock them out. But sometimes the paint can be people permanent. Now he's almost almost there, so I'm gonna get my little bit of white paint. So it's a very old tube where my newer, newer achieve is going to say, you want it nice and concentrated Jones to jury. Because he's looking up. You want to put a tiny little just a tiny spot right in front of the die. And it just brings him to live kidney. You condition. We're gonna overdo it now. You can do some little white. Because as well. And why do I browse? He's almost done. I really want to watch some of these lupins walks out and show you what it looks like. Just tidy this up, a 100 NIH even see. One of my washy zone must have just gone over, over my lines with it, with my Bhushan. And it's the heights found the Walter Bosch. And if you actually got a synthetic bodies better for taking paint out like this. But I haven't got one to hand at the moment. I'm just going to Sqoop. I guess, take that you can use a clean piece of kitchen. Are you want just to take a little bit of light out here as well? So it's just gently law would you put up ahead just stroking? Very gently. We'll just take a medication or LatLng. And I think he's I think he took to write and say, you can, you can get to stage where you're really enjoying. You keep going on because you're enjoying the whole process. But sometimes that's not always the thing to do. You can quickly over muddle it, overwork it, and you'll lose that lovely freshness. So you'll read, enjoying this. Do another one. It would be better than overtaking this chap that you've done because it can, it can easily go muddy and overworked. Gives a hydride again in ropes crop out that those pencil oxen and then publicly amount around it. 9. Finishing Off: Okay, so he's asked triumph Kruskal-Wallis over little potty rubber. Careful not to know about me. Whisker is just going to go around some of the lines that you haven't many lines visible but could have been that, that butterfly when we actually wrote that aligned. And it's quite nice. In some areas you May have taken a little bit paint out new, regain that sort of lost and found looked pledge of wetland. Too much. I think I've gone a little bit too high on my mountain, shorter. Created a central monk says. Say make sure he's nice and dry there before you stop rubbing in your pet one exam because it's so upsetting to drop stuff out with idea, you'll pay. Painting isn't drawing and you really need okay, so it's nice and dry. Who's gonna pop a little amount around him? 10. Final Thoughts: So hope you enjoy painting the Fabius, Mr. Fox. And you could begin to see how liberating is just allowing those paints to be free. And all you have to do is to be their guide. Did you first tilted lego ok. If you found the paints didn't run very much, try adding more water next time. Also consider using a different color because each paint has his own character. How did your second Washoe is interesting saying how you're painting starts to gain depth. Detail as you build up the layers is fascinating. Learning to control world color paint by getting all timing right. Judging when the paper is right wetness to get the result you want. What was it like painting that simple I, it's a tricky spit to get right. Best thing is not to panic. If he's not going to plan, let it dry completely, then go back taking a time, as is usually the smallest suggestions that will namely for you. So we look forward to seeing you in the next class.