Paint a Cute Watercolor Bunny: Step by Step | Garima Srivastava | Skillshare

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Paint a Cute Watercolor Bunny: Step by Step

teacher avatar Garima Srivastava, Artist and Illustrator

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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

13 Lessons (1h 7m)
    • 1. Introduction

    • 2. Supplies

    • 3. Watercolor Techniques

    • 4. Reference Image

    • 5. Drawing

    • 6. Base Layer Head

    • 7. Base Layer Body

    • 8. Second Layer : Head

    • 9. Third layer

    • 10. Adding Shadows

    • 11. Innocent Eyes and Other Details

    • 12. Flowers and Rocks

    • 13. Conclusion

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About This Class


Take a step forward on your watercolor journey and learn to paint a cute cuddly bunny. In this detailed class I will share my technique to paint watercolor animal portraits with carefully crafted step by step lessons. 

Do you love animals and would you love to learn how to paint cute looking creatures as portraits or greeting cards? If Yes , then you are definitely at the right class.

Apart from florals and landscapes, painting animals is something I love to create with watercolor and I have explored quite a few different animal portraits but the ones I adore the most are bunnies. 

Painting animals for the first time can definitely feel challenging with a medium like watercolors but I want to share with you my technique to create attractive and innocent looking animal portraits and get you comfortable painting your first bunny!

In this real time detailed class I will walk you through my entire process including:

  • how and what I look for in a reference image
  • how I create a loose sketch
  • followed by painting a cute cuddly bunny step by step with me explaining each and every brush stroke .

 Apart from the project, with this class you will learn some really useful watercolor techniques which you can apply to your projects even beyond this class:

  • how to create soft blends
  • how to control water
  • creating contrast without getting harsh lines
  • how to softly lift colors 

I also share my tips to create those eyes with innocence dripping from them that my bunnies are quite popular for on social media. Eyes are the feature that can really make or break your animal portrait so you need to be really patient with them and with this class you will learn how to tackle that and how I work on them in stages without letting any panic set in.

All of these techniques you will learn in this class you can use to create all kinds of other creatures.Bunnies are just a sweet place to start at.

I really hope you would join me in this class and get started with animal portraits. 

Meet Your Teacher

Teacher Profile Image

Garima Srivastava

Artist and Illustrator


Hello, I'm Garima.

I’m an artist and illustrator based in The Netherlands. I have been painting professionally for more than 8 years. My artworks speak the language of joyful brush strokes and vibrant colors.

I live with my husband and our sweet little daughter in a quiet village close to Amsterdam, where I paint everyday out of my home studio and share my art journey on my Instagram account (Garimasrivastava_art) through my daily posts.

Adjusting to my new life as a mother has brought a new perspective into my artistic style where I have started to paint fast while retaining my signature style to keep my artwork very uniquely eye catching. Although botanicals in various styles do feature heavily in my portfolio, I have started to push myself to ... See full profile

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1. Introduction : Hi, my name is get richer, faster on the artist and not educator behind Instagram. Account my little Basil, that studio off in painting with watercolors for quite a few years and absolutely love it. You can really enjoy this medium when you embrace the unpredictability off it and the fact that it's water that controls your painting and not you. This can be really relaxing, but it can also feel a bit challenging to quite a few people When it comes to painting with watercolors, My aim as an artist and a teacher is always to change this feeling of fear and panic into relaxation. Regardless of the subject, Florence and landscapes are good choices for subject, but there's another favorite of mine that's animals. So with this skill, she class I want to get You started with painting one of the most adorable creatures of money have painted them quite often, and each one of them has its own unique corrector. They honor fluffy and cuddly, but some of them are mischievous. Some are curious and summer purely innocent. In this kinship class, I will teach you the simple supplies you will need how and what to look for in a reference image How to create a base loose sketch. You will also learn how to control water, how to paint, vetting, met better dry and how to softly lift color. I'll be sharing my tips on how to paint with layers, how to create interest by changing the values and also how to bring that innocence drifting from the eyes that my bunnies are quite popular for as the project for this last year, be able to paint your own cute, innocent looking bunny, or use the techniques that you will learn in this class to paint another cute, cuddly creature. I will come in this class anybody who loves for a color and would love to explore how to paint animals. So what are you waiting for? Let's hope into the class. 2. Supplies : Let's talk about the supplies I'll be using in this class today. I'm using watercolor, cold pressed 300 GSM paper from cancer in Excel, and I find it a bit more smoother than the other papers I use. I'll be using AH, Scotch tape or masking tape to stick it down to a cardboard I'll be sketching today with a two B pencil, which has sort off a blunt end. It's not very sharp, and that allows me to create a loose sketch. I'll also be using needing gum to pick any excess graphite. I find it better than using Ah hardy razor. You'll also be needing a mixing tree, a jar of clear water, some kitchen paper, Tavel aunt, a spritz bottle to rivet your colors. Now let's check out the brushes out be using. Today I'll mostly be using a mop number zero. It has a nice point to it. I'll also be using a round brush number four. It is a synthetic sable, one for details. I'll be using a synthetic brush on. It is quite tapered and quite fine for the texture off rock I'll be using, Ah, blunt end palette knife, but you can also use a spoon to scrape some color off, but this is completely optional. Now let's check out the colors I'll be using for Bunny. I'll be using cobalt blue Indigo pines, great burnt umber Kornacki drone rose white wash for whiskers on for highlights on for the flowers. I'll additionally be using some sap green, some Vince, a violet and Conacher drawn gold. You can find this whole list of supplies and the colors under resources under your project section of this class. 3. Watercolor Techniques : Now let's practice some of the watercolor techniques that I have used in this class, so you can stop by rinsing your brush. I've got my more brush, and I'm just renting it in the water, drying any excess water and just creating sort of a creamy milky consistency off the color . There two ways off applying the color on the paper, so what you can do is either with the paper first for wet in wet technique, So just take another clean brush. I'm just making one area vet and then, if you add on a wet area, another red color, it's called wet in wet so you can see how it gets fuzzy. So this is wet in wet. And if you apply vet color on a dry paper or a dried color layer, it's called wet on dry, and you get quite defined edges with it. A good thing about wet in wet is how it spreads and how you can smooth in the color out to rinse your brush dried a bit and kind of very softly smoothing it out so you get quite a soft gradation. You can also add another red color to this so I'm just picking a bit of violet and just adding little drops and see how it spreads. So this is your wet in wet. There's one technique that I want to make you practice before you get started is how to soft in upper color. So what you'll do is big. Sort off a milky consistency of the color. Put the color down quickly. Renzi brush, dry it on your paper, travel and then run it along the inner edge. So what you can see is you got a bit harder edge on the outside, but you were able to soften it out towards the inner side and just spread it a bit more so . The inner edge is quite fuzzy and soft, so let's practice it one more time. This time a bit more indigo and binds gray mix so color down. Rinse dry on soft in up the inner edge. So practiced this a lot, and this will really help you with the bunny. You also need to learn how to control water, a new brush so it fell to simply pick color directly without drying my brush. I get a puddle like this, and it will not dry evenly. So what I do is rinse my brush, dry the excess water off, then picked a color. And then I can get the mark that I won't unable to control it. Then rinse my brush. Dry it on soft in the inner edge. You can also add another color to it. Violet Still read so say burnt number here. So not much water in my brush and just adding the burnt number to the the blue patch we just painted and none quickly again with my rinsed and dry perched softening edge, this one has dried, so I'm going to add born number to it. So you see this is wet on dry, and now I'm again going to soft in up the edge. So you get a slightly different look down the earlier patch to check if a patches dried or not, you just touch it with the back off your hand, and if it still feels cold, it means it's still wet. Another concept of onto teachers how to lift color. So I'm just creating a big path, sort of an ear shape here, sort of a really vet indigo on buying scream mix now I want to teach you how to lift color from this little area. So I'm just renting my brush, going to dry thoroughly on my kitchen paper and just push this clean, dry brush along this inner edge so you can see how it lifted the color up so clean, dry on lift. You can use this technique to control any color that is spreading too much or create a bit more definition in a certain area. So just Rennes dry and lift to add any details to area. I preferred the bottom layer to be dried, so what I do is on a dried layer. I pick very less water in my brush for details, and that helps with the color not spreading. So the bottom layer is dry, and I don't have much water in my brush either. So what you need to do is learn how to control water in your brush and also how to soft in up the color that you just laid. So keep your kitchen paper travel handed with you and just rains dry on either so often or lift the color. So practice this and in the next video, let's get started 4. Reference Image: Now let's see what to do about the reference image. So for a very quick reference, I usually go to Pinterest. So on my Pinterest have got a board called animals, and in that one, I've got quite a few bunnies. Paint some off the marron standing posture. Some are sort of sitting with their hind legs right behind years, all floppy. This is one of my favorite poster to paint, but I also pain them a bit like this. So what you can do is create your own inspiration board for quick references. But for projects, I usually go to stock images, and you can either type bunny are the variety off money I like is called Holland Lop on the search results will give you quite a few different bunnies, and you can either rent or purchase the rights if you're working on a project and you don't want any problem with copyrights. So for the purpose of this class of purchased the rights for this bunny, since I don't have the redistribution right for the image, you can either pause your screen here or in the next video and sketch along with me or go to Resource is under your project section of this class for a sample sketch that I have uploaded 5. Drawing: Let's start a loose sketch. Now I've got my watercolor paper here. I've also got a needing gum on for pencil today. I'll be using a doobie pencil. Andi sort of has a blunt and then that helps me keep it lose for the reference image amusing this image for which have purchased the license. And I'm going to place it right here next to my paper. You can also find a sample sketch that I'll upload in the resource section under your project section of this class. So I'll just start right appear upon top. Just a small carve. I'm just eyeballing the proportions on if you want. You can start by creating little circles. I'm keeping the ears quite floppy. You can exaggerate this feature, but to make them look or even a bit more cuter, but try to keep their length same on both sides and then the cheeks on a little dip underneath the chin, Still keeping it quite. Lose a little V for the nose, small little dash underneath it and an inverted V for the mouth. I'm just trying to keep both the cheeks of the same size, and now you can bring out the front leg a bit to the center instead of straight down. Try to bring them a bit more closer in the center. Small partition and little Paul's for different as well for the friend pose. Just keep them small rounded on the hind leg. Tried to keep it very little visible. You don't want them to Paige. So just very small on, uh, back feet ending just before the front paws. Now I will create the marks for the I am not making them detailed at this point, just little marks on the kind of trying to keep it aligned on both sides. We don't want one off them higher. Also the patch for the nose and this is pretty much the sketch. Now I'm just going to refine a few off. The features have kept the sketch quite lose, but I would still like to pick the excess graphite from it. So I'm just pressing my needing gum right onto the sketch on this will pick any kind of excess crucified in the next video. We're going to start by painting first base coat on the face and rest of the body at the end of might also add some flowers upon top here or maybe at the bottom, but we're not gonna worry about that for now. 6. Base Layer Head: before we start, I'm just taping my vertical a paper onto a cardboard. And now in my mixing tree, I've got some coupled blue. Some indigo bind scree burnt umber on 14 knows I'm using Conacher Tone rose just a little bit we'll be using. I'll also be using some white wash for the whiskers. So for now, we're going to just vet our brush. Keep your water bucket near you. Just roll your brush in the water and make really juicy puddles. 1st 1 puddle of cobalt blue and mix it just a little bit with indigo. Also, make your binds great puddle. So I'm just reading these colors. I'm not making these mixes very watery, but just waiting so that it's quite easy for me to lift the color. And I don't accidentally pick excess color from the dam. I'll just pick a bit more graphite from the sketch so that I'm left with just very faint marks. We will start painting the face right up on top here, so I'm going to rinse my brush in my voter bucket first. I've got a kitchen paper travel here, so it just rains my brush and quickly dab it on my paper travel to remove excess water, and now I'll pick the color from Kabul blue and indigo puddle, and I'll start up on top just placing veteran dry and now quickly rinsing my brush. Remove excess water and now soft in up the inner edges and quickly dragging this color down to the year, rinsing my brush again, removing excess water and again softening the whole color. At this point, I'm not adding any more color. I'm just bringing that first a little brushstroke color down to the face, also bringing it up it down to the front of the body, printing my brush, trying it and spreading that initial color. And while it's still wet around the nose, I'm going to pick very small color off pink and just leaving little dabs around the nose and let it spread a little bit. Now I'm going to pick a bit more deeper color off cobalt blue and indigo. Not much water in my brush, and I'll just start on the edge off the ear. I want the harsh edge towards outside, but I'm going to quickly rinse my brush, dry it and soft in the inner edge, so hard edge on the outside and soft and up towards inside. Now I'll do the same for the other side. So one quick brush mark and now Renzi brush dry it and soft in up. So whenever I add excess color and it comes close to the face, what I do is use my wet but slightly dried brush and bring the whole color down to the face . This kind of prevents any kind of harsh edges forming around the face, so you basically re vetting the whole face together. Now we'll give a bit more color. So pines great this time to the ear. So I'm placing the colors always towards the outer edge at the very bottom this time and now again, rinse my brush, dry it a bit and then soft in up artists, often it all around the face. Now, since it came quite close to the face on the right side and spreading the whole color on the face, I'll quickly add a little bit off pink towards there, inner ear, so little flap, blending it in a little bit. I'll just use my blue a little bit more, so I placed the color down and then quickly Prince members try it and soft in it all out, sort of blended in, giving the face a bit more shape around the cheek. So picking pints gray and indigo makes on creating the curve kind of making a bit more defined shape. So I'm just rinsing them fresh and drying it on the paper towel and blending where the ear start so that it sort of fades of a towards the top off the head. Now I will pick some burnt umber in my brush and quickly leave a little bit of color around . Very had put the contact drone rose. Now I'm rinsing members thoroughly, and I'll just use very small amount of color. Rensing my brush again. So there's barely any color and quickly reading the whole face. I'm trying not to rub it in just very quickly, just leaving brush marks just touching and no adding a bit more color to the ear and also now towards the top off the here and now we will start sort of defining the face a bit more now, just with the damp brush. Um, kind of softening this in urge and now ever picks? Um in tickle Tampines cream makes and deposit some harsh color, sort of creamy consistency, the words that I curve and also the cheek on. With just the damn brush. Rhett dried. And then I'm softening the edge a bit too, springing this color down a little bit more, giving the face a bit more shape, redefining the nose a bit more, adding that pink again. Now I'm going to create a make self burnt umber. I'm just removing any excess water and leaving little dabs around that knows, Patch we had created just little dabs. My brush does not have too much water because the face is still red and I'm going to let it spread out a bit. Removing excess water now, creating a mix off burnt umber and pines gray. I'm leaving little dabs around where the eyes are going to be, so it's still spreading because the face is still quite red. How to speak a bit more pines great to redefine the cheek area, but more giving a bit more color to the ear, and now you can see it's sort of spreading around the cheek a bit, so I'm just with a vet on dried brush, lifting the color from the face side off this mark. It's a very it was spreading. I'm just lifting it out, and also you can see the nose has fuzz it out too much. So I'm just lifting it around where the shape was starting. So rinsing, drying and then push your brush down and it will lift the color off defined that patch a bit more in the next video, let's continue. 7. Base Layer Body: So now, while the base layer on the faces drying, we're just going to let the body. So we'll just use plain water. And I'm just wedding slightly. This whole body, the front off their bunny. There's bringing the water down, reading the whole front and now picking some cobalt blue and indigo in ma'am. Brush on adding some color to the front of the leg and now spreading it all out, Not adding any more blue. Now, just spreading that initial color out to the pause brings my brush, and I'm picking some burnt umber on adding it to just underneath the chin area. I don't want it to spread up on top around the face, so I'll just lift it from the face side. It's a rinsed, my brush dried it. And for the bottom, I'm just going to spread that burnt umber down a bit, so lifted it up from top and spread it down at the bottom. Now I'm going to pick some indigo and members with the little bit of pines great and just adding color at the bottom of the feet and sort of between the partition of the two front legs, making little toes rinsing my brush sort of softening thes edges a little bit, just dabbing my brush so that it's often sup, also adding a bit of burnt number to create the little partition between the two legs. Just softening this color around and I'm going to pick bit water. Mix off indigo for the hind legs. Not too much color, but a bit darker. Makes them the front ones, bringing that color towards the pause at the back and soft thing it towards the front leg. So we don't want harsh lines and softening it all around the body. So we don't want the front leg on the hind legs separated by harsh lines. So I'm just making the whole body uniformly vit. I'll just add a bit more off the pines Great and Kabul blue and indigo makes to which the hind legs a bit more. So I find both of them separated by contrast, but not by harsh edge. And I want this sort of contrast blended well. So now, since it's getting a bit fuzzy towards the front leg, I'm just going to lift it a little bit, spreading it around a little bit now, adding a bit off, burnt umber again underneath the chin a bit, and now rinse my brush, dried a bit and then left the color. I've owned this color only underneath the chin. I'll pick it up a bit more from the face site. I don't want the color spreading there, unpicked that same burnt umber and find scream mix and added to the pause on the back. Little gaps between the toes, a bit more darker color for the folds and prefaces off the feet and leg. I'm just softening up the color that I add. I'm going to pick against some indigo cobalt blue and find scream makes and again adding it around there. Both legs are meeting and then softening it towards the hind leg side, so I won't sort of non fuzzy edged towards the front on blended edged towards the hind leg . Now I'm going to pick some burnt number, and I'll add it while this hind leg is still wet, just a touch off it around the place where it meets the front leg, sort of blending it in a bit. You don't want to brush to wet else, it will start to spread, so I'm going to rinse my brush and just lifted from the front leg side, sort of blending it in a bit more, adding a bit more color to the crib bases around the feet, a bit more color to their feet and toes, making them look a bit more muddy and then quickly softening my marks. This is getting fuzzy, so I'm just lifting it up again with a clean but slightly dry brush. Now let's add a bit more color to redefine this edge, so I add the color blended towards the hind leg side and lift it up a bit from the front. I'll pick a mix of indigo and binds great, and I'll again added between hind leg on different leg and now quickly rinse my brush. Try it a bit. I'm lift from the front leg side. I'm slightly vetting the front of the body because it's starting to dry, and I don't want harsh marks, so I'm just waiting the whole body so that it drys uniformly, lifting it up a bit more so that the edges a bit more defined. So in the next video, we're going to continue painting the face now, adding a bit more color to it, a bit more off the layers, so I'll see you in the next video 8. Second Layer : Head: So now let's start adding more color to the head, some picking a mix of indigo, cobalt blue, aunt fine scree, and I'll start by adding more color to the ear. So starting from the bottom of the ear on going up, following the contour of the face now, quickly rinsing my brush, drying it a bit and blending it in a bit, adding a bit off burnt umber to the inner ear. And also, let's add a bit more off that pink sort of lost in there. That's often the cheek side a bit more, spreading it all across. So I'm just reading the whole face, rinsing my brush, trying it a bit and just spreading this moisture very gently across the face. We don't want to lift the bottom layer up, just gliding my brush, and it's not soppy vet. It's quite dry, but just spreading the moisture. Now let's reinforce that pink around the nose. So again, not a very watery makes. Now let's add some burnt umber and binds great, this time for the nose patch, starting from up on top and spreading it down, leaving that pink area as it is rinsing my brush, trying it a bit and still springing that color down just following that shape. So in my rinsed and dried brush and just using the edge of my brush do kind of shape this whole patch having a bit more burnt umber for the beginning off this patch around the edge , sort of blending it in a bit. So my brush does not have too much water else. This whole patch is going to spread very fast. So I'm just blending that little patch around, adding a bit more off pines great towards the edges, giving it a bit more contrast. I'm blending it in, lifting it up from the bottom side. Now let's give a bit more color to the eyes so that burnt umber on pine scream mix on dropping it in around the eyes so the eyes have dried a little bit. So I'm just reading my brush and drying it a little bit, and then softening this eye patch around and spreading it a little bit towards the head so that this eye patch color just deposited doesn't cause any harsh edges from just spreading the whole moisture around again. My brush is not soppy vet. It's just moist, and I'm just moving the moisture around. Now let's add a little bit more color for the front legs, so I'm just reading it again. I'm going to pick the burnt umber un deposited underneath the chin. So if you deposit too harsh, I don't want it to spread upon top around the face who are left from the face side. Andi. Blend it in towards the front, allowed a bit more color to the top off. This knows patch so burnt number and some mines scree and starting right up on top, they sort of dry a bit lighter, so you need to keep adding layers. So I'm leaving that pink in between and just moistening it up. I'm not adding color around there and now, adding that pink again because it started to get blended with the brown. And in the next video, let's continue 9. Third layer: Now let's continue having more color, so I'm going to pick some finds green meme brush Now start by adding more color to the ears , so starting at the bottom and taking it up. Same on the other side, defining that partition between here and the face a bit more so the face side has almost dried. Now I'm going to add a bit of burnt umber and kind of blended in where I had added the spine scream mix, now softly, blending it and bringing it up towards the top of the head. Now rinsing my brush, trying it a bit and softening this edge. I'll just pick a little bit of blue makes and just added to the top of Fendt to kind of redefine the top curve a bit and soft in it out. I left a little bit colored towards this cheek, now lets out a bit more color, so binds gray and the bottom off the ear, keeping them quite dark. Some find screen indica mix on, taking it up, being very careful around the cheek. I don't want the color spreading inside, but just dry brush, so rinse dry and lift from the face side, just in case it starts to spread. Just on that pink, a bit more do. It's the inner ear. I just left a little bit more color around the patch, and now let's start to think about adding a bit more color to this I area. I want this color to spread a little bit, but not too much, so I'm just checking. If the paper is still wet with the back off my hand, it should feel slightly cold. I shouldn't feel the moisture on my hand, but just very slight gold feeling. And now, in my synthetic detail brush, I'm going to pick a makes off, binds great, and I'll just very gently I'm going to sort of create that were tickle line. I'm quickly reading it again, so I wanted to be quite fuzzy at this stage. So adding that vertical line, I'm the little carve underneath, giving it a bit of shape, but quickly reading my brush and softening it. And now, with the ma pressure, I'm going to spread the moisture around across the whole face because I don't want these marks drying with harsh lines, so I'm trying not to lift the color and just gently vetting. I'll add a bit more color to the nose patch, so I'm just going to bring this color down a little bit. So it's all getting quite fuzzy, so I'm just going to lift the color from the bottom off dispatch so that this demarcation between Patch and the neck is a bit more defined. Now let's add a bit more color to this I area, so just very small amount of color dropped it in and then soft in this whole edge. So when I'm softening, I'm not using too much color, just a vet and slightly dried brush, defining the cheek on the face a bit more, adding more color towards the ear so the color is blended towards the ear and lifted from the face side. So this eyes getting slightly fuzzy. So I'm just picking the excess color that's spreading around in the next video. Let's continue adding more color 10. Adding Shadows: Now let's add a bit more color to the I. At this point, I like to use my pencil to quickly redefine the location off the eye again and sort of the size. Because the eye patches are quite fuzzy, you can very easily put them a bit misaligned, so I'm just putting very gentle marks there. So the shape of the eyes like this just a small soft angle than a little curve for the eyeball and then lashes up on top, just little flicks off the eyelashes. So just checking my alignment again. And now with my synthetic detailed Russian picking plane pines great, not much moisture and just making that shape of the I and now quickly wither round brush wet, slightly dried. I'm going to soft in these marks. I want them still a bit, Fuzzy said. Just softening this. I mark that I just made. I'll do the same on the other side. Following my pencil marks. Keep checking both the eyes. You want them almost the same size. Now again, with my vet slightly dried round brush, softening it up, just spreading that color around a little bit. We don't want these drying with harsh edges. So I'm just waiting the whole white area around so that there no harsh lines. Now let's also with the nose patch so that we can add the marks for the A little knows areas. I'm just picking some burnt number in my fine detail brush, not much water and making the V for the nose. Since we just wet the nose, it's starting to bleed a bit. So with my round pressure just lifting the color you won't just attained for the line but not too fuzzy. So just leaving very less color from our mark now lets out a bit more color to the eyeball . So I'm just picking some pines. Grade my brush. I have not got much water in my brush have just got plain color. I'm just adding it on, making the eyeball a bit more defined, making the top sort of the vertical on the bottom line a bit more defined, giving a bit more shape to the eyeball and now rinsing my brush on quickly softening it up again. I will now use my round brush to make things a bit soft, and so it's just written, slightly dried, giving the eyeball, a bit more shape and now flicking the top edge of the eyeball. I'll pick my detail brush again, just flicking it a bit towards up on top to create the eyelashes. So just inverted sees. I'll keep going back and forth with the round, brush and detail brush, make them defined, and first them out a bit. So with my detail brush, I add the details and then use the round brush toe. Make it a bit fuzzy. I'm trying to spread the moisture around a little bit so that it doesn't drive it harsh edges. And now I'm going to pick a bit more color off the burn number for that knows in my detail brush. Just making that V a little vertical line underneath on the little inverted V for the mouth . I pick a little bit off garnacha Joan Rose to fill that little lip, and now, with my round brush rated dry to bid and then quickly soft in this this mark that you just made so not rubbing it all over, just touching it towards the end and letting and bleed a bit, adding a bit more color if it starts to bleed too much you will have to lift, but keep it a bit fuzzy. You don't want it too harsh. Their eyes are still quite red, so I'm just going to let them dry. And now let's add some more color to the front, off the legs here, just picking some burn number in my round brush and just quickly adding it underneath the chin and now rinsing my brush and spreading this color around, defining that face a bit more. I'll bring this color down a bit, and I'm going to pick my mop brush. Since it's a bigger area, I need a bit more uniform spreading of water, so I'm just spreading that initial burnt number down. I'll use my round brush again, and I'll pick a bit off pines gray in Tico mix and add it again underneath the chin, kind of giving it a bit of shadow and with my round brush just softening it up, giving it a bit more definition on the left side. So whenever I'm adding more color, I always rinse my brush and then soft in it out. Now, with my mop brush, I'm going to quickly bring this color down a little bit more towards the front, but more uniformly. Now, with my round pressure, I'm going to pick a mix off burnt umber, handsome pines gray and just added between the front and the hind legs, some adding the color with my round brush, spreading it just a little bit. And if the area is a bit bigger, I use my more brush to spread it out more uniformly, I'll do the same on the other side, so deposit your color, friends your brush a little bit, dry it and then spread it just a little bit. So I used the money for the bigger areas now adding a bit off burn number and finds gray at the bottom of the leg again towards the toes a little bit, darkening them a little bit more. So whenever I'm adding color around the toes, I quickly soft in it out a bit. Again. I just defined this edge here a bit more. Use a bit off color here, so I and the color on both decides and then use my wet, slightly dried brush too quickly, soft in it out towards the hind leg side. So I'm just picking now a bit more color binds gray and burnt umber, and I'm going to darken up these marks around the feet and the toes. So the gaps between the toes on sort of the bottom edge of the feet, So giving it a bit more definition in the next video, we're going to add details to the eye. But for that we need to check if the eye has dried completely. So just a touch of your hand. It's still red, so let's wait for it to dry completely. 11. Innocent Eyes and Other Details: in this video, we're going to add more details to the eye. But before that, I'll quickly add a bit more color off burnt umber around the sort of fold between the leg on the feet and a bit more between the toes suggest adding some color and then soft ing it out a bit since the vote. A color dry, a bit lighter, so they fade of a a bit. So you just have to reinforce where you want a bit more deeper shadow. So, just like in between the legs and just adding bit more darker color in there. And now let's add the details to the eye. So I'm going to pick plane pines, great, removing any excess moisture from my brush. So quite take makes. I don't want it to bleed. At this point, I'm going to add making the eyeball a bit, and then the bottom, the resting edge now on this other side. So first the curve resting edge on the eyeball. Just checking. If both the eyeballs are of the same size and now using mine detail brush to flick it up for the eyelashes now, quickly use the burnt umber makes on my round brush to give a bit more color to the nose. So we're working on the eyes and nose together. So giving a bit more color to their nose and mouth marks, we made adding a bit more off that pink around the mouth, now rinsing my brush un again, making it a bit fuzzy. Now I'm going to pick some burnt umber in my synthetic detail brush and just add little dots on both sides of this knows patch for the hair follicle at the bottom, off whiskers. And now, with my ground brush wet and slightly dried, I'm just forcing them out a little bit. I'll pick a bit more off fines, grade my brush and just add just a little bit deeper color to the nose. And now it's time to add the highlights to the eye since it has dried. So for that, I advise you to practice your highlights before you added to your final piece. So what you can do is create multiple sets off eyes. Andi, I'll pick some white wash in my fine detail brush, so I've got some I sets here on. What you can do is play around by adding little highlights on both the eyes. So maybe just one up on top and maybe one parallel to the bottom edge. So one up on top on 12 bottom of edge. So based on where you place that highlight, it gives a different look to your bunny. So just two dots will give it sort of a surprised look to the bunny. So now let's do the same and make this one innocent. So I'll just pick some right quash one dot upon top towards the curve off the eyeball and then one in the bottom, close to the bottom edge. I placed the highlight at the same position on both the eyes so that it looks. They're looking straight in front, just adding a bit more, making it a bit bigger. And now quickly step back to check if they look okay. And now it's, um, finds great going to make this. I a bit bigger can feel it's a bit smaller than the other one. Now let's speak a bit more off the white, washed to add the eyelashes, so removing any kind off excess moisture and I'm going to again flick it from the top off the eyeball, going up in sort of a C shape. Now we'll also add the same gosh to the whiskers. So some going straight, some going up and some going down allowed a few more. So just some white wash. Remove any excess water and just little flicks. You can also use gel pen for this, but I usually prefer White Wash because it kind of blends well and it's not too harsh. I'll darken up the hair follicles a bit more. Suggest little bit of burnt umber in my detail brush. Just add a few more dots. In the next video, Let's add the finishing touches. 12. Flowers and Rocks: So now let's start adding some flowers and rocks around the bunny. So in my mixing trade, I've got some sap green, some connected on gold, some Vince a violet. So now let's make a little mixture off green first. So in my round number four synthetic sable brush, I'm just speaking some green. Unjust, fair. The hind legs end their feet. I'm going to start creating the sort of a grassy shape so little flicks going up. You can push your brush down to make the leaf played a bit ticker allowed a bit more greed . I'll also pick a little bit of indigo and mix it with my green to add a bit off darker value at the bottom off the grass. Now rinse my brush and I'm going to make a mix off Winsor Violet on corn, aka Joan Rose. So some can, aka John Rose in my brush first and then added to the Vince a violet and now starting up on top with one small mark and then little more bigger dabs and then going on both side of this blade, just little dabs, small and big, So just giving it a feeling off little delphiniums. So mix of MENSA violet and connect John Rose on this side, so small upon top little dabs and then, as you go at the bottom, a bit more bigger dance. So just a push off your brush, going to pick that green again to add it to the center. Now rinse my brush and I'm going to pick some garnacha Joan gold so your brush should be really clean. Else you'll make it green. So plain makes off garnacha. Drone gold on just little dabs off two or three petals. It's just very generous flower shapes. You can skip this step if you don't want to add flowers around the bunny. And now I want to add more color at the bottom off the bunny. So I'm just going to create a mix off some indigo. Some finds great. I'm burned number so burnt umber should be roughly mixed in it. On with my round brush on the juicy mix, I'm going to add at the bottom. Their defeat end also in between the feet, so keeping this mixture quite juicy and filling the gaps, adding at the bottom, also slightly above where the grass starts. Adding a bit more off the color, bit more burnt umber separately, and now I'm going to take one of my palette knives, and just with the edge of the knife, I'm going to scrape some color out, so this will give me sort of rocks kind of texture, So just push off your palette knife's edge. I try not to use very sharp edged palette knife a bit more blunt once, and just scrape it in sort of a curve. I don't scrape too harsh that I would damage the paper, just lifting the top layer of the color. You can also do this with brush, but I think this gives a bit more nicer texture to it. You can add a bit more off color to the grass again so that it looks like it's coming out from between. The rocks allowed a bit off color here and there on the rocks, a bit off burnt umber, so it's entirely up to you to decide how much more floral on background details you want to add. You can add a little twig of flowers hanging from upon top, but for now, I think I was stick with this on um I'm going to take a step back to just deceive. There is anything that needs changing. Just make sure the eyes are okay. I don't like the spot years. I'm just using my vet but quite dried brush to just soft in that spot and spread that excess color out a bit. So I'm just spreading that little black mark on vetting quite a large area around it and spreading it out a bit so that it's not very obvious little black mark anymore. So it's blended in quite a bit. Andi, I would consider this bunny finish, so just take a step back and see if you want to change anything on. Let's remove the tape now, always pulling it away from the paper so that you don't rip the paper. Um, here is your bunny with the eyes all cute and here it is, right next to the reference, um, it so you can see our bunny has its own character and different look than the reference image 13. Conclusion : I really hope you enjoyed painting this bunny with me. And I can't wait to see your cuddly creation. So please make sure to upload your projects in the project section of this class. And if you're sharing it on instagram, please tell me and use the hash tag. Nyla, Basil, underscore sculpture. If you have any questions, please ask them in the community section of this class. If you're new to my skill ship eight. Have a look around. You might like some of my other watercolor classes. You can follow me on skill Church to get updates about my future classes. Thank you so much for watching and have a nice day.