Painting a Watercolor Humpback Whale | Janet Asbury | Skillshare

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Painting a Watercolor Humpback Whale

teacher avatar Janet Asbury, Watercolor Artist and Teacher

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

11 Lessons (1h 16m)
    • 1. Trailer: Watercolor Humpback Whale with Janet Asbury 1

      1:33
    • 2. Intro

      1:38
    • 3. Supplies

      7:13
    • 4. The Sketch

      11:25
    • 5. Masking fluid 101

      9:30
    • 6. First Wash wet on wet & color mixing

      16:03
    • 7. Final wash

      7:45
    • 8. Background painting

      3:33
    • 9. Details Wet on Dry

      12:06
    • 10. White Pen details

      4:04
    • 11. Final Thoughts

      0:57
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About This Class

Come join me in learning to paint the giant Humpback Whale in watercolors.  

Topics we will cover:

Basic supplies needed will be covered.   I will share with you some of my favorite supplies and how my experience has led me to these choices, in the supplies lesson of this class.    

You will complete a basic sketch layout or trace your sketch from one I have provided.

You will learn to use masking fluid to preserve white areas in your painting.

You will learn wet-on-wet watercolor techniques, including color mixing right on your paper.  

You will learn wet-on-dry techniques in layering the details.

You will also learn about bringing your project to life with dark & light values to create shadows and highlights.  

You will complete your Humpback Whale project in a just few short lessons!

Even if you’re a beginner in watercolor painting, you can tackle this project with my instruction!   This is a fairly easy class that will build your skills and confidence to complete your painting and press on to more complicated paintings.  In fact, this project uses a very limited palette, so completing your project will be fairly quick and easy. 

We'll go Step.  By.  Step!  I will share some of my tips with you along the way.  So follow along with me and let’s create a beautiful Humpback Whale!  Then you can share your completed project on the “your project” page for us all to ooooooh and aaaaaaah over!  

Let’s GO!

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Janet Asbury

Watercolor Artist and Teacher

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Transcripts

1. Trailer: Watercolor Humpback Whale with Janet Asbury 1: 2. Intro: Hi. My name is Janet Asbury. I am an unapologetic, creative and love to paint I loved create all kinds of crafts And I've been that way since I can remember from doodling as a child to learning to play with one of these which I also love calligraphy, um, to painting started with oil painting and moved on to acrylic. And my latest love is water color. And that's what I'd like to share with you in this class. I'd like to lead you through the steps to create a humpback whale in water color and it takes very few colors. So if you haven't invested yet, you will be lightly invested to try it. And if you have, I'm sure you'll have all the colors that we're gonna work with. Um, And if you want to get really creative, you can dabble kinds of colors into your whale, and we'll get into that later. But I'm hoping you will join me and you will create your own humpback water color whale. I will lead you through sketching it. And if you don't feel comfortable with sketching your own whale, then I will also provide a sketch for you. find that in the files as you begin the class. So come on, let's go on a whale of a journey Join me and will paint our home back way. Thank you. 3. Supplies: Okay, let's have a quick look at the supplies that you're going to need. Let's start with paper. Paper is very important. The quality of paper is very important. While cancer in and Strathmore are wonderful for practice and testing your colors and your techniques, ah, highly recommend going for something a little more, uh, quality. Higher quality and it's going to be a little more expensive in the arches is a decent price for what you get. 100% cotton, it's cold pressed, and 300 g m or 1 £40 is what you want to find. I've done this on a nine by 12 piece of paper, and when you print your tracing, it should fit just about like that on there. Hopefully, I'll test that. So that's your paper paint. I also recommend quality. I love Windsor Newton. I also loved Daniel Smith. I've tried some of the cheaper ones, and there's just really no comparison for quality. And if you would like to be a minimalist, there really are only two colors that are needed. Payne's gray is your basic color, your base color, and it can be used also for the detail because it looks very dark when used, very concentrated, and then a French ultra Marine. Is this blue here that is dropped in here for this color? That's the French Ultra Marine there for a little accent color you can add in some. If you have the colors or you want to invest in them, you can use a little Windsor blue, which is this color right here. It's a little more turquoise and you see that represented here, and I've also dropped in a little bit of Windsor Violet, which is back here on the palate, and you see it right here a little bit on its fin a little bit in his mid body here. So those are the paint colors I've used A. Haven't used anything else yet. Now, for background, I'm a drop in some greens, Um, and we'll look at different kinds of backgrounds that you can dio. So those were the paints, and this is the Cotman. This is a student grade Windsor Newton, which I also like doesn't seem quite as translucent as the professional Siri's, unless it's just the colors I have chosen. I'm not real sure you're gonna need a good pencil for sketching. Whether you do your own sketch or tracing, you want a HB lead. I have a mechanical pencil here with HB leads in it. You're gonna want an eraser not only for erasing your pencil lines and working your sketch out, but also for removing your masking fluid. And masking fluid is used to preserve these white lines here so that there is no paint on them and around the eye and on the little bumps here so that they stay white while you're painting the base of your the body of your whale. Ah, what else? A little bit of toothpicks are great for applying your masking fluid and an old liner brush such as this one. This is just a really cheap brush I don't care a whole lot about. And I will use that to apply my masking fluid, uh, getting onto brushes here. You're gonna need a nice rigor or liner brush for doing some of this fine detail work here , going around the circles and doing his I. So this is a not a very expensive fresh it's ah, number one, uh, royal brush. And then you're main brushes either a six or an eight round. These are a Skoda Prato, Siri's travel brushes. I absolutely love them highly. Recommend them. Um, any really good round brush is great, and you can probably get away with either a six or an eight. I've got both out because if I'm going to do a larger area too wet for a wash, I wanna cover more area once. So let me to go with a larger brush to do that. This is squash and washes more A of a translucent rather than a transparent paint. And I've added a little gosh here on the mouth where I kind of lost my line when I was painting. So it's not necessary. But it's good to have for mistakes and for highlights and then also for highlights. I like to use a white pin. This is a signal unit ball pin. It's performed about the best of any white pen I've used. I've used the sick or a jelly roll, and that works most of the time. But every once in a while it just gives out, even when there's tons of ink left. Um, a couple of the things brush holders Nice to have. This is my Windsor and Newton palette, which was my first big investment for watercolor. It's lasted me. I think it's going on three years now. It is the professional Siri's. It's not too expensive, if you're gonna by something that lasts, and that is really good quality. So I do years. Use a couple of these colors in here in the demonstration, but you don't have to. You can stick with your two Payne's gray and French ultra Marine colors, and that will work just fine. Um, okay, this little cup here is just for my masking fluid when I apply that and this little bottle cap is all it. ISS has dishwashing detergent, and it's got a few drops of dawn in it, which preserve your brush. Lynn Applying masking fluid two reservoirs of water, one for rinsing your brush, one to have clean water on hand for laying down washes and for lifting out paint. Okay, want a little bit of paper towels for cleaning your brush and unloading some of the water when you want it dryer. So some clean paper towels and I think that covers it. I will have a list of supplies in the class description. It will be written up for you for quick reference. This is just a mini spray or I used to wet my paints. You can always just drop a few a drop or two of water into your paints toe. Wet them, and that works fine, too, so you don't have to invest in that if you don't have one. Um, I happen to have one from all the other fun things I like to do. So it's can't come into my watercolor painting quite nicely, and I use it. So that's it. And I hope you will jump in with whatever supplies you gather and let's paint this whale. Thanks for joining me. 4. The Sketch: you want to be sure that your whale is going to be centered on your paper, so his biggest part of his body is going to be just below center. Make sure that tail doesn't go too far to the right and make sure there's room for his flippers or his fins at the bottom without going too low. If you're going to frame this, you might lose maybe half of an inch on either side. So keep that in mind and, um, just get him nice and center. Now I'm kind of measuring out where his flippers going to go here, the one that's on this side of his body, and it's about just behind halfway. It starts about halfway and finishes just behind that, then finish his finishing his nose to be sure that I have a little room to the left of that if I want to frame it. And then placement of that second flipper that's on the other side of his body is just a little bit maybe halfway between his nose and the flipper on this side of the body, you can use any kind of eraser you want, as long as it doesn't smear or leave marks on your paper as faras a pencil goes, make sure it's an HB lead. It won't smear. If you get your hand over your drawing and, uh, smear your lead, it should not smear with a good heart. HB lead. I love a mechanical pencil. I've just always loved them and I'm using HB leads in my mechanical pencil. Now that I've got the basic outline down and I've got it centered where I want it, I'm going to start adding a little more detail the bumpiness of hiss back its head. Make sure I've got this little dorsal fin in their the way I want it. Uh, I'm gonna get his little jaw outlined here. I shouldn't say little. He's a huge creature. He's little on my paper, though. I'll get Hiss little jaw in here and he kind of has an overbite. Um, the top jaw kind of lays into the bottom, so I want that to come across here in my sketch and hopefully in my painting as well. And then I'll add in some of the characteristics of the humpback whale, which are the barnacles and the bumps and the lumps and the ventral slits that they have on their body and kind of define where the darks and the lights are, which I'm not going to paint those lines, but I am going to have a difference in my color. The top is going to be darker and the bottom is going to be lighter. And the pictures I referenced. One of the tales which I chose to represent here was kind of flipped upside down. So I'm trying to define the top of the tail and separated from the bottom of the tail, which shows underneath. And we'll paint the top of the tail much lighter and the bottom that's showing underneath, much darker to give a value that will show death on show the underside and define it from the top side of the tail. So it actually has two parts, which hopefully will be able to convey with something I'm going to draw in thes lines, which are actually called ventral grooves on the whale's belly and throat. Thes lines are pretty cool. They let the whale expand his throat and belly to take in. I think like 100 tons of water with fish and whatever lands in his little track there and, uh, strong muscles. Then push all the water out and he keeps all the food so kind of like on a snake principal who can unhinged his jaw and eat large things. This whale can take in tons of water along with food and then push out the water and keep the food. She's a pretty neat creature kind of lining up his eye here. Um, it sits a little bit above that back pectoral sin, so not sure even like it here might need to go back a little bit. I'll refine that and look at my little picture again and see if this lands in the right place and see how I like it here. You don't like it here, Okay, we're going to go right kind of between a little bit closer to that front sin, but not quite lined up with it for his eye and his eyes Pretty dark. But we can add a little character to it by having some light lines for his little lt'd below and above will draw that into kind of going to refine and define this line. The jaw line here Now the whale's pectoral fin looks a lot like the big sea turtles, Finn. Um, so I'm gonna try the draw that in a little bit more realistic here, and will define that a little bit with some detail work over our initial washes of color and the last phase of painting. I want to define that with pencil here. Don't lose track of it and define these ventral grooves a little better. Um, when you paint over these pencil lines, you will not be able to erase them. So drawing them out very faintly at this point is pretty important. If a the end of this sketch things are a little bit too heavy, we can go over it with an eraser and lighten up those lines so we don't see them through the paint. So let me throw a few interesting thin fax at you. Whales generally have four fins, as does our hunt back here. They have to pectoral fins. That's what I'm working on here. And they're kind of like his arms. They're used as a rudder to steer and stabilize him. He has his big tail fin, which is also called a caudal fin, and his caudal fin is what he used uses for propulsion through the water. He has very powerful muscles along that back end of his body into his tail. He has that little dorsal fin on top, Not quite sure what that does for him. Um, but those air hiss fins and those air what? Therefore our humpback in particular has the largest pectoral fins of all the whales, and they usually span about 1/3 the size of its body. These little lumps and bumps up here, I'm going to define our called to Bickell's. And then there's some barnacles there to, and this is where we're gonna put our masking fluid on these little circles so that we can define those with paint later. There's also going to be a masked area between the upper and lower jaw to show just a little bit of a highlight that we don't wanna have paint on. So I'm gonna kind of draw in a double line here at the jaw, which you'll see if you do the tracing sketch or if you're doing this kind of get that line in there, and that's where you want to have your masking fluid or you're gonna be brave. Be very careful not to get paint on that little area so we'll have a nice white highlight there. Results. So the option of using some white wash if we make mistakes wash is always a good thing to have to come to your rescue. Adding a little bit more of these two Bacall's and barnacles on him and, um, will put the masking fluid there. So it'll be easy to erase those lines afterward. Okay, I think I'm done. For now. I've pretty much put all the detail and I want to do, and I'm pretty happy with it. So, uh, let's move on to the next video. I hope you'll join me. Thank you. 5. Masking fluid 101: All right, let's get ready to do some masking of our whale. And I have a few ways that I do this for. Little dots like these really just like to use a toothpick or even the end of a small brush . Um, my one of my favorite masking fluids is this fine line that initially comes with this great little tip that you pull out pin. But it doesn't last long. I think it worked a few times. That was the end of it. So I just put a few drops in the bottom of this little container here, close it up because it has a tendency to dry pretty quickly. And then I'm going to start with these little dots and let me try the brush first and see if that won't get me some nice little circles here. That's a good one. Okay, so I'm just gonna make some nice little dots. I'm not gonna press this all the way down unless I want a large dot. Otherwise, I'm just barely touching the surface, and I'm getting nice little dots here. Trying to paint these with a fine brush is an absolute nightmare. So that went a little wider. I'm just gonna work it a little wider. All right, Now I want the highlight. I'm just gonna go ahead. And here's another tip here. Changing my my course. Um, this is from my friend, um, who is also an artist. She told me if I didn't my brush in a little dishwashing detergent first and then dip it in here, it will preserve my brush. So let's try it. I want these here light for a highlight later and a little highlight in the eye. This is still really difficult, because the this is not a very fine point. So I'm getting a little more than I want here. This is another option. This little fine brush. It's a little liner brush a zero. And I'm just using an old, cheapo brush that I don't care much about. So there's my, um, some more dots on her whale's body where I'm gonna want some white for the barnacles and the little spots on him and hear some more on his back. Finn, I don't think I quit. Got that on there. Come a little bigger. No, My pencil marks are going to pretty easy to erase under these, but I'm going to do some shading around these little circles anyway. They're going to be white in the center when we come back with our details, which will be our pretty much our last step. So okay, it's a couple other spots that I want white. Let's see how this comes out now with the soap. That's pretty awesome. It works. Yea. OK, so that's a good little tip, a little bit of dishwashing soap on an old brush to code it. And that tip is from my friend Esther Peck, who is also a teacher on skill share. And you would do well to check out her classes. She does some stunning florals that you can learn from. So go ahead and check her out. Give a shameless plug for Esther pack here. All right, so some other highlights are actually right along here. My prefer toothpick for fine, fine line that I'd like to have here. But this will do. So far, so good. So this is just kind of a highlight where the light hits the edge of the dorsal or the the tail fin. Make sure have this thick enough here. A lady friend here. It wants to be a star, all right? And the other part is right up here up sees heavy. That's okay. I can always paint over it later. Trying. Normally, I would lean my head into See this? Really? Well, I'm trying not to do that, getting the lay of the camera. So I'm not able to lean in as far as I want. Another split place that I would really like this highlight besides, right there. ISS. I don't think I'm gonna do the ventricle or that the Yeah, I put some on the wrong spot, Put my hand right in that. Beware the hand. All right, so there's a white edge along his thin, but I think I'm going to try to just avoid that. If you aren't comfortable with that, you could go ahead and work that in. I'll work this one in just for kind of an example. Does have on outer edge that is dark. But then there's this inner white edge along here that I don't want paint on. I would like it to be preserved white. I can do that with a wet on, wet pretty easily by just not putting wet paint there. But if you're not comfortable with that, you could certainly mask it out. Um, asking I find leaves a pretty abrupt change, Uh, from paint to know paint so we can soften that. But that's one of the things I'm not crazy about. I'm asking fluid. All right, on. Let's see if I wanted to do some of the events, his events, those lines across his throat, down to his belly. I right, It felt pretty easily either with an eraser or, um, just gently rolling your finger. So let's see how easy I can get his lines. I think I'm just gonna leave them alone. But with a toothpick, you could get some pretty good flying lines. If he wanted to do that, I think I'm gonna leave them alone, just work them in. So that's about all the masking fluid I really want to use. I did this too thick, so I'm gonna go ahead and lift it off and that kind of work that point. So that's the masking fluid. Okay, It's kind of work this to a finer point here. I'm right. That's about it. For them asking fluid. So that concludes our lesson. from masking fluid. I hope that you will come back. Enjoy me for the painting session. See you next. Less fun. Thanks for joining. 6. First Wash wet on wet & color mixing: Hello and welcome back. Let's start laying down our color wash in this lesson, and we're going to start with some clean water and our number six or eight round brush and just start laying in a nice coat of water here on the top up to these lines here on our whale. So we want it pretty wet. This arches papers wonderfully absorbent. So the weather it is the more running of color mixing of color, unpredictable fun color blending we're gonna have. If it's a little bit less wet, it will be more controllable. And this is more of a fun. Let it do what it wants to do. Project. So we want it pretty wet. And just let that paint blend together. Now because we've masked all this off, we don't have to worry about the I and these dots getting paint on them. Nice drop right there and we're going to go right over these little bumps will detail in later, right over all of this nice masking fluid and just run kind of Ah, a wobbly, not too perfect line along the body. Come up here to the tail work that in a little bit more carefully to wet his tail. The bottom here is actually the underside of the tail that I'm doing right now, and it's going to be much darker, so we'll add in more color on that later. So good light and dark of painting with water color. Or I guess any painting really is called values. And the light and dark contrasts are what give us our depth and our highlights bring things forward. So when we add in our details, that's what we're gonna work on are the values and bringing in the lights and highlights on the dark's okay, I think I've got him pretty nice and wet. I'm gonna spritz my paints here that I put my Payne's gray on here already and, uh, just kind of let that went up. Also, I'm gonna spritz my French ultra Marine Windsor and Windsor Violet when you're blue once or violent. Okay, those were ready to go. And let's just start with our Payne's gray. I don't want a real heavy wash. Water this down. Sorry for the bump on. Start up here with his tail just dropping in my color and it's gonna follow where the water is and it will not spread any further drop in this side. Just came outside of the water there. This is the fun part. I'm not able to get close to my work without getting in the way of the camera, so my details aren't quite as sharp as they should be here. I just put a little Payne's gray on my palette, and I'm working with that I could because I'm just using one color here and not mixing a color work right from a pallet such as this. We want this kind of lighter at the top. So I'm gonna add a little more water and just push this color. This is just water on my brush. I didn't reload it with paint. Now that's paint, and I'm gonna come over here, get these little details I can. I just splattered right there. But I'm gonna leave that because I may do a background of it's just splatter anyway, to suggest in the water. All right, bottom here. Work around that Finn and just kind of lift out all of this. Rinsing my brush, trying it a little bit coming back in tow. Lived out some of this refined my edge. I got a little bit beyond here, which is okay. Kind of colored outside the lines here. But that's all right. Very fine. This edge here in some of this color down. Well, I'm gonna leave this white area here. Oh, I forgot the bottom. Okay, let's get this to don't neglect the job. I'm kind of love in this dabbing effect. Is leaving a kind of a cloudy looking effect on the painting. Do a little bit of that over here because their skin is rather modelled. I'm just gonna dime around a bit with that and splatter all right with that. All right, Now I'm going to come back, and this is gonna be a little color mixing right here in our painting. So this is my winds or I'm sorry. This is my French Ultra Marine, Windsor and Newton. And I'm gonna get some of that on my palette to play with. Just come in and drop some of that here in there. Mostly along the lower part of his body is where I want a little contrast in color. You see, the pain is a little bit further papers, a little bit drier here so that color won't bleed and blend as much as if it's really wet again. Just refining this edge here that I've got a little wobbly. So this was just color mixing right on your paper, and you could kind of let the paint do its magic. I had a little more in here. Now, if you are the minimalist and these were the only two colors that you're gonna work with, you can let this dry. And I'm actually going to put a bit up here as well. Just let this dry. I believe that as it isn, I'm gonna add in a little bit of other color. Here, add in a little Windsor Violent, uh, about right here in this shaded area. Kind of a darker area around this Finn under here. See, I'm just I can work right from my paint, but that will give me the more intense. So if I want it lighter, I'm gonna put it on my palette and add a little water. All right. I think that's about enough of the violet for me. If I wanna have a little spreading effect, I can come back with a little water. Drop it in there, but the water do its magic and let that dry. Come on. One more color and you can do whatever you want with your color. Get creative. This is the Windsor Violet, and I really want to drop this into the Oh, I'm sorry. I already did the violence. I want to drop that, Um, winds are blue and kind of done with violet here. Spread that out to my Windsor blue Here. That's what I was looking for. It's a nice little turquoise blue. I'm gonna add that in. I'm keeping the top pretty monotone and concentrating my color at the bottom. But you don't have to do that. I just made a mistake here. So I'm gonna take some clean water and clean that up just by brushing along the edge, taking a little paper, tell I have handy and having that out. That's not totally clean. So let's try that again, Rob along that edge, which is so watery right now I'm just pulling color out. Welcome back and refined that later refund to put a little bit out. Okay, I would like to spread this around a little. Work it in. I need a little bit of that over here as well. That's almost an opalescent look. Dropped a little water here with these colors together. All right. Pretty happy with that. Going to move onto his fin and start with the Paynes Grey. This is gonna be a white line here. So, uh, let's went that first. So I'm going to use my clean water, work that down his fin, Just kind of spreading it evenly. My edges. And on the other side of his body, a nice line here. Here we have it dropper Payne's gray in of this fin because it's behind him on the other side, we want to two picked some distance, so it's gonna be darker since it's in the background, making it darker will recede it into the background in the front fin. We don't want quite that dark. So anything you want to appear further away, you want your values to be darker and something up close or even in the light. You want your values to be very light, but I'm just gonna let that blend on it. So don't leave a little highlight in there, so that one's very dark on this one. This is where the fold of the fin is right here. And I got a little masking tape or not met tape masking fluid here where we masked. And that's gonna be leaving me. Some white highlights were the folds are we're gonna lay in a heavy concentration right there at the front and just kind of let it bleed back whips. Sometimes you have happy accidents. It's her indep ity. I think they call that. I'm just gonna let this fall back like that, see what it'll dio on its own. Oh, so I'm gonna help a little. I also wanna lay in some other color into this Finn. So I'm going to start with The winds are blue. Come alongside here of some Windsor. I'm not the back of the fan. Why not? Let's go with a little Windsor by especially up here, Words closer to his body. I'm just gonna hit right at this edge and let those colors run together. And you could stick with your Windsor. Are your friends ultra marine blue? Which is this one I laid in here? Think I called it Windsor Blue. That's your friend. Shelter Marine. You could stick with that and not, uh, put the other colors in. If you want to be more realistic, this guy's gonna be a little funky. Little fine. Leave. Whip sees. I'm gonna lay a little, uh, the Windsor violet in here was This is lightening up quite a bit. So while it's still wet at the front of this pectoral fin, I'm gonna put a little bit of concentrated Windsor Violet, and I'm just dotting it in Okay? No, I'd like a little highlight right around here, so I'm just gonna drop in a little water, let that paint run. And you know what? I think I'm done. So next lesson were going to put in a little detail, start having fun with our details. We're going to do a wash here of just a light like Payne's gray, and then we'll move on with details. So come on back and join me for the next lesson. 7. Final wash: okay, in this lesson, we're going to finish laying in our first wash here where we didn't do the belly show, start with some water and wet this whole area. And I'm also going to darken right under here the underside of his fin here. I'm just cleaning up an area that I painted, and I really didn't mean to paint outside the lines. So I'm going to simply wet it and dab it out with a clean, wet brush. I'm just moving some of this paint, lifting some of it out. Simply push the pain away. It's still wet. Um, getting a little bit more color right underneath the separation of colors here and a little shading near the fins, Um, and a little bit toward the the end of the body. I would like a little bit darker in the middle of the body lighter and then toward his mouth. I wanted a little bit darker just to show a little shadow underneath There, - I'm darkening the underside of his tail fin with a very concentrated Payne's gray right off the paint, not watered down at all. And that will show the darkness of the underside of the thin, leaving the top of his tail fin much lighter on and differentiate between the underside in the upper side. It's and that is the last of our wash is complete. I'm going to drop in a little bit of the French Ultra Marine just around the fin here, just for kind of a shadow. We look still slightly wet, so I'm not gonna have any hard edges from it. I'm gonna kind of gently spread it. I might even put a little bit of the winds were violent. Excuse me In here. Just for a little shadow area near that pectoral fin. This is a little too heavy for me, so I'm again lifting out. Drop too much water there. Shadowy area kind of spread that add a little Payne's gray back to that. Make it a little more of a gradual fitting here. That was not a clean brush. Kind of scrubbing out paint here, scrap about this and left it. I'm still not really happy with how abrupt this looks to me from Work it back a little bit and make it a little more gradual. I'm I think I'm happy with that right over here. I'm gonna re wet this area and dropped just a faint, faint bit of the Windsor Violet And here as a little shadow under that line, just a hint. And now that blends a little better. There might do the same here. Just a hint. Now that's dry. So it's not, um, going to blend is nicely. Some of the kind of work that over with a little wet fresh, that's a good spot right there to end. And thanks for joining me again, and I'll see you in our next lesson. 8. Background painting : Let's wet our background here all around the whale, avoiding the whale itself. Okay, I do not want my spatter on my whale. So I cut out my tracing, which if you haven't done a tracing, you can just make one quickly by holding your whale and a piece of paper tracing paper or otherwise up to the light on I'm so I'm gonna cover his body because I don't want this batter on his body. And here we go Start with my favorite winds or blue, and I don't have to cover my whole paper. Um, I'm just gonna hit it in some areas when I go for a little green mixed in a little bit less green, that's the sap green. You can use any green or turquoise you have on. And I think I might just end with those two and leave it as ISS. These little areas weren't very wet, so gonna help them out when my spirits are here. What? Them run. So that's this batter background. This is gonna stick a little bit to my masking fluid, so kind of helps hold it in place. And if you don't like that, look, you can take a nice angle brush. And if you don't have these brushes, you can use this and work this anyway. He want for kind of a watery background. I'm going to use this since I have it because it makes quick work of it. I think I want a little bit over here that I don't have my well protected. So I'm gonna be careful, kind of like in the effect of these horizontal lines here, which is, you have a wet background you could really just lay in with with fresh. As long as you're backgrounds, nice and wet. It'll flow really nicely and just play with it. So you get it where you want it. That's gonna be super faint when this dries, and that's a wrap for backgrounds. 9. Details Wet on Dry : So in this video, I'm going Teoh, remove all the masking fluid and begin to put in or details with a Payne's gray, some darks and some lights. I'm loading my rigger brush with a pretty, dark, pretty intense Payne's gray, and I'm gonna go over these two vehicles on top of his head and dark in them, and then I'll be going over the barnacles as well. - Now you want to line each and every one of these little circles, which is a barnacle with a pretty dark Payne's gray. So these barnacles are simply a circle where we have the masking fluid with a little dot in between and if you can, with a really fine line fitted in there, some simple lines from the inner circle to the outer 4 to 5 lines, almost a star effect will give it a look like a barnacle might have. These circles that we masked off at the back side of his belly are just shaded spots. Fill those in with a medium value of your Payne's gray. Not too dark, not too light, had a tendency to be heavy on the so I just kind of lift amount with my paper towel here. I'm going back to these two pickles I painted on top of his head and I think I had too much of a heavy hand with the Paynes grey. So I'm gonna wet some of them and lift out some of the paint to make them a little fainter . I'm going back to these barnacles to make sure I have those little cross lines where I can fit them in and make sure my little dot inside that circle is showing. I'm going to go over this ridge on his back. It's a little too white for my liking, the one that we masked out. So I'm just gonna go over it with a very, very faint Payne's gray A lot of water on my brush, Um, and kind of scrub it out and still leave a nice highlight, but not quite as bright as it waas. When I did my background because of the use of that big brush, I didn't get tight around these areas of the tail under the belly. I've got quite a bit of white space, so I'm just kind of looking over things and seeing what I can improve on This is one area that I want to work on up on the top of the tail underneath his belly. Gonna try to blend a little bit of very subtle color in to blend with my background here, I'm going to lightly wet a very small area above his mouth. And then I'm going to lay in a very light Payne's gray and define both upper and lower jaw and continuing using our Payne's gray. We're gonna put some more detail in here under these masked lines around his thin. We're going to go both under and over, depicting the folds in the flesh around his fin, adding a few lines even under where we masked these white lines and I'm going toe wet these areas to paint wet on wet toe. Add in a little shading under the belly. Here and on the edge of Hiss Finn. Add in a bit of shading and kind of blended in. Since I'm working wet on wet, that's easier. E also wet this back area of the thin behind him so that I can put a little bit of a darker Payne's gray line along it. A little detail line under his job for the lower jaw line kind of medium tone. Payne's gray. I don't want it to be too dark as dark is the upper job. I'm just gonna dark in this line and add one underneath. It didn't turn out quite its darkest. I wanted it to when it dried. Now let's move on to his I one of my favorite parts. It can get very fussy with this, but we'll see how this one goes. Now, I am going to go over some of this white masked area. However, it still will have a nice, subtle highlight. When we're done, I can always lift a little paint out if I wanted brighter. Well, sometimes you just need a little do over. So dab it out, dude over. I'm just gonna begin to blend a very light shades of Payne's gray around the eye. Now blending it out. I am working wet on dry here. All of these details have been, except where I mentioned that I was wetting the area first. I'm actually dabbing a little bit of ultra marine blue right here in the eyeball itself. Now I'm going to darken and define this ridge at the top of his back. I'm going under are highlighted white area that we masked. And I'm just gonna dark in the dorsal fin here and define it a little bit better. Also adding a little bit of shading here to the top of the tail liniment. Just kind of lying and define the bottom of his body coming off his tail. Better too much there. And I think I'm going to turn down this really white edge of this pectoral fin here, uh, just with a real light wash of Payne's gray and looking at this upper jaw, I'm finding this dark Payne's gray line a little too much. So I'm just going to wet it with clean water on my brush. And as I wedded, I'm dabbing that paint a little bit toe, lift it and make it a little lighter. Okay, alright. It's time to give our whale hiss ventral folds here. We're gonna just lay in line upon line here with a good concentration of your Payne's gray . If you make a mistake, just quickly read it and blot it out and move on Here you'll see me wedding and blotting because my lines were a little too heavy and I want them all to look the same 10. White Pen details: So with your white pen, come over the top of the bumps up here on the top of the head and right on top of each one . Just draw a little half circle and then kind of underneath makes some really light, sketchy lines just straight lines underneath where these two vehicles lay. There's kind of a little ridge looking area. And then along this back ridge, where we had the line masked, we're just gonna put a fine little sketchy line across there pretty much across the whole back up the dorsal fin up to the tail up over the top of the tail, just kind of adding in some little mark, making some lines with these highlighter pen. We're gonna add it some little sketchy lines here along the the pectoral fins. And then we'll add a little highlight on one side of each of the ventral pleats here and then a little bit aligning here where the folds are in the pectoral fin, and then I'm gonna put some highlights back in this I that I kind of lost with my brush. A brush is losing its fine point. It's time for a new one, but I can make do here with a little bit of highlights added back in with my wife pen. And if you look at the body of the whale, you'll notice quite a bit of scarring on his back. So I'm going to re wet this area. And just with the end of my very fine brush, I'm going to make some marks on the paint will kind of sink into those into the paper and leave a little scarring on his back end here of my record brush. And I'm just gonna make some lines. Some vertical lines, mostly a few little horizontal lines on that as well, and you'll see that your paint will sink into them. Don't press too hard, but your paint will sink into those lines deep in the color in those places that you scarred the paper. Now, if you've come this far, don't forget to sign your artwork. Great job 11. Final Thoughts: Hello again. Thank you so much for coming on our whale of a journey. Ah, hope that you have learned some things and I hope that you have applied them. I really hope you've done your project and that you'll post it right below. Here. Click on the project page below here and go ahead and upload your whale. I love to see it. I love to you and all over all the projects and we'll leave you some love and make sure you do for someone else to If you would like further notifications of classes that I upload in the future, go ahead and follow me up there whichever side it ISS and you will get an email from skill share when I upload another class and so glad you decided to join in and see it through. So let's see those whales. I've enjoyed it. It's been a pleasure