Practice wet on wet watercolor technique while painting a black cat! | Agnes Bodor | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Practice wet on wet watercolor technique while painting a black cat!

teacher avatar Agnes Bodor

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

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

9 Lessons (1h 12m)
    • 1. Intro

      2:41
    • 2. Project description

      2:18
    • 3. Tools and Materials

      11:50
    • 4. Drawing and using the masking fluid

      5:48
    • 5. Painting the black cat - Start

      5:04
    • 6. Painting the black cat - Outlining the body of the cat

      13:03
    • 7. Painting the black cat- Continuing painting

      9:58
    • 8. Painting the black cat -After removing masking fluid

      11:55
    • 9. Painting the black cat- Finishing touches

      9:28
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

89

Students

3

Projects

About This Class

Watercolor is a difficult material especially if used on wet paper, but it give you a huge reward when you are finally can predict and control what will happen on the paper! It is only possible with constant practicing and testing different scenarios. This lesson will give you endless possibilities to practice and master wet on wet technique while you are painting a black cat.

Meet Your Teacher

Teacher Profile Image

Agnes Bodor

Teacher

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Intro: Hi, my name is Agnes, and I am from Hungary and move to theatre in 2007. And since then I live here and work in neurobiology. But to keep balance, I always adult to make art, especially painting. But also I made during origami photography or whatever occupying my mind. My favorite technique was always watercolor and I love to paint landscapes and portraits. But nowadays, I mostly, when I paint cats, I wanna catch there FOR their beauty, their movement, not just copying a post all water Alice takes place. Also when I use water color or I wanna use the potential of these materials that their own UT, I don't want to use all your love. And I went, oh, you've done. And what color? I think student, they use very slowly, very, very busy. And even on paper. Because to make good piece get water color. It's very, very important to understand the material and birth control because otherwise it won't work. And on my watercolor tutorials, this is a crack in life to make you understand this very complicated math area, the water colors, and be able to use its beauty. But be it Master. 2. Project description: Hi everyone. Welcome on my second lesson. The plan is in this lesson to paint a black cat from a photo. In the scarce I paint as I usually do. So it's not like I tested out or repeated or or things like that. I just paint freely. And I'm asking you to do it with me so that there are not much exact plan how to proceed, but I will explain what I'm doing and why I'm doing it. I also will work on a full sheet of paper which is 22 by 30 inches. And this is what I suggest to you also, if you choose, this cat is a large paper. And but it's necessary for this freely for flowing technique, I think. And you need to work kind of fast and go everywhere to develop the whole painting together and not not let parts dry. So that also make things a little bit difficult. I also will use the wet on wet technique, which is not the easiest one. Regarding the photo, you can choose from the Internet or a cat, you know. But tried to choose a black cat with a similar, at least similar head position because I'm not going into details with the phase, but the body can be in a different position. I bang, the technique will be similar. I hope see you on the next segment, which is about the tools and the materials we will need. 3. Tools and Materials: Welcome everyone. Thank you for choosing my black cat tutorial. I am introducing the tools and the materials I used in this session. So let's start with a paint. So the main color was Lamb back. Regarding the brand, I don't think there is. Like best brand or stuff like that. You can choose. Probably any brand. But makes sure it's artist quality. I mean, this is what I'm suggesting. I, that's what I'm using. My favorite are Danielle Smith or harassed or the French watercolors centrally I really like. So there are many good brand, brands on the market. The important thing two's Dylan black for black because there are so many type of Black, but they all behave very different. And I found lamp black is kind of the best for this kind of cat painting. I also added other colors, Some Kind of Blue. It's not important to choose the exact same color because there are many similar core. I think I used ultramarine, but smart is really good. And there are other good blues tool. It's really not. That is not true. There is only one. Blue is good. And for the orangey color, I used, what are the transplant orange. But I know because I use this a lot. This is really good. If you don't have the whole goddamn the centrally Chinese orange, for example, but also every band has derived the same color, so it's easy to, to replace from another brand. So these are the painting. Of course, I didn't mentioned, but I like the tube. And for this kind of painting, you can there you just before the painting time. But if you have already the played, just wrapped it up. So for colors, I always use vite ceramic dishes because you want to see the color Exactly. And for black, you can use any color ceramic dishes because, you know it's black. So it's not that important for water for the painting. Just use many big bores, at least two, but more than the batter need to be transparent or wide and big and line up at least 23 next to you. And like be prepared because you have to switch it often. So as soon as it getting dirtier and grayish. I always switch and I ran out for clean water if I need to. So make sure you always have one clean next to you just if you are in emergency. And as soon as you Dan to one, make time for round for clean, one for wiping. Which is I do a lot. I use Kim wipes. This one. It's quite pricey. I don't have big experience with, but I think each and paper towel is God, probably not tissue paper or toilet paper because they fall apart. But I think the kitchen towel, paper towel will work. And I use this that came vibes. For brush. I use one cheap big brush and don't even know the brand of this one but something like this, but not too strong for or hair. It's just to wet the paper. And sometimes I use during painting USA. So I have a smaller size of this, like this. You only need one, but it's good to have one like this around if you do water color. For other brushes. I like Princeton. They are affordable and really good. I like the Neptune brand and the aqua Elliot. Mainly, you need big brushes for this painting. This is 20 round and this is eight quill. This is Princeton Neptune and this is the inequality, the gray one. So have at least one but maybe one or two. It's better around you for this painting. Something big, fluffy. The UK where it is little bit stronger, more springy, good for more precise work. But one of them. If you have only one of them, it's fine. And I use few smaller size. But you always can work with one browser, but it's maybe just easier a little bit to have more sizes. So this, these are all acquired it from Princeton and all around. And 1684 in my hand. You don't need all of this. If you have, it's good, but it's leads us the middle or even this, it's fine. This one probably too small for many purposes. So one big and one smaller or even with just one big UK work. Watercolor pencil. Just some very neutral color, light gray for example, light. Any brand will be good. This is fiber. Customer makes sure it's not a shiny silvery pigment L1, just because when you wash it off this Parker a stay. So it's just a grey watercolor pencil. It can be light blue or brown, whatever. Masking fluid. So I like to use masking fluid for whiskers and stuff. I really like these brand PB or drying gum. And for application. You put like this for application, I mostly use the red stick, which is a Chinese tool. I don't know if it has any other name. It's read stick with 2 the edge and you just debit, then you can grow with it. If you don't have that, it's fine. I tried this. It's the chopstick. I made it pointy with Blade. Not very pointy dust. You cannot poke through your skin. Just pointed. You don't want to hurt the paper and dip it in. It make beautiful marks even better than this one. So you don't need this one. You can believe work with just pointed toe stick. You want to be more professional. Honestly, I'm not a big phone, but many people think this is the best tool to apply drawing gum or, or masking fluid. I ordered this on Amazon and it was like seven bucks for applying the masking fluid. And I use for tiny details on the end and signature. Farber caster pit Artist Band psi small or extra small. Usually, Usually I have a force subs because brush always lose hair and you have to remove it's not possible to pick it up. So you need a tool and carefully without hurting the paper you can do with this. And water butter. That's really good to have. Any brand plastic, cheap, pricey, not important, just good to have a water bottle around you. It will needed. So now about the paper. The paper is the most important thing in watercolor. You can use student grade paint or just not a good quality paint. And you still can get a fairly good painting, but without a good paper, the whole process is a suffering and you never get a good result. My favorite paper is our cheese or arche. I don't know how to pronounce, and I think if you dont have already a preference, I would suggest the court press regarding the thickness. A 140 LB is my favorite, although the ticker supposed to be better because less wrinkling and it's more expensive or so. But I prefer still the 140. There are many, many other good paper on the market. In the artist's quality grade. I really like the long-term prestige paper and many others. So I don't have favorite, I'm not saying all are the same because it's not true. But all are very good. And only you will know which one you prefer if you use them regularly and you will, you will like one more or you will use one more for one technique then to the other techniques. So that's actually the difference, but we need artists quality and don't think there is a big difference between them. I really like this Stonehenge paper. No matter what paper I'm choosing at always. Not always, but almost always are tools. There are a 140 thickness and, and the court press. So Kilimanjaro is a cheaper, probably cheaper paper. I didn't look nowadays. It's a pretty good paper. I think if, especially if it's cheaper, I suggest to use it. The only paper I don't like to use is the Fabriano artistic or it's just a personal preference. I'm not saying it's worse than the others. For me, it's just do wavy. When I worked with a lot of water, it didn't stay flat. So in this painting, I used a full sheet. Almost every brands. The full sheet a 140 thickness and and cold press, and it was a long term prestige paper. I think the brand can be any of the artist quality ones. And I sat just the full sheet and I hope to see you in the next section, which will be the outlining the cat and using the masking Floyd. 4. Drawing and using the masking fluid: Thank you for staying for the painting part. So lots began with the scattering out with the watercolor pencil. So use your print screen or photo front of you. Constantly tag the ratios and the directions of the lines and sketch out the cat. I'm not to lead that just the ratios approximately right? Because we will use masking fluid for tiny details like I and stuff that those part cannot be changed later. So it's good if you have a sketch which you like because then it's really hard to adjust if you cannot change the INR whisker positions are actually this is the, this is why we are doing the horse catching. So don't push your pencil too hard. Because the watercolor paper can be damaged. And make sure that the route but not touching the paper, I mean, the good part of the watercolor pencil, because the watercolor pencil is very smooth. It can, the tip can go down very fast. So then you just crashing with devote part. It happened with me a lot. This is why I am mentioning. So if you have bad lines that it's okay if you live with that because we will, this will be a wet on wet technique, so the water colored outline will disappear very, very fast entirely. So it's okay. If you have more lines, The important thing is, you know, which one is the real one. As I said before, the most important thing, the ratios. You have, the whole view approximately, right? The details. All important where you use the masking fluid because that will be very exact. But if you have the ratios right, you will know exactly where to put the mask and fluid. Sometimes I use my pencil to make measurements and picking up directions for line English. So if I'm not sure what is the angle, I just aligned my pencil and tack and and I modify my drawing. So I think it's quiet ready now. I make the labor where I put because when the masking fluid you have to like know it exactly. And maybe the angle of the whisker is good to have an idea how you will put it down before you start. So the masking fluid is usually need a little shaking and otherwise advantage just turned upside-down few times. I'm using my lead stake. But actually the top steak with a pointy edge you made with the blade, it's better amongst. Don't make the tip very sharp. Just sharp, sharp enough. You don't want to sketch the paper for sure. So I I did the I and the whisker, this will stay entirely white in the masking fluid. The very, very important thing is store to dry a 100% before you start to paint, because otherwise you will destroy your brush because this gluey materialistic into it. So if you're not sure what kind of line or mark your stick, make, make few lines on a paper next to you and check it out like if it's to take them may draw few line on an extra piece of paper and just use it when you think it's not dripping anymore. You can not now, but in ten minutes or when it's visibly long, dry. You can touch with your hand and check if it's dry, but only do this when it's looked drive and new obviously seeds not dry. Don't try because it will come off with your hand. So when it's dry, it's became darker and hard. Start to bend only when it is dry. And so it can take 1020 minutes or even longer. So make sure you wet because it's a big pattern on the eye, for example. So make sure you read the right time. And then we'll come back to the painting. The painting will be continuous, so not much break within. I hope I didn't scare you away at and see you there. 5. Painting the black cat - Start: Thank you very much for staying to the painting part. When you show that you're masking fluid is dry, Take your spray bottle and spray very much everywhere the paper. So don't worry about paddles on top. We, we use a big brush to equalize the water out. So I'm just taking my big brush, make it wet. And then I kind of loosely make the rotor like event. And there is a lot of water colored pencil mark. I can a little bit loosen it up, but I don't know if you really need those had been lines, make sure you're not eliminate them properly. They can get off entirely at this point, but just keep may be some too, because it will help you if you need that. So when you feel every corner is equally bad, pick up your big brush. And I hope you'll watercolour paint is already loosened up with some water because it's harder if it was in dry condition, it's hard to start with that. And let's look at the photo and decide on the color. So I probably will start to weed accelerating colors. So where you see that the black is more code, you will see purple, blue colour in it. Use bluish. And where do you see it's warmer, brownish, orange. Or these scholars use just the colloid which is similar but more clean, more saturated. And, and start to like scattered out with the scholars. We will use the black after, so this will disappear, but it gave tone to the black. So it 1B just like plain black. It will be mod, reached black with this undertones. And you can see actually this photo has cleared orange colors on it and maybe even blue if you see it more closely. So I'll just outline with the scholars and where it's really dark. You can add the black, of course, when it's really dark. Area. You can directly go with the black. Yeah, that point, absolutely. Don't worry about details. Does the large shapes and the colors of the color of dot flat shapes. If you have one big brush, makes sure you clean it out well, before you adding other colors, like I'm doing the orange now. And there was the brush pretty well. It's all the same orange actually just Sammy's more loose or I tried to just pick up more pigment from oil, those horizontal my ceramic dish. Let's keep going to work kind of fast. Unfortunately, the watercolor has working window regarding how that is the surface. 6. Painting the black cat - Outlining the body of the cat: Also, you can see that the colors start to spread and it's going to each other. So whatever you do is it needs a little time to see what what is it exactly because it's changing because the wet, wet surface where we make the water current flow and that will cause changes so it won't stay exactly as you pull it down. This is totally okay. At that point, I still putting down the big tanks are not really looking details. Just try to have a really good outline. Color outline. Let's say this way. Like a colored outline of the whole painting. On places where things are usually sharp like faith and ear. If it's flowing too much, it's okay to dry up. And with a with a clean paper towel and just when you dry it up, if you redraw it or you even weight and redraw it, you don't want too much flow there. So if it's to do what I am doing or just wait. Any error longer, vary. At that point, it's easy to wipe back anything. So and we think can be changed at this point so you don't need to be stressed too. Went on it. See, I'm making the leg Tina and changing the position of it a little bit more backwards. Another way to go. Don't draw the leg yet. And part which are more smaller and not very fairy. More. It has more sharp edge like the legs or the year or the faith. Because you can add later when a paper is still red but not as flowy at like as it is this point. If something flowing too much and you really don't want him to swipe it off. Like I did things on a face blooming out. And you can change the beak shapes too with big brush, clean clean water, clean brush. I ordered it changed my water. As you can see, what are changing is very important. Keep 2-3, this is next to you and when you have only one left gleam does chain just stand up and bring the new one? Or if you're lucky and you have a huge space, put even six next to you, it will needed. So I'm trying to keep the leg content not to flowing away. You live more in an area. It gets drier and Ryan it round usually. And it it stay more so the paint stay more in place. But honestly, really you can just not working on it for a while and wait and just edit a little bit later. That's also a way to go. I'm just showing my process and sometimes I do this way, sometimes on the other way. You see I'm still working with the huge bras and very loose, very loose. So you can see there is a highlight on on and then gets the other the back leg behind the left front power, which I tried to put there. If you add very wet with the very wet brush, just add water. It will bulge back the Colorado bed. So now I'm doing with a smaller brush around the year which I stopped for a while because it was too wet, but now you see it stays much more. So I just added those missing part on backoff a head and a year. And we'd actually with a clean paper towel, you can add good highlights or modify edge. Like I'm doing again with the lag, which is still probably flowing too much. I'm adding the highlight. The paper towel. See, I switched water again. It's just it was just too dirty. It's really hard to work when your water history I just not working. I don't like it. So I'm just always comparing the photo to my current state and try to change what is looked the more urgent to interfere with. As you can see, everything is still very wet. And it's got good to keep things wet for a while. Still just adding pigment. Watercolor tend to have lighter to get lighter after drying. So it's looked less pigment than VAT. Especially with the Black Cat. Ad, is good to add. Dance pigments, like opposite to the color menu paint with colloids. It's more look, Mark and Luke muddy if it's too thick. Here. Yeah. The black paint is good. If it's look great, I think. And that looked just very transparent or light, at least in this style what I'm doing now, I think it's good. So it's always good to just be denser pigment. Not like, like like them or staff know, but still very coloured, very dense. If you make some dark spots, what you don't want to eliminate as fresh as possible with a very clean brush. You lose an adapted clean water and then just wipe it off later and when it dries, almost impossible. So if you have something like that, I just had one. It's going to remove immediately. So I switched to small brush, start to add some details on Affairs. It's not leaking as much anymore. So now you can see the whole cat is they're pretty much saw. Probably it's we switch to the details. Time. So adding some of the lighter area with washing a little bit back. The dark black. And also I'm adding some shadow because you don't want your cat look like silhouette or hanging in a white space. And of course, this case just go with the photo where the shadow on the photo, because the whole cat getting light from a given source and that's visible on the whole body. So I just always trust the shadow direction on the photo. That's what I'm putting. When you do details, you can also use the tip of your big brush. It's not necessary to go with small lumps. So I've found some big area of wrong. That's what you can do. Big brush, clean water. This is why I always keep one extra completely clean water. When you really need fast, you need it. So I, i removing from that bag because it just due to big. So also this is the opportunity to bring back the wetness into your paper so you can bring with the big brush water all the way to the edge so revert the already drying paper. 7. Painting the black cat- Continuing painting: So as you can see, the water I applied on a back, it's washing back the pants. So it's generating these blooming effect or the flow of air or marched back. It exists in many names. When I'm watching videos, these are what I heard most commonly is I don't want that here. I'm just saying this is demand. I will I will remove it here, but this is what happening. But it's good because I wanted the back smaller and it washed back quiet a lot. So when I use the very wet brush to add the shadow, it also generated a bloom on the lag. I'm trying to remove it now. It just adding more pigment. It just a lot of back and forth and human arguing that the trickster until you have to go back, you go back. I like, I went back a lot to the legs because it's always flowing. Who's-who eliminated the bloom from the left leg? Just maybe drying up a little bit and apply more pigment. Now the front area is quiet dry Of course. And I'm still suffering with the too early like because it's still flowing, especially now with the shadow. But you just deal with it, deal you just try to be very tried to be the boss of the paint and just go back always wherever you need to. Change it until you can. So I'm going to the spring, a more sharp brush, but it's totally not that important. You, you could do this with the fluffier brush to this make more, you have more control with the tip. The tip is stronger. It's the elite. And the fluffier One is the prince Don Neptune. Just checked. So you can see many places getting like the front of the cat. It's pretty dry already. And some places but the bank is pretty well because I regretted the paper behind. It wasn't dry anyway, so it just receives water from those riveting on the behind the area, the white area. Which is good actually. Because I'm still trying to figure out there the things I didn't touch the face for Ryan. I'm pretty sure it's drying up to really well. So now maybe I can say I tried to keep that wherever you need and the other part can get dryer. Now, it's getting closer and closer to the point when we need to eliminate the masking fluid. And and that's only possible when it's dry, at least in the area where the mosque included is trying to have the tie line around. There is a line shape in the lake where the eye is trying to add some more details around the face. So as you can see, it's not really a pre-planned process. It's more like the process itself generating the next step. So it's not like when you make an outline and you put colors in the outline in a given order or layers and you know exactly what will happen in how you will proceed. It it's more fluid process. So I'm just trying to tell one what I'm doing and why. For example, now I am adding the little cologne and I'm trying to generate a little bloom at around the back tie or around the face. Where the Forget bigger, like longer. Because on a face it's quiet short and it's making the phase characteristic very sharp. And more colloids. Adding some of this very beautiful reddish brown color of black gut. For when the light hits it. It just became this brown, usually like orange brown. Where the fairest Fluffy. The blooming effect is very useful actually. So when I'm just adding water, that's what I'm trying to generate that little bloom or back pain doing the same thing, but water alone also. So you can see that Oran donor behind left leg. It's, it's blooming into it is strongly into the leg, the blackness of the leg. And I'm quite happy about that. It's like a firm really look like for covering a little bit. The front left leg. Also similar if the front of the right lag differ from the value on the chest covering and it's looked like a fluffy for from the test. Just front of the right leg. And it's acquired. It's like it's amazing, it's entirely long forget, but it's Fluffy Cat. So if it would be a short hair, it would many areas much more Shad for this cut is much more fluffy. You don't have a straight edge, just, just on a face and analogs and every, and the year and the other places at fluffy. So some blooming is really good. Or when the watercolor offering out on a wet paper, that's pretty useful here. So now I'm just I need to prepare for removing the masking fluids so it's good to face area to live it dry and let a little time for drying up there before you remove the mosque in fluid. If there is place you you want to have less painters staff, you can detach it now. It will have it drying or so, but don't let it if it's not necessary. I meant three touch it with the paper towel to get dryer. 8. Painting the black cat -After removing masking fluid: So you can see it's not shining anymore. I was waiting enough to be able to remove the masking fluid. So let's start to eliminate the masking fluid. Just rubbing off with your clean fingers carefully. You can change your fingers when it get early or just make sure if it got paint on unit continuing with that finger. So try very carefully. If it's not coming, don't foresee, Just wait. Wait until it's drier. I'm not saying it's entirely dry, but it's really close to almost really close to dry completely. Otherwise, just stop because you will destroy the surface of a paper and you destroy your our work. So make sure you can eliminate the masking fluid without dander and then eliminated. So when you have that, you see the mark with the masking fluid is entirely white. I'm zooming in a little bit. I want to paint a little bit the details on a face. I usually especially where the viscous touching the face, I'm not keeping that white. Usually. Maybe the edge of the whiskers is okay, but the beginning guy shaving off and I wanna see a little bit. I chose a photo specifically without too much details on face or I because it's difficult to determine are complicated. And with that right now. So was the photo compare to do what? Sorry. I think I said it was an anxious paper. It's it's along Tom prestige, which is as good as they are to you. I really like it. Actually it gets less wavy than the arches. So I am going on to the face now because it's changed when you remove the masking fluid. It's a new situation. So I'm trying to get the shading right and Ryan, I'm doing I'm adjusting those white areas I got from the masking fluid. There is no details on the I on a photo, so it's really good. It just lighter shape. The only job here is to get the shape, placement and size and shape, right? So and then just add a little light, greenish yellow in it. Or even just a grave would be fine with maybe a little orange end, but just the lighter shape there. And now I had the masking fluid around the ear. And that's a really good thing because wire the paper was read masking fluid didn't let the ear spread into the papers. So I suggest that because there is saute in and it's very sharp, the masking fluid is at this point is really useful because you don't want to mess like dirty paper around a year. So I really said just masking fluid around the ear. But now it's not there. Although the paper is very dry now that 100%, but it's dried analytically, it's not flowing anymore. If you make an arrow, you still just wipe it off. You can see I did. And I'm trying to draw it more carefully. I'm not good with tiny details or that's for sure. I'm trying to get that right. And fully NAND going back after. Then at some continuous column to the rest of the head. I tried to wet back most things because I want to change things on the back, especially it's really washed out. Grace color. I don't like it. It's not the red-black which I am going for. But there are stuff which I don't wanna attach. Like if I, if I am lucky, it will stay intact. Like for example, that blooming behind the left. Power. If you have to put big amount of paint somewhere, you can just use another bras which only contains water and go, go with the water next to it. So then it's not giving you add. So just put the black or whatever color area with the deaths pigment and on the edges just dust, watery brush, just very loosely, don't just wipe once only because he will loosen up otherwise the previous layers. But if you do it right, the new layer of paint will flow a little bit into the water. But it means that there will be no add where you add the new layer. So now I am eliminating those very white. Return i using just a very dirty brush net, very black, and put a layer of greenness around. So it's still visible, very clearly visible when the masking fluid was just not giving that is very unnatural. Heap or white color. If you do that, you just drive it a little bit with the paper and it will be fine. So I'm trying to get the shape right. It's not colored yet, but just make sure the Black in honor, I spot it good to color when it's dry. Return more grey mass on beginning of the whiskers because it's just too it was too bright. So I want to repent these all back area. It's just too transparent to washed off. I want much more rich black there. And so you can see the whole head area is riveted now and I'm just pulling those wetness Dan and close it with the previously reverted leg area and just don't want too much edge. So I tried to get everything a little bit. We saw. So the blackness which I'm usually applying on the backside is it won't have a straight edge. It just flowing into that wetness or it generated a continuous layer. Because I don't want edges. Of course, if I want to add, is that perfect? But I don't. The other method to do this is when you add color, which I just dead. You can wipe off the edges a bit with smoothing and up. So then you don't get edges. That's another method to eliminate these edges after you repent on dry, dry or paper when it's not flowing into together. That's the two thing you can use. You can use water to make a washed off edge or you can use a vibe and just smooth up that ad. So it watercolor always is a really big difficulty to finish because he always, we'll see something you want to change. And the end is usually you just overload it. So it's tricky. And when I add those dance blackness on the back for sure and some lighter colour and maybe even just some orange and maybe when blue just to to cover up that really vibe adopt washed off area, which I don't like. So I'm adding that and after that, let's see what else left. So I just want much return there. So I'm trying to eliminate that had the edge there. So I just read that again, the paper with clean in the clean big brush and clean water so that the paint, the edge can flow into a little bit and around the tail to so you don't get those really hard edges. By, I wonder how that around the year and and other places but not the back and a tail where it's flowing, you just wipe right away so I can see it's flowing out. So so I have to I right away if I don't want, like for example, now coming from an egg. 9. Painting the black cat- Finishing touches : So you can see some overflowing capitals, but you just remove it, it's fine. It's not staying. Be careful with your dirty. Ripe. Does use a lot in news claim as much as possible because you can make mass with the dirty paper towel or just check the area before you use it to make sure it's It's fairly clean. Washing back a little bit around the beautiful bloom. I hope it stays under the very lightly pigmented water and it's dry and it's probably stay there. For the mass. Clean. The math just dripped from my brush. I'm adding blue. So if you'd replied that just cleaning it out, don't read because it will stain the paper eventually. It's always been the dry paper much more than the wet paper. So you saw I made I made those two wet area just binded with a wet brush to not generate edge when it's drying. So the whole cat, the surface of the cat is, is equally wet so it won't generate a days like sharp lines. And I'm adding a literary alloys into the eye. Keep your eye on it until it's shiny because under its sign it's the air can flow out from the cat to the to the right zone. So if you see that it's happening, you can eliminate fast tonight to get the face right. The red brush, I can put lake highlights like this so you loosen up the paint and you get like pretty good highlights, not white, but let's live. Okay. But you can like lightened up very much still if you need to. So I as I always say, and it's really hard to stop with the water column. And it's it's hard to learn and to stop. So I think I need to really prepare to stop. Of course, when you decided you always see something oh, here and there. But that's the point when you really overdo it and or at least me, maybe not to you. So I unless it's absolutely necessary, just make sure you stop when you when you are happy with the result. I had the little blue high highlights on her back and tell see there is a flowing into their rights. And their elites drives just don't leave it alone. Won't buy this, come back a few times and to act because things can do crazy things here. A few not watching it. You can get like a big bump coming out from the back or anywhere else, honestly. So when I painted die alone, but I wanted to add some darker dawn just to cover the yellow not to be so bright. I am using the tweezer to take off, brush hair. If there are some big run, it generated lines so the bandwidth dry around it and it will generate three lines. And browse Dan. I hope you enjoyed it, and I hope you learned from it and I hope you come back for more.