Seahorse. A Free-Flow Watercolour Master Class with Jane Davies | Jane Davies | Skillshare

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Seahorse. A Free-Flow Watercolour Master Class with Jane Davies

teacher avatar Jane Davies, Professional 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

9 Lessons (56m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out

    • 4. Backwash

    • 5. Seahorse First Layer

    • 6. Seahorse Second Layer

    • 7. Weeds

    • 8. Finishing Off

    • 9. Final Thoughts

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About This Class

Have you always wanted to create beautiful, quick flowing art in watercolour with the simplest of touches, then let me show you how! 

In this class I will show you how to create this enchanting seahorse without any brushstrokes, but merely placing paint onto wet paper, along with some interesting watercolour techniques to add light, interest and texture to the background

As with all my other classes we paint wet on wet, it’s such a liberating technique, and will certainly put a big smile on your face 

If you’re just starting your watercolour journey and haven’t done my beginner classes, I’d suggest taking a look at those first, they will break you in gently to my style :)

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


I will show you:

  • How to create that beautifully textured, light-filled background 
  • How to create that delicate seahorse without preliminary sketches
  • How to achieve a wonderful sense of light and dark on the seahorse with a very easy trick!
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting this seahorse and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"There is only one word to describe Jane Davies' classes - MAGICAL!”

“My favourite tutorial to date on Skillshare. Jane Davies is amazing--thank you for for teaching me how to create something I love”

"Highly recommend this class. Jane has a different way of painting in watercolour, straight from the tube. For me, this resulted in the best watercolour painting I have ever done. She gives clear instructions, step by step, and works at a pace that is not overwhelming. I cannot wait to try another one of her classes"

“Jane is an excellent teacher, and her clear instructions mean anyone, even complete beginners, can have a go and produce a piece of work that they will be very pleased with. Highly recommended.”

“This is a great video class by the very generous teacher Jane Davies. I really enjoyed attempting this with Jane's unusual but effective technique. Thank you Jane”

"Wonderful class. Jane is an excellent teacher, guiding you through each stage with clear instructions and demonstrations. I love her friendly, informal style”

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

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Meet Your Teacher

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Jane Davies

Professional Artist and Teacher


Let me tell you a bit about myself...

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

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




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

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1. Introduction: Hello and welcome this intermediate water color class, where we be painting these beautiful seahorse. Now we're going to be using a ray of watercolor techniques to create this painting. So get ready. If you like something a little bit easier. Trauma beginner classes. And these can be found over my channel. I'm Jane Davis. I live, paint, teach a walk my lovely spaniel in the beautiful South Downs National Park, England. Over the last 10 years, I've taught myself the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun and sometime daunting. But it's allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis or as part of a group in a wonderful studio in the heart of the South Downs. I also run a successful commission-based business, painting pet portraits and wildlife art in my own home studio. In all my classes, you will follow along in real time. Or I can guide you to keeping your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way too. I provided you with a beautiful reference photo in the projects and resources pages. If you're feeling brave, Troy freehand painting her. I'll show you how to create the wonderful life-giving textured background wash using some interesting and easy watercolor techniques. I'll guide you through how to paint the seahorse free hand. He's a lovely, a liberating feeling. I'll be showing you some very simple tricks that will give you a seahorse, a lovely sense of light and dark. If you'd like to learn more about me or my work, please pop over to my website at Jane Davis watercolors dot co WK. This can be found on my profile along with links to my Instagram and Facebook pages. I'm very active on my social media pages. Cool, I love sharing my art, especially on stories with many ideas, works in progress and tells a studio life. I really hope you will share all your paintings on the project pages. As I love seeing them are species. And don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in this liberating, wet-on-wet blues style. So come and join me. 2. Materials: So welcome along to the seahorse class. I think you'll really enjoy painting. This is lots of interesting watercolor techniques for you to try. So I'm going to run to my materials I'm using today. And as normal, I've got a nice collection of Daniel Smith paints, but you haven't got exactly what I have then. I think this, this paint is painting is really unrestricted. Choose whichever colors you've gotten your own collection. I see green, some nice blues, yet colors you're familiar with. So colors I've chosen, particularly for the mine. I've got a quinacridone. Pink back to Jupiter. Color still works. I've got lunar and that's actually give me a little bit of granulation there, but not a huge amount. I only use it in the top. So I need a little bit of white goulash. And that's just for that little white spot. Got cadmium yellow, deep hue. And that's just for the backwash. And little aspects in the body. Cascade green, which is a beautiful color. And if you haven't got that in your collection, it's worth getting because it's a fun color. I've got phthalo blue issued a really strong blue, and I've enjoyed using it in this painting. And I've used that quite a lot in the backwash and actually on the base of the sea host. So now got molecule Potter salt, which is one of the techniques we use. And with all these, if you don't like one of the aspects, then just simply don't use it. So I've gone through all of them just so you can see what the overall effect looks like. Working around here, I've got my masking fluid and we've used that for this vehicle status. It gives you a little bit of a crinkly to include it to look, I think I've got cling film. And that's another nice technique and that's just telling. You see here, let's just use to give us a little bit more texture of silicon, my pot of water. I've got a little it's just a little way paperweight, but it's actually just gives me a little bit of a tilt. Now I've got three brushes and I've got a large, large is really only actually for doing that backwash. I just haven't gone a big flat brush for doing washes. So if you've got a flat brush that would be even better. It's just say just for covering the wet, the paper with nasa to get lovely on wet. I've got a size 8, which I do a majority of the painting with. And I got a little diddly to just some of the finer details. Once you've got a laba and I do have some paper towel which I've seem to have missed off my collection, but a little bit of paper, towel or kitchen roll just to W Bush often takes him to the excess water off of, and that's 0. Very potent thing, the paper. So I've got I've got Bockingford, which is a 140 pounds not and I've actually stretched it because we use a lot of water here and I didn't want to buckling, so it's definitely worth stretching whichever paper you use. I'm giving you a annoyed surface to work on. And then a little MT, which obviously isn't necessary at all. But this is a 11 by 14. And that's just it's just nice to pop them out rounded when you finished because of those sort of rough edges. But that essay that's just more for presentation in anything for, for this class. Lovely. I think we ought to go and get painting. 3. Sketching Out: Okie dokie then doing the sketching out lesson, I'm not actually going to be doing in the sketching out. Because we're going to be painting this free hand. Then say, We don't want any sketching out. But I totally appreciate if this is a little bit too scary for you, then do go and use the template in the resources and projects page and then you can yeah, cut him out or whoever whoever you can. You put your image on there, then do that and pencil it in and keep your pencil marks were really lovely and light because ideally you don't want to see them when you finish your piece of piece of art. Especially as he's got a backwash, is very hard then to take pencil marks out. But what we are doing in this one, I'm going to add some of that term, masking fluids. We've got a little specks of light hopefully at the end. So I've got my very old toothbrush and whatever you do, don't use any nice brushes for this masking fluid. You just bring them really quickly. So I'm going to try and do perhaps spilling some of my brush. Now I can tap this, come in like that. So I end up with biggest Bruges, which is quite nice or just flick. Sometimes it's worth practicing this sort of technique on a scrap piece of paper before you, I'm plunging the lovely piece of scratch paper. Or you can just get your finger underneath officials pulled back and just splatter. Any theory that comes out. I'll show you that one again. Let's try and make sure we get some masking fluid on the same game. And you just pull back and give you a very fine splatter than bear in mind most of all war she's going to be down here, so it's worth concentrating on the bottom. Danny going a little bit on the top. So put some point you go nice random selection of little splotches. Then we have to let that completely dry. And if you've got any you think of goodness that's spotted in, it's too big. It's not where you wanted it. Let it completely dry and OCD, you can then walk them out. But we got to let these dry first before we before we do the next stage. 4. Backwash: Okay, So my gummies lovely and draw and I can tell if I just put my little finger on it, you can splurge if it was still wet, so make sure it's lovely and dry. And if you've got an equal, say, any little splotches, you don't like the local V01. Just this stage is just swapped them out. So those two, just to show you, I think, I think I quite like the, the Vesta those. So the next stage, grab your big brush. And if you do happen to have a big wash portion, that will be great. But you haven't liked me and just use a blue on. It hasn't. If you haven't been taught me, you just have to work the harder. We won't miss. Lovely and wet. So take you time to work from the work from the top to the bottom, then you kind of know if you covered it all. And again, you can duck your head up and down. You'll be able to see if you've left a nice glide patches. How to say it's quite important, you have it all covered. The VA, leave it to dry area. The paint's going to run round that dry air and leave you a white spot. It's going to look a little old. Working our way down. Now once once we put all this down, we need to work fairly quickly. You want, you don't want this paper drawing on. You wanted to run beautifully. If in doubt, just add a little bit more. The top who may have been starting to dry. You want a lovely saturated but not actually paddling. You don't want water sitting. That's why it's lovely. If you can stretch your paper, then you don't get some puddles sitting. That looks good, right? Ready? So I'm going to pick up my cascade green. And we're just going to very gently let the, let the brush folder and try. I'm not doing any brushstrokes. I'm just just doubling. Logistically. Lovely and wet. And if he's not moving, it probably means you either haven't what your brush nice and wet or you haven't got your paper wet enough. Time to make sure before you start your papers lovely and wet. Then it should just do exactly this little bit over here. And you just want something that sort of pleasing, really going to pick a blue. Because this is lovely strong. Say if you're using the same, then be wound and you probably know it's character if you have it. So it is very strong. These lovely little bit on top. So we just want some intergenic, give us a lovely, we want randomness. Try to, try to think random. I think that's looking good for this stage. As we're putting salt and cling film, we, we need a certain amount of paint to be able to put that into Cv hat. If you've been a little bit timid with your paint in the neural, you've got nothing really to put your sauteing to. Just picked up a cascade green and a little bit more, see if we can get something. That's nice. Yes, it is. I want to put your kingdom installed into something. Now fairly quickly again, I'm going to pick up my cadmium yellow and this is quite a strong color. I'm just going to kind of work along the top. And then I'm going to very carefully just add just a little tilted this stage, see how it feels. I'm going to add a little bit more water because I want to try and get those rays of light that are coming down. Some of these will cause Run button, don't worry. All helps with the with the kind of flow of it. Oh, and the randomness of it. We'll say if I add a nice look in there and see that's running beautifully done in. It's going to give me something really lovely. And you can add input tiny, tiny little bit of green in that corner. Just to break it up. I'm just keeping an eye on this down here. You don't want to running off so you can, this will be a dry brush. You can suck it up a little bit. And say, once you've got something that the essay, this disorder pleasing you think, Well, yeah, that's going to look nice. Just giving a moment, see what it looks like. I think that's going to be right on and I'm going to use my little weight. Weight, but what would you call Support? Little height. And you're going to stick that underneath my board. And then I'm going to get a kitchen roll because we've added lots of water here is these paddling down here now, I'm just going to suck some of that up. Not the DIBL, anything into here, let that do its own thing. We really want to leave that don't present any kitchen Romeo tries to Dublin. So I've just picked out a little bit more cascade green. I just wanted to just give a bit of randomness back in there where we in effect, wash some way. Little bit more blue again. Say judge, your own piece at this stage it looks like is strong enough, then don't add anymore. I'm pretty happy with that. I think if I if I fill anymore and then I continue doing, I think I like that, just put a little bit a cascade green at their magic. Right now, is it down? And I want to put this thought honestly just again, trying to be random movie assault as well. And a little bit up here, I'm only going to have it on the base and what we're going to put it on the top because I want that to be as Lucinda is free as I Canada when you texture up, they're just want to 0 on the bottom. We'll do me a little bit of cling film. If you haven't been organized and ready like I should have done. You just want this little long sections radius. If I just turn this off here, probably tear in half. Now I'm going to put it. I think I just want I want it to look like greed. So somethings I wanted you to give me the texture. So just a little thinner strips and just try and twist it a little bit. You can roughly see the pattern underneath Carney. Just give it a little squeegee around. Giving they're not have this one on the other side that up to you a you put yours. Don't have to do the same as me. You may know, even like these ideas that don't feel if you don't like so to IDA, like the cling film look and just an added I'm just putting all the textures or cancer you can see what they're like. And the same applies to the gum. If you don't like gum, then don't put the gun down on that sketching out layer of sketching out. Listen. Okay, Let's just needs to completely dry. And it takes a little while. So it's best if you were doing this class just to do, maybe do this in the morning or in the evening or something and allow it to dry. I'm just going to want these public vote because he's on a tilde. It's, it's paddling here. I don't want too much to push backup as it dries. More eBay literature random for me. Right? So yes, this does leave it in. It's going to take your maximum three or four hours. And you can't really hair dry, clean film. Doesn't hair dry very well? Seer whose we will continue. This one's is completely dry. 5. Seahorse First Layer: So my painting is oil backwash is lovely and dry and that's, I've actually left that overnight. So each hopefully should be loving and dry. So what I'm gonna do, I'm gonna carefully peel off these basic cling film I've got underneath. Who knows? If you've just done this in the morning and your paint in the afternoon, just go careful before you lift these off because they may not be dry. So I think yeah, I think that's give me something some sort of interest in that. Well, again, I do. I'm going to leave these little masking fluid on, but I am going to take the stoked off. So just push self scaffold onto the floor. See what I've gotten, see what the sort of patents the stokes left me. Papers really vary on how they take the salt and obviously the paints you use. So you may well have some different patterns. No, I tried on another piece of paper. If I can swing the scene without losing the that was quite interesting. So they, they really varies. You could do two or three of these and choose the favorite and then paint. You see horses are quite a nice fun idea to join and gives you a good excuse to play with this technique. So what we're gonna do now is to paint our little seahorse. So I'm going to get rid of my big brush. I don't need that anymore. And I person you're going to use so you could use it as a little bit of texture if you're going big. But I'm not going to eat today. So I'm going to pick up my little more medium brush to shuffle along. I've got my legal support. I'll need to call it something different isn't quite spot height-wise. I'm just going to pop it underneath suggests allows these bull to tilt. So I'm going to pick up my little medium brush. I'm going to go up to my paints in my hand. The pleasures of waking, working from the tubing Carter had, just talking about it next year. Deep breath. Now if you go quite lightly using kind of auteur as you go. And if you've already put a payments like like me, just skip a little bit. Let's talk a little bit more yellowy. That's better. I haven't reference photo in front of you. Just keep flicking your eyes back and forth. We're just going to work up. Just keep that lovely shape in your mind. His work, I really try to concentrate. Tried to explain what on the join key varying loose, remind myself do that as well. And we are going to love the arch of the neck. And say if you weren't quite nice and loose, you can, you'll be surprised how much you can call 02 things. As you go. See one that lovely arch does an S-shape, doesn't. Then we're gonna run down. I'm going to get that tail comes out at an angle and round that was long, as you can see that shape is, is about right and about the right length. We can to get omega so we continue building him outwards as well. Nobly bits, tiny bit more color on my brush. Comes in here like bases around this nice curve under there. And we're just going to run that down. Try and keep ON that photo, keep flipping back and forth. Keep everything nice. And Lucius, you can kind of R2 over, doesn't it? Around, I think that's looking okay, actually, quite pleased with that outline. The joy of painting like this. You're not restricted by those pencil marks, so they're not keeping you in making you feel like you have to fill it, fill those pencil marks in. Just working right here, just trying to get that shape might come down the neck Disney's and then start adding a little bit of that brown in now. So I want to keep the yellows and browns at the top and I'm going to work some of the blues further down. So if you use a little sense, so you're kind of at the stage I'm at now. So. Who follow along at this stage. I'm going to pick up my alma colors in my fonts, I think. Got a good old time for that. Now by tilting work with continuing to allow that painter seat on this corner. And hopefully that will give us a nice strength down. He's back. Now the joys of the sea horse, it doesn't really matter away. We're not going to do an exact copy of him to keep everything lovely in luis. And this is where if you feel like I can breathe it more now. Now we've sketched him out, 1, 0, painted him out. We can just enjoy painting in there. And wavy fancy. Always wave you felt you put in those colors. So it's all lovely Wu tree kind of effect at colors on top of one another. It's a lovely yellow and the blue Mecca. An interesting green universe is nothing granulating and labium as it, it will begin to dry everything keeper. As long as you see hoses wet or damp. So I shall say you can continue adding water. So it looks like certain parts of drawing and just add more water. Just literally just drop them all to be careful if you do lots, you'll find you've got it you end up with so puddle here, so then you can suck it back out again. But at least you have wetted the hole. So it goes back down again. Just extend his nose a tiny fraction. As is wet. I can still continue manipulating for that very first I started at so you can start putting some some to the Nobody little bit income. We still need to feel like I need to extend these out again still. So if you think you, some new proportions are, right, and they say it's all loving wet. One of the first layer we can continue for the sculpting, maneuvering. Any other. There's lovely little nobly bits as any. Whoops, I'm not down here. That will be tail back in speaking to me. I think not only have I gotta tilt, I've also got a full as well. So I'm getting a sense, I'm puzzling down the bottom here as well. Put Itanium almost beginning to lose his chest areas. I'm going to pop a little bit of yellow on the front. And he has got little lines as nice, weaker start to put those in. So we do two layers so we can build on this. Well, I think he's looking pretty good actually for the first layer. Hang on. Quiet, please. How he's turned out. I think I'm going to leave him there actually in that completely dry. Now, you can hair dry it. And I probably will do that again, make sure you haven't, it's not actually publishing. You want it to go into sort of a, and now it just starts to go off. You can give it a little blouse butter, use a hairdryer to liberally, and it's running wet. Then you find you just blow that pigment around and you've got Power. Bi achieved a nice smooth flow remarks now, see you don't want to upset those. So either let it dry naturally. And of course as you've tilted it, Yeah, I got quad puddle here and actually I'm just going to take the excess off because that's going to make it make it take longer to dry. So right. Put those down and and leave it to dry. 6. Seahorse Second Layer: My little seahorses already for her second layer. Now I did give a little blas for the head. You are just as it's beginning to go off. So my paper probably little bit warm. So if you heated it, you'll find your you want to dry quicker. You'll see who's a dry quicker because the papers warm. So what we're gonna do, my medium brush. And we're just going to get my iPad to wake up again. So I've got my probably guess my iPad open in front of me with my little seahorse. So I can see why if C is a lovely photo. So I'm going to very carefully way through this down again, I'm being really careful as lots of nice myotonia and my boss is always falling on the paper. Because we don't want to do is to, is a model that lobby first layer. If you go too heavy to use Sqoop or added. Yeah, try and put this water down too strong. You also, that's lovely colors up all the way down. And why you need to do a little bit more of a kind of lost a little bit. And I want all nice and wet. Say just say Bobby ahead. You can see where you've wet this down. Don't want to leave any little gaps and ideally fine. Okay. I've still got it, So kids, so we still are going to allow that paint to gather this far sighted given a nice ideas and strength. Now, depending on how you will see hose looks, we're just going to strengthen the areas that we feel we need Strengthening. So this is the fun bit, second layer cuz you can develop your own piece and I've just picked up a little bit of pink. I quite like bare pink at the top. So I'm going to keep this most of the CO2 and the blues at the bottom and the wound for the top up to you. But I like a bit, as you probably guessed by now. Let's pop back down. Now because I am I'm somehow and a slight tilt as well as tilting to the to her is her tail because it's going to work at the top for a minute. Now, even at this stage, once you've let that dry anything or which I've got this a little bit further out at all. You can't shrink it became make it a bit bigger, especially the darker side of the fault side. So I can just extend that out a little bit if I wanted to. It's almost making it up really. She has obviously got a shape, but they're so beautiful and fluid don't mean the only thing I would have liked to have dominates. Say this is the only thing with them. Free painting, other light of got that in there a little bit more. She's got a we'll talk hasn't sheep at her. I don't think it matters too much. I'm just working really just distributing areas up, keeping in mind that we're trying to keep this lovely light this side and darker decide. Kinda want to keep those, those lines later. I do want to keep those in. Pop those. I'm going to pick up the blue. Say really can make your see who she was really here is not really any great rules. I don't think painted many times. Yeah, I can't, can't can't guide you anymore. Really interested in because they're so beautiful and fluid. It's really up to you how you color her. I think what you'd like to say, well, we'll just give me a lovely wet on everything and loving use. The big thing is keeping that strength here. It's we we allow that to be docked at one side. Squeaky toy step away from Hersey, we think. I'm standing whose normal says Some. Try standing if you've been sitting because then you can get a little bit further away from her and see what she looks like. I don't want to do too much really. It gets into the lovely, nice if they settled, see hoses. She's very transparent. So I don't want to keep over painting her would be just like to do a few more little notches down her back. On a blue. You're going to work down to pop a few insight is really almost 28 down here. Suck up a little bit of water. And get a flick of the tail. Emphasize a little bit more. Now as she begins to go off, well, it begins to dry. We can start putting serve as dots in. Let's say you can take color. I've managed to sort of keep my little white areas quite reserves. But the stage, if you find you've colored this too much, you can just take color out very gently with a soft brush. You just gently lift it out. But I've managed to reserve enough white there myself. Lunar lander that granulate. Nice. So seahorses, lunar earth. So I'm almost using the paint for its ability to granulate more, almost more than the color. And I keep everything nice and loose. And when you need to do the things that I'm in a minute, but I just need that to dry a little bit more this side, I think I can probably do a little font. So what I'm gonna do a clean brush. Take off the excess moisture off fannie towel. So it's nice and dry and fanned you what needs to be just through the tacky, just going off very, very gently into a directory. You see those little fin moving kinda brush. Just say I'm just going to pick up a little bit of that color from the body. That's probably enough. Let's draw it. You just see enough because a beach really translucent TDA want to B2 put too much color. I'm just going to have to pay a little bit of a waiting game at the moment. I see what I can do because this is tilting the size of the drawing quicker than that. So I can pick up my little brush, pick up the blue. You don't want to add any extra water this stage with a damp brush at very tiny amount, just going to pop in. What's going to be a whole. I really just that it's quite nice. Blue. I know it's not blue on the photo, but I feel she's very much open to interpretation. Just going to pop the down tiny little circle in the middle of them work outwards and you can kind of get a judge where it is or how big you need it. If you start in the middle and go out, you can kind of change direction. Kinda make sense. A little bit too much. Such a strong color. She isn't happy with stripped of it in the side of it. I think I will leave that there. And I might do now is start to put some dots on colors up to you really see how the brown looks. Try and be as random as you can. Maybe add some colors, different colors. New identities area because it's just going to move a little bit too much, but just a few to say try to, try to be random. Benefit a moment. Again. Just she got some lovely sort of because I believe it sounds a bit wrong, does it? But it's a nice sort of shapes here to her chest. And we're going to extend that a little bit. Almost lost that thin as well as being a little bit too delicate with it. I think that's probably enough when it dries. Multicolor brush just being quite delicate. So I keep trying, keep trying hold your brush at the end. It just helps to keep things loose. Still with almost ready to go. I reckon I'm probably tomorrow dried my chosen my brush out on probably about ready to your fin. Clean brush. Make sure it's Eisen clean. Dry it off, fan it out. Okay. And I'm just going to coming down in this direction, isn't it? So I'm just going to pull that color down. Keep things very loose. Just about cocci, the right time is just about timing really in this. See if I can pull that out again. Like better. This stage picked up a little bit green just because I've, I've pulled some color out and just kinda just very genic. That's a little bit tacky still just going back through that. Just give a shape back again. Brushes again. Now she's got a line till shadowy line once tell me essentially. So we might cascade green very lightly because this is just starting to go off now and just see it's just catching the paper at the right time is just the trick really with watercolor. And it's just something you learn with practice really. Just enough. You don't need lot. Slight is a better painter. My eyes moved a little bit here has the property that a little bit too quick, I'm just going to if I can clean my brush excess moisture off so we can take that color once again for me. What I might do on the next layer when we just finishing off public go back over that again. We are the practices given a lobbies for soft diet of say, when I come to you the main piece, for me, you can put some little water droplets in two side. That's one that I give you a little dizzy. Just want to make random marks really and random textures. We just help her. Just love a loose look. And that's another way you can build up those Boyd light patches here is to drop some water droplets in there. Now I'm looking at her. I'm I'm pretty pleased with her actually. Scatter extended tail. Well, she's looking she's looking on. So now we're gonna do a few deleting the bits when William on the next layer, when we just sort of finish her off from unbound, pretty happy with her. And as I normally do when I say that, I'm just going to tinker bit more, little bit of something there. Say trust your gut instinct to be really think something needs putting in, then right here, push down and I need to let that completely dry. I'm just checking my notes. I forgotten any great aspect, I think. But we do a few more dots, Dots written down on a piece paper. We did this for one stick with it and not being on the backside. I'll probably go yeah, I would probably change the blue-green. She gets her down, keep the womb, adopts top 20 random. Just what we will do, some flicks as well, late to answer. Don't don't get too carried away with trying to place all the dogs in the workplace. What dates down J. And we need to let that dry before we can do that too. The next few bits in the weeds. 7. Weeds: Okay, So I've allowed her to dry beautifully. So what we're gonna do now is put some of those reading. And again, that's up to you if you want to put those in, but I'm gonna give you the whole, the whole shooting match, as I said, all those elements. And it's up to you to, to pick what you want if you if you if you want them all, do them all. If not, then obviously doc. And so I tend to get her out of the way from minute one side, you just get a scrap of paper. Now we can have a quick practice on these, on the sort of movement of these reads. So I would pick up, if you've got your big brush again, sign off camera. But my bigger brush, we want to be something large and we want to keep everything really loose. No, I published on what just pop those two colors on my brush at the same time, I'm just going to lay on the ground, on the paper. And I'm just gonna do a really flowy moving up. Probably don't want to do much more color than that. Just laying flat. Try to imagine that sort of read. So swaying in that water is trying to kinda get that rhythm waste. And you could point out a little bit like that. So it's barely holding my brush and that's barely touching the paper. So it's just as simple. She says, with easier said than done when you actually do the main piece is just a simple movement. Okay, write those down as bring her back and say, We can do the same. Say crappy, cascade green. Say exactly the same. I'm going to stop trying to judge where those words are, the patterns are way we'd like you to go do one, I'm going to sew work. So if I was to mountain, I'm going to work outside where the mountain would be. If that makes sense, They're lovely ellipse brush. Apply that. Just going to go back over that. It's always got a little bit to to dry. I'm going to sway a little bit. And the other one yeah, you can go over her a little bit more. So this is the brush. Barely touch it. Just so skidding over the top. I think. Well, I don't want to do anymore than that. I think I'm done tonal colors down for over again. And again. We just need to let, let that dry on its own as well and then we can finish your philosophy will bits and pieces. 8. Finishing Off: Okay. Once you know those lobby that reads nice and dry, we can numb. I think we take the gum off first, so make sure your hands nice and clean and xj is really dry. And we're just going to walk that. I love the Nisbett is draw that little mark. There wasn't a tough haven't really shown me because my yellows being quite probably little bit too light for that wash at the top on this one. It's very hard to all those elements, right, isn't it? So it's Weiss. Yeah, it would be quite nice view. Here a few of the boards and slow picks the best fat course. They wind up with good and bad elements to it. Yeah, I think that's given a little sort of a sale. So Sparkle has in it that down hand and the ovaries, the socks given the bloom in a likely cling film. And I like that sort of a textured look by reads. I think that'll work once I see behind the amount drowned it. Thank you. See you see the end of my bowl of their ethics Mounties covered there. Right? I think I'm going to stop this utilize it didn't quite work out on the second layer. So I'm just going to just redo it. I'm going to just round around. Nothing complicated. And again, you could have done this to start with and just not have done the, I say my PDS practice PTs, it's given a nice soft die, but it will give us the same finish effect. I'm sure just what I wanted. You don't want too much color in that blue eyes and it's just going to take a little bit out again. Thing that was nice about putting in that second layer. There is at least just needs to dry. So we can go round some other elements and you can take little bits of color out what we've done in previous classes. A nice paintbrush. Pick the excess moisture of 0, a clean, damp brush. And you could just go around, take little bits out. We'd hoped that the application will just gently, you don't wanna take too much out. A little bit more light at the top there. Say if you, if you've left us nice and light and if you've managed to keep that, then we'll see don't take me out. This is where you can go around your own piece and to judge, let's just take a little bit of a go way down here to take just a couple of months. I've nobly bits out taking that cholera outbreak, which gives the effect of the light hitting the noble title tells worked fine. I'm going to think with that. Let's do some, some little tiny little bits of light here. This is Rob scoping my push back and forths and just gets into the light lines as well. The lighter need to take out actually and don't think I'm quite happy with the rest of it. I'm going to do a thickness that's nice and dry now, so I will become a little bit blue. Wanted quite thick. You don't want to watch. We were just going to put an eye eye pupil is just there isn't what the fund. Hello. Very carefully going to put just a little ring. Very light. We need a tiny little wink. Not going all the way round. So just, just to move it back. A little bit rounder. Perfect. We're almost there. I'm going to do a few and fixed overhead as well. So we're going to use a bit of the blue, I think. Again, you can practice on Maya spare piece Python show you. So you can see that coming up. You can either tap sort of effect, should end up with slightly big adopts trying to achieve. Or you can just do little flicks, which will end up with slightly smaller figure. So I'm gonna, I'm gonna do a few flaky ones down here. Just to give you so move away. She maybe she's come from tap into larger ones. Usually a bit green. Is works here. Also meant the quiet happen. You get something like this. Don't panic, just let it dry and we'll show you once it's dried, we can just give the bluefin gonna do see you on the honor body as well. Use the brown. Just very lightly. The view. That's enough. We'll give you some random, random little spots down that change with the color. And this, it'll, it'll drop down here to rewet it ready and just dab The very carefully inside, turn up to wet the area too much outside it. Sometimes synthetic brushes actually worked better at getting paint our found. So this is a move, a natural Bush old one, but it's a very steady paintings, other paints which are lifted out a little better than that, but I'll get that out anymore. That I want is to put down that. Well, all I want to do is add a tiny little bit of speck of white on there. So I've got my little bit of white goulash. My tiny little bush, tiny, tiny little dot. Nice thick paste. And we're just going to very carefully a tiny little dot in anymore than that kidney brush off what I think I'm think I'm done. So you just going to mount around her duty. You can have a luminous get somebody sad the way she looks better. We're amount drowned, you lose up of these two categories. See how I think she's she's worked out. Okay. 9. Final Thoughts: So I hope you enjoy painting the seahorse. There was a lot of fun techniques in creating this painting was. Did you enjoy creating that by quash? And I wonder, how many of the techniques did you use? Whichever ones you did. Remember to keep your paper lovely and wet and do your best not to overfit. How did you listen? See who's going where you brave enough to free hand painter. If you didn't, mentees is definitely worth trying on some scraps of watercolor paper is already liberating feeling. Did you find tilting the paper to create your seahorse helpful? A cutting technique to give you a lovely sense of light and dark and to stop those heavy colors running into areas you want to keep light. So we look forward to seeing you in the next class.