Sheep called Lambo: A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

Playback Speed


1.0x


  • 0.5x
  • 0.75x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 1.75x
  • 2x

Sheep called Lambo: A Free-Flow Watercolour Masterclass with Jane Davies

teacher avatar Jane Davies, Professional Artist and Teacher

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

    • 1.

      Introduction

      3:32

    • 2.

      Materials

      5:02

    • 3.

      Sketching Out

      1:13

    • 4.

      Head First Layer

      6:23

    • 5.

      Head Second Layer and Neck First Layer

      10:34

    • 6.

      Fleece

      7:35

    • 7.

      Neck Second Layer

      1:42

    • 8.

      Eye

      7:58

    • 9.

      Finishing Off

      12:43

    • 10.

      Bonus Extra Tinkering

      3:03

    • 11.

      Final Thoughts

      1:34

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

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.

1,158

Students

163

Projects

About This Class

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

In this class I will show you how create this handsome young ram called Lambo without any brushstrokes, but merely placing paint onto wet paper, along with some interesting watercolour techniques too that will add, interest and texture

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 three 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 this handsome young ram using wet on wet watercolour techniques that require no brush stokes
  • How to section areas off, and when, how and why to layer some areas
  • How to add colours such as blues and pinks to add interest
  • How to use the water to create softness and sense of direction
  • How to use strength of paint straight from the tubes and not be afraid
  • How to pull the painting together with the smallest but all important tweaks at the end

You will be painting this lovely young ram 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 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”

Music by Audionautix.com

Meet Your Teacher

Teacher Profile Image

Jane Davies

Professional Artist and Teacher

Top Teacher

Let me tell you a bit about myself...

I'm an internationally selling watercolour artist specialising in pet portraits and wildlife. I live, paint, and teach in the beautiful South Downs National Park, England, with my husband (the man behind all the class editing) and our two cocker spaniels.

Over the last twenty years, I've taught myself the free-flow watercolour techniques you see today. Not having been to art school, finding my own way has been fun and sometimes daunting, but it has allowed m... See full profile

Level: Intermediate

Class Ratings

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

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. Introduction: [MUSIC] Hello and welcome to this intermediate watercolor class. We'll begin to be painting this handsome young ram called Lambo. If you follow me on Instagram stories, you may have already met him. He's been our neighbor for the last year. It's a great class where I get to show you many techniques I use in my own portrait work. I get to show you how I add color to subjects. Know, if you're feeling a little daunted by the subjects and would like to try something a little easier first, have a look at my beginner classes, and these can be found over my channel. I'm Jane Davies. I live, paint, teach, and walk my lovely spaniel in the beautiful South Downs National Park, England. Over the last 10 years, I've taught myself the watercolor techniques that you see today. Not having been to art school, finding my own way has been fun and sometimes 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, where 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've provided you with a beautiful reference photo and template of him in the projects and resources pages. As I often say, don't feel the template is cheating. This class is all about watercolor and not drawing. I'm going to show you how to create him by simply placing lovely strong color onto the paper using slightly different techniques. This will give you that lovely contrast, but all the while keeping that beautiful softness. I'll also guide you through the process of sectioning areas off that help control where that fabulous paint flows to, and when and how to join them up. Of course, I share my tips, tricks, and musings at the end that will help you with the all-important finishing details. If you'd like to learn more about me, all my work, please pop over to my website at janedavieswatercolours.co.uk. 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, where I love sharing my art, especially on stories with many ideas, works in progress, and tales of studio life. I really hope you will share all your paintings on the project's pages as I love seeing your masterpieces, 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, loose style so come and join me. [MUSIC] 2. Materials: Welcome along to this little Lambo, the ram lamb. Now that's quite a tongue tie. [LAUGHTER] This lamb is actually quite dear to my heart. He's been a resident at the bottom of our garden in the adjacent fields all summer long, and he's such a friendly little chap, he'd come rushing over for a cuddle, and hopefully, I should include some little videos in the resources pages so you can have a little look at him. I've been looking forward to sharing this class and hopefully, we can capture his really gentle character together. The materials I'm using today as normal, they're all some light collection of Daniel Smith paints. Firstly, I'm going to run through the colors I'm using, and then I will hopefully give you a guide on some of the colors, if you haven't got what I've got, that might be a good substitution. To start with, I have a Van **** brown, which is the dark color I used in head. Here's goethite brown ocher. That's just hints of it actually I don't use a lot of that. I've got a transparent brown oxide, which is a nice rich brown. Again, it only hints for the eyes really. I could not have a burnt tiger's eye in my collection, could I? [LAUGHTER] He's going to think that most of the classes must need that one along with Sodalite Genuine, again another big favorite of mine and one I use a lot. Then we've got a potter's pink. Just a hint. I got lavender, and I've got Lapis Lazuli Genuine, which is I love it. It's just as such a lovely blue. Then just a little bit of white gouache just at the end, again that's just for the catchlights and a few little whiskey bits. The paper I'm using today is archy arches, which is a rough cold press. If you're struggling to try and remember, all these our materials are in the projects and resources pages so you don't have to try and remember them. Pot of water. See that pot of water. [LAUGHTER]. I got a little bit of salt which we use on this neck. A rubber. I've got a little, it's just a little paperweight and I just use it to tilt the paper at certain points and we won't do a lot of it, but you just need something. What about an inch high? Then I've got my paper towel, a pencil, and I got three brushes. I've got a Number 8, and that's around 0.81. It's a nice brush actually, got a lovely tip to it. The names can be found in the resources pages. I've got a little eraser brush, which is lovely for taking color out. Definitely, I must have that one. We have a number, want to get it out, a Number 2. If you haven't got exactly eight's or two's, eighth large one and its small brush will be absolutely fine. I have a hairdryer off camera, which is quite handy just to speed up the drying process but it's not essential. Just lastly, the words about the reference photos, that can be found in the resources pages. I better tell you some of the substitution shade rattling on about all the other materials. The main two colors I would have said that are really helpful. They're the Van **** brown and the sodalite genuine. If you haven't got either of those, sepia would be quite good. For the Sodalite Genuine as a substitution, maybe Payne's gray, so any dark rich blue would be ideal. The others none of them are essential to this, so have a rummage to see what colors you're drawn to. There's something that you particularly like using. Try that. A lamb hasn't got pink in. He's got blue in only on the reference photo, but that's a dye he's been sprayed with so obviously he's not a blue lamb. Yeah, don't feel constrained by having to try and pick up his exact colors. If you fancy, if you love a certain move, then add a little bit of moving, say with experiment and be free. [LAUGHTER] I think I've rattled on enough about the materials. I think we ought to get and sketch him out. 3. Sketching Out: Now I've sketched them out as I normally tend to off-camera so you don't have to painfully watch me sketch them out. But again, I will give you a few little tips. Getting the eye in the right place is really important on this little chat piece. Most of it is really lovely loose. The looser the work, the more precise you have to have certain points just to draw the eye and to get those features dead right. The mouth is quite important, just that little line across there. Make sure that's right. Again, is placement of his nose and his ear. The rest, he chops, might move a little bit. These are little choppy bits. The fleece line, don't worry too much about that. But again, get the outline even on the fleece to the right. These little two lumps here I found quite important when I was sketching them out or doing lots of practice pieces. They have just a slight little bow on the nose. Well, just slight, but these little things will make the difference and make him the lamb of rather than another little lamb, so they're little important parts. Apart from that I think we will start painting. 4. Head First Layer: On to the fun bit. Pick up your big brush. Let's get that lovely and wet. I've just put my other two brushes away, just hadn't need them for this layer. I've got my little support that we're going to pop the paper up, so we can get a slight tilt if we need it. I'm going to grab my Van **** and my Sodalite Genuine. I'm going to pop some lovely, strong color, starting quarter way down his easier. I'm going to run that down. Get both colors on your brush at the same time. I'm going to pull that really lovely thick or one at a time. But we want it lovely and thick. All the way down. All down to his little chin. Make sure you stay within those lovely lines as well because that's quite important. I'm going to make sure I got plenty on there. Put those down. Clean my brush for a minute. We're going to wet carefully around the eye. I want it up to the top. Lots of nice water, if you don't get it wet enough, your paint won't run, so make sure you get your brush nice and wet and your paper nice and wet. We're just touching that. You may find it's moving enough. If not, then you can just pop. [NOISE] But it'll support there. I call it support, it's putting a lot of support. Hopefully, you know what I mean. We're just going to continue rustling that paint. We're using is a lucky little palette, I suppose, be really careful around, because if you're dealing with lots of water as well. Go careful. Because you're tilting, you'll find you're going to have a bit of a puddle, so be mindful of that. We're not trying to rustle, I'm trying to be as light as I possibly can. What we don't want to do is disturb or rustle, we just want to encourage it right down to the front of its face. That looks like it's done a good job. Now, I know it's traveled. I'm just going to get rid of this. I don't need that. Then I'm going to pick up [inaudible] light genuine Van ****. I might have a little bit of transparent brown oxide just to keep it a little bit warmer. I don't want to go into cool and obviously, those two colors are quite cold. I'm just going to pop some of these colors on my brush at same time, it's a lovely thing about working straight from tubes is one is lovely and you can get a nice concentration. Two, it's quite spontaneous because they're right there in front of you. If you are working from pens, [NOISE] this class is completely doable, you just have to get those patterns a good old rustle around here, get some strength. But it's perfectly doable. I don't want you to be put off if you haven't got tubes. I'm just going to make sure I come around the eye, I can just say I haven't gone quite as neat and right up to the edge of the eye. I'm just going to push it away because there's a lovely bit of light around his eyes, so we're not trying to put any paint in there. We will be taking it out in due course, but just strengthen at the moment. [NOISE] Down here, just squint your eye, you can see where that ark is. There's a nice touch there as well, isn't it? Again, neat around his ear. All the white wet. You can maneuver but if it starts to go to glue it tacky in one place and drawing, then you just want a whole file for a little bit this , we will do another layer. If you feel it hasn't got strong enough, that's absolutely fine because we can strengthen on the next layer as well. What we're going to do now, I'm going to wet the top. We're going to encourage some of that paint just to go around the ear, run it down here, pop it around. We're just going to join up. We're going to encourage some of that paint and we're going to put something a little bit stronger down there as well because it's quite dark underneath these areas. When we do this other layer, that will soften. Before that completely dries, I'll just stop touching these, [LAUGHTER] put those down, cycle with a lot of moisture out my brush. I just wanted to try and just start taking some of that color out from around the eye. I'm going to close that in a little bit there as well, so a little bit long. We can do this on the second layer and then we can also do it as finishing off a bit. I just don't want the paint to be too heavy there at the moment. I think that's drawing really nicely. I always do this. I say, that's just perfect and then fiddle same as bad as everyone else. I think we need to let that completely dry and then we can crack on with the next layer. 5. Head Second Layer and Neck First Layer: This is dried all beautifully, and I've actually left it to dry on its own. Sometimes it's a nice method, it stops if I put a hairdryer, or sometimes it just blows the pigment, and they also do combine too much and you lose some of that nice texture you can achieve. It's all up and dry, so make sure yours is before you start. I picked up my nice big brush, and we're going to wet this neck area. I'm calling this the head, neck, fleece. That helps when I gobble away. Make sure it's lovely and wet. [NOISE] Look how we're going to join this up in a minute. I'm just going to do the neck area first. This is a really lovely way of layering because it's giving me a lovely lot of strength here. As I touch this, you can just start to see it will just really gently blend, really gently. If you're ever doing layers, keep everything as loose as you can and just allow that brush to fall naturally. Because what you don't want to do is scrub because you'll very quickly lose any texture you had on that first layer. If I was to have painted this and left that dry and just wet that area there, we would have had quite a hard line. This way, this will just be soft and will just very gently blend outwards. It's a lovely one and I paint a lot like this. A lot of these techniques are what I use in my own pet portrait work. He's actually very similar to how I would go about layering and painting. You see my work is a little bit bigger than his, which takes more time. We're going to wet this area in a minute. We're just going to go round it for the time being. My thought is when I wet this I don't want too much color going in, although this has behaved quite well. Sometimes you might get more of a wash. That's quite a hard line, so I'm just going to very gently give it a little bit of a rustle just with the tip of my brush. Let me see if we can get rid of that harder line. I'll put a little bit more strength for color in there in a minute as well. What we can do now is we can strengthen or take out if need be. I'm looking at my own piece and say, [NOISE] judge your own piece. I'm just going to make sure I've gone right up to the edge. Make sure you've got all the paper wet. You can bob your head and you'll be able to see. You can keep just rewetting this if you need to work on it for a little bit longer. As long as this area is all wet, you can just add a little bit more water if you need be, and then it gives you a bit more time to tinker and play. Let's have a little bit of tiger's eye. One hasn't been out to play yet, has it? In my mind, I just want a little bit stronger this there, so that was just tiger's eye. I know that just really gently blend. I want a little line down there a little bit more. We want to try and get the eyebrows. I've got Van **** as well in my hand I'm holding now, top that in as well, and that strength. Just down here. You're going to grab a little bit of solar light as well and I want that more at the base of the chin. If you've done the bear this is not the same as bear actually, [NOISE] we just don't turn him upside down. [LAUGHTER] I'm going to pull that down for a second. [NOISE] It's going to pick up if it is lapse eye, lazier eye. [LAUGHTER] I'm going to top some of that in the base there. I love this color. It's not very strong and a few people who've messaged me and said "How do you find it?" Is a little bit of a weak color. It's going to pull this down a little bit here. But it's always such a beautiful color though. It's worth it. Let's pop that back down a minute. [NOISE] I'm going to try and keep an eye on this ear. The minute this starts to go a little bit tacky round it, I'm going to wet this ear. It's quite wet there still at the moment, so I'm going to hold fire. I'm pleased with the rest of this. I don't think I want to add much more color, but if yours is looking a little bit washed out then add color and make sure this is nice and neat, and we will be doing some little flicks in a minute. Again, we need to wait for that to dry a little bit more before we flick out. Always you'll get very wet, so spongy flicks. Let's have a little bit of lavender and pink. Let's get some color on top. Roughly bear in mind I'm going to a little bit warm up at the top of his head. But if you want you'd like to be painted with some pink, I don't know. I think he's probably a very liberal little chap. Just dubbing, I'm not doing any brushstrokes, it's all just dubbing and dabbling. Put lavender in there as well. I love adding color like this, it's so lovely. That's nice. I'm going to put that down. The minute you like something stop. Don't carry on [NOISE] into overrake things. I'm losing a little bit of strength there I feel. I'm just going to pop a little bit of solar light genuine in there. Just want that to be nice and strong because it's quite dark. That's looking lovely. I'm going to put that down. That is starting to look quite nice too. Do some little flicks. I've picked up my small brush, just wet it down and make sure it's clean and I point to it. Start somewhere you're not light on the edge because you end up with very long whiskers and just very gently. Just take your time. As long as that's wet you've got lots of time to fiddle, and try not to make them to uniform, go back and forth a little bit. You don't have to have to move along either. We might flick some out here although we're doing another layer, it won't hurt to have a couple of flicks there. Now for the top knot, we fleece, I've actually used my fingernail. It's quite nice because it just so drags the paint out. All I'm doing, I'm covering the camera now, I guess I'm obscuring it. I'm just pulling out. I'm just doing some twiddles. Hopefully, I've got enough paint on there. Swap hands. It's not technical swapping hands, so you can see. [LAUGHTER] Hopefully, that just gives a very rough really look hopefully. I think that's enough. Now I reckon my ear is just about ready to wet again. I'm going to clean my brush, and I don't want too much water at this stage. This holds a lot of water, this brush. I'm going to take quite a lot out. It's damp, but it's definitely not holding a lot. Very gently we're just going to wet the ear. Don't worry, your color is going to wish into the ear. But that's what we want it to just safest repainting really. Again to keep it loving yourself you won't end up with a very hard line around the ear, this thing. We want to put a little bit of color. There's a lovely crease going up there, isn't it? I think I'm going to use the Van **** and let's put that to your life. We haven't used this yet, have we? I think I might have outdid the dogmatic colors I've got here. I'm going to distract that. I want to put a bit of color, so I've just added there, some there. That's my complete randomness. Let's keep to the game plan, Jane. But that little crease up there. [NOISE] That should soften quite nicely. [NOISE] I'm going to use my finger and paint use the offer. Put a little bit of blue there. Sometimes you just have to go, you got instinct. If something says, that would be nice there, then do it. I think this is a case of trying to get your subconscious to come forward and your thinking brain to take a backseat for a little bit, which isn't always easy, is it? Trust your instincts. If you think something would work there, go for it, see how it looks. I think that's how ultimately it becomes a lovely way to paint. You just go with the flow with it. You're not thinking too much. Now I think that looks pretty good. I'm going to have to let this completely dry, but before I do, that's quite nice and damp there. Now, my salt hasn't worked particularly well over the practice pieces, so yours might. I am going to put some in here, but I'm not [LAUGHTER] feeling hopeful. [NOISE] It may be a case where I leave this a little bit too long. But we're going to put a little bit there. Have a go and you may find yours works a lot better than mine. That just needs to dry completely before we can [NOISE] do the next layer. Again, I wouldn't particularly advise the hairdryer [LAUGHTER] because again you want that to dry naturally, and again, salt takes a little bit longer, so have a little break. 6. Fleece: He dried beautifully. But my salt didn't work very well as I suspected. There's a couple of little grainy marks there, but it's not very obvious [LAUGHTER]. I must admit I had to air dry him a little bit sooner than I would've liked. That might be a reason too. The light is going here in the UK, winter's day, we don't get much light. It's on with a fleece. Before I pick up my brush, I'm just going to pop out little support underneath just so we can allow some of that paint to run down. It's not dissimilar to Mr. Fox if you've done that, just a little more subtle. Pick up your big brush, nice. Lots of water and we're going to leave a tiny white line in places. You might want to just leave it all the way down to start with, and as we add color we'll go in, just gives a little sheen or light really makes it another element. Then we're going to wet all the area down. If you were to frame it, mount it, you'd lose a lot of this anyway. Nice and wet again. Bobbly head, make sure you've covered it all. Then we're going to pick up, we're going to have a little bit of tiger's eye, because that's a nice soft color. I'm going to give a little bit of geolife. What else do we have? Let's have a little bit of pink as well. Let's get those three in my hand, I'm going to work from the top. Let's have a bit of tiger's eye. Again just touching, if it sticks like that or it doesn't move, then just add water, and see how it runs. It will give things a little bit of a wiggle around, all dry. It won't be so obvious when it dries, you can add water, just allow that to run. A little bit of pink up there, keep that pink element going there, this is where we can join up a little bit. You don't want strong, obvious white lines, just a little hint of it. What's really useful, I've actually got the original practice pieces in front of me as well. I will include that in the projects and resources page. You have that open as well. Open all, if you've got multiple screens, you can actually see the painting. I'm just going to tilt this just a little bit more. It's running down to this corner and that'll give us a little bit more sense of movement as well. See that, it gives us another sense of direction as well. I'm going to pop some of these colors down. I'm going to pick up that lop-sided laser. I get some of that nice blue in there. I love this, as you may well know. It up to say either a bit of very bold, punchy color, but it's lovely. Let's have a little bit up here as well. Just a hint. It's always just a little hint. It's sometimes not that obvious when you put it down, but actually from a distance. That really works. If you're sitting, have a go at standing for a minute while you are doing the fleece, it just gives you a little more perspective, a little higher up so you're not staring at it too closely. Just picked up van ****. I'm going to put a little bit of strength here. Just to give us a bit of a punch really. Be your own judge if you feel you need a certain color in a certain place, then go for it. You can put a little bit of light there, just to give us a bit more depth. Pick up that way as well. Combining the two, that's nice. I'm going to go mad with the two. [LAUGHTER] I think I need a little something, a bit of a pinky lavender. It can get a little bit dull up here. Breaking in a little bit of color. I'm liking that minute again. The minute you think you've got something you like, stop. The puddles at the bottom if you've been adding lots of water runoff. Again, we're going to do I'd worked at the top because obviously it's going to be joining quicker, because you've got it as tilt to the top. I will do draw those in the bottom. I'm going to use my fingernail again to just pull up some of that. Please, just go back and forth. Try not to be too uniformed about any of it. I might do a little bit here. I'm going to be careful here because it's quite wet and I don't want to pull that out there, but these is quite dry. Having another look, I'm looking back at it again from a little bit of a distance, want to get a bit perspective on it. I might put that GO life. I like this color, do a little bit of a hint up there. Yes, I like that and let's make it pop a little bit more. They're just such tiny little gestures sometimes, infatuated with a little bit later on. That's enough. I think that needs to dry. Just conscious of this little bit down here. I want to do a few flicks. I'm not going to leave it a slight tilt actually, I like to keep that some drawing on a tilt. Just be careful, if yours is a little bit damp, just hold firm, I'm going to flick out some of these, I might need a little bit more paint on my brush. If you haven't got enough paint here, you haven't got a lot to pull out then. Add a little bit to your brush. But the flicks are quite important to do when it's still wet. I have noticed a few projects, it looks like people who have just left it just only a fraction, a little bit too long to dry and then fix it out. It looks like the flixer is still stuck on top, just to get a natural flick you need to make sure this is still nice and damp and don't be afraid to pick up the same color as you had in there. I'm just as guilty as fiddling as the next person. A little bit more strength there. That lightened lateral eye is lovely together. I'll put them down, clean my brushes and I'm going to allow that to dry. Then we can do the eye. 7. Neck Second Layer: That's lovely and dry. I might have lied about the eye, the little [LAUGHTER] neck area is the next little bit we will do. I'm going to remove that, get that nice and flat again. I'm going to pick up my big brush, get it nice and wet. Take the excess moisture off and we're going to pick up that cheer life. What we going to do, if you've got some nice soft texture, you might not want to do this one but if like me you haven't, I haven't managed to get any. We're going to just put a little bit of texture in so we're going to vary randomly wiggle your brush around to tiny little bit of this it's only a little bit and that hopefully will give us a little bit of texture once it's dried. You don't want to cover it too much, you just want to leaves and dry patches, if that makes sense. That will give you a little bit of a sense of texture there. I'm might do a little bit of that ellipsoid ladder right there, a little bit more of a hint because I love it so much. [BACKGROUND] That is all we need to do for that. It says no more than that and that will give us a little bit of texture on the neck. 8. Eye: It has given us a little bit more texture, hasn't it? This has worked. I think would be ideal better it wasn't to work for me. [NOISE] Let's do the eye now. I'm going to pick up my eco brush and I'm going to pick up the g of life and a transparent brown, I'm trying to find it. [NOISE] We're going to wet this entire area down, just nice and wet. You don't want it puddling, you want it just a nice dampness and you want to go right up to the edges, just go really carefully so you want to get right up to the edges. If it's bubbling mine isn't but you just dry your brush off and just suck it up if it's got a little puddle on it. If it's got a puddle the paint would just sit on top and it would take ages to dry. Put all colors on at the same time and just deep them in. Make sure you have right up to the edges. Make sure you add a little bit of roof, I've added a little bit too much, add a little bit of roof for the bottom. We do a second layer over here, but I want to make sure I've got plenty nice rich color at the bottom, give it a minute we're going to put the van dyck over the top of this. But that is the first stage and that just needs to dry. Once he's nice and dry and we're going to pick up the little brush again, wet it down and we're going to just wet down that to the pupil area. A little bit like we did with the first layer of the eye. Nice bubble but not sitting so it's just nice and tacky. Then we're going to pick up the van dyck, we are going to put some eye makeup on him really and he's got a lovely dark eye hasn't he there, we can just sculpt it a little bit, I quite like it when it's got a little bit of a turn here up the top here just makes him look a little bit forward-looking I suppose. He's quite dark here, that thing is actually strictly his pupil this little bit here. I think that's probably the inside of the eye socket, but [inaudible] about that, is a dark area and then nice a little bit down here. Just a blink, there's no brushstrokes, just going to keep it all dribbling. Take your time with the eyes is one of those things, it suddenly comes but you just have to be a little bit patient. Just going to add a little line there, just going to put that little line on the top there bring that around again. It's looking quite nice actually at the moment, I'm going to pick up the sodalite or the key powder van dyck. Again, you don't want to add too much water on your brush, you want to quite dry with the sodalite, just want to tap in put a dark on the frontal area. Step away here if you have stood, sitting is quite nice for an eye. Keep working at your own pace, keep looking that reference photos, keep your eye flipping back and forth. If you get panicky, when it gets messy, just stop let it dry and then come back to look at it. Sometimes it used to trouble me a lot more than they probably do now and you get yourself in a panic it will gets a little bit messy sometimes you just need to step away, let it dry, and then you should come back to it with a slightly fresh pair of eyes again. I'm happy with that at the moment, so I'm just going to put that back down, those colors down. There's a lovely sense of light here, so that's for my little brush, it's quite dry. I'm just pulling that light out, that's why we needed a nice strong color on the hair when we did that very first layer. I'm just working at my own pace I'm trying to undo it. [LAUGHTER] You have to be guided by your own pace at this stage and how your eye is looking but there is this tear ducts and they are definitely worth putting. Just a little aligned and they can be softened, here they look a little bit hard, damp brush again just to soften the edge, pull them out. We can fiddle a little bit on the finishing stages with anything that shaping around the eye. At the moment you can't shape under here because any wet or paint here will find that little damp patch there. Don't tinker with the outside of the eye just keep inside. I like that, I think that's done all right actually. I'm going to try and leave it, I'm going to put my brush down, I'm going to let that dry completely and then we can put that little catch light in that always makes a difference, but let that dry don't put the catch light on until your eye is completely dry. That's nice and dry to give it a little blush with a hairdryer because it was just quite tacky, so that's a good time for a hairdryer. I'm pleased with all that if you're catch lights, not catch light strictly, that's a little glint in the eye. If that hasn't come out very well this is quite a nice time you can just take that out a little bit more that will take too much out of mine because it's looking alike. But this is where just have a little tinker with the outside of the area if you want. Just take either a rough little bits but again, that can probably strictly should be done in the little finishing off bits better. Now that looks fine. Only little catch light so you want a little bit of white paint. We decide to use, I'm going to put that little catch light in, which makes all the difference. Now as I said, I think the very front bit is probably an eye socket. You don't want to put it into the eye socket [inaudible] you want to go little bit further back. Deep breath, and just put a little, I love putting those in the difference. That is your eye. This looks a little bit strong here so I'm just going to, personally for mine, I just want to take that a little bit out, soften that a little bit squishing the finger, looks a bit better. Soften it a little bit and see if you get too many hard lines, makes the eye look like it's stuck on a little bit. I think that's job done, so the last little bits and we are nearly there. 9. Finishing Off: To the very final little bits. This is the nice little time where you can have a little bit of tinker and address any issues and take little bits of light out. I'm just going to bring in my little eradicator brush. I am trying to be methodical, and we'll try and go clockwise around him and just to say, take little bits of color out if need be. We need to put this nostril in and his little mouth. Start with, right at the very top, I might take a little bit of color out. This is a great little brush. If you haven't got an eradicator yet, you need to get one. If you haven't, then a little chisel brush, that's what I used to use. One of my lovely skill sharers actually gifted this is as a Christmas present, last year now. It's been so useful. I'm personally taking a little bit of color out, if you feel it's light enough for you up at the top of his head, then don't. Say you're addressing your own issues a little bit when we get towards the end. But obviously I'll talk through mine in some of the noses is obviously relevant. Little bit off the top of the ear is always lovely and if your paint blend it a little bit too much when you wet that area down, this is a nighttime to take some of that color out again. Just go gently. At this stage, there's no hurry, there's no paint drawing, there's no paper. You don't happen to race time before the paper dries, you've got plenty of time. I think it's definitely worth taking your time because these little bits really make it come to life. Paint it quite loose, so any sharp detail you can get in definitely helps. There's a little bit the crease of the ear you can see that it's all turned around in there, doesn't it? So let's just chisel that out without sculpting. That'd be with a kitchen roll. Kitchen roll is really good for taking colors straight out. If you don't want to a lot of shrimp taken out, don't dab it with a kitchen roll. Just move your brush out in forefinger. See, it's taken a little bit out but it hasn't taken it all out, you will see soaking it up. That's a little bit there and also just a tiny little bit, you can see a little bit of light just coat the inside of that ear, so I'm just going to tie easy little bit dab little finger that's enough. Quite happy with the front of this, I think it looks okay. Let's get rid of the eradicator for a minute. I just wanted to show you where the bigger brush is softer this brush, it's not going to take as much paint out, so very carefully. I don't particularly need any light taking out here, but I just wanted to demonstrate you can very gently take color out with a softer brush. If you take that and with eradicator, you'll take everything out and you're left with a very hard line and it'd be very difficult to enter to do something about, because you've obviously been gone down two layers. To pop that back down again, I'm going to put my little brush up. It's minute thing, but the eyes are really important, it's just a tiny, it looks a little bit triangle to me. I'm going to take the very top part of just a soften that and round it off, I hope you can see the difference here. There's a lovely cheekbone here and I think I'm going to stick with this little brush, I don't want too hard of a line. I think I'm going to dab. That's just right. You can see a lovely eye socket, isn't it? Probably eye socket bone. Push back and forth, that's enough. Again, a little bit here, we tried to say keep it clear on the first layer, didn't we? But I'm not going to use my finger for that one, I don't want too much color out. I'd say flip your eyes back and forth to that reference photo and adjust. Just take it little tiny bit there, that'd be with my finger to soften that. Now that there is, let's pick up [NOISE] those Van **** tiny little bit. There's little line here which I've personally lost, it's the minutest, it's only a little touch. I think that's worked quite nicely. They've got funny old shaped eyes, haven't they? This is not quite such a line there and I think it looks if I can soften that. That looks nice. I'm not sure if I need to fill anymore with that, I like that eye, so I'm going to go round and there's the nostril. We just need to pick up the Van ****, be dark. I'm not sure I'm clutching this like a gooden. I should keep it in my hand. Which going to paint? Rarity for Jane likes your paint. Just paint that nose in. Make sure you get this, is a slight curve on that nostril and it comes down a little bit, doesn't it? Then you got that line that goes over the top. The little bit of light there that we will take out, but this needs to dry first, so I think that's a nose done. Down to the mouth while we still got hold of this. Don't do choose stronger line, just a little bit. Break the lineup because it's not a constant line soften. I'm going to take a little bit of light at the top as well, so I just want a mirrors to hint of a mouth, I want it to look too comical. I think I'm taking too much out now. Perfect. Lets put that back down, pick up my little eradicator. I'm just going to take just a few little bits out of the coat here. This neck see, I add in a little bit more texture again. That's actually it. Lost this. I think I've probably drawn a little bit too quick and I can't quite remember the saying, but yes, I should have heeded my own advice and not dry out too quickly, so I've lost a little bit of strength that I am actually going to see. If I can put that little bit of strength back in the fleece, I've picked up my big brush again with Van ****. You've hopefully or may not have been as impatient as me. That's dried a little bit better for you. [NOISE] Then that can be a damp brush just softened. I think you can get away with all sorts of thing with the fleece, because it's obviously so bitty and textured. [NOISE] That's better to say really is adjusting your own piece at this stage. Keep your brush, it's got lovely point in this brush, so I'm just trying to wiggle a little bit of looking away that again. Let's do caught up with this little bit down here on. I find there's always an area of your painting, your fiddler or being drawn to and this is obviously mine that a little bit of V. Going round, I like the fleece is not much I really want to do with those little twists worked out okay, but if you've lost some of them, I'll show you. You can pick up Van **** and let's pick up the geo life together. If your fingernail didn't work very well, you can always just twiddle a little bit in now. Not too strong, slightly random. I don't want to do too much because mine worked out okay but I hope you get the gist if you needed to put a few little bits in there. [NOISE] Just keeping in mind I need to color out the mouth better. I need it to dry, which I think the mouth has actually. I'm happy with the rest of that, that's worked out okay. We've done the ear. I'm just going to very carefully, from the top, the mouth line, you don't want to do a very strong line, just want a little bit just enough and that's definitely worth standing or getting above your work, so you can see it from a little bit, from a distance. Put a finger, squidge it down a little bit, it's not such an obvious line up. Probably take a tiny bit more too much out of that, I think that's okay. We'll wait till that nose is just about to dry, so I'm going to again scroll up a little bit of color out. Just got a nice bit light on top of his nose, isn't he? Squeaky. It looks nice. I think I'm almost there. The last little thing I'm going to do is put some few little whiskers on him. [NOISE] I picked up my little white paint, very small brush. I'm just going to make sure this is going to be dry, you won't have this wet [LAUGHTER], but if you've done any little tinkerings make sure when you do this, it's completely dry. [NOISE] That might have been a little bit heavy-handed there, a little bit too severe, soften that with a bit of a squidge. If you have a smaller brush, it may even be better with a tiny brush a little bit smaller than a number 2. He's not a very big subject, it's quite little. Again, at the top, do a few little bits and I think he is there. I could play like this for a while and I'm sure it'll a bit little bit dull for you to watch, but it's always nice, when you've done your finishing off bits, to step away, go make yourself a cup tea, go walk a dog just an hour or something. Come back and have a look at your fresh pair of eyes and then you almost go back through these processes, tinkering and adjusting anything that you feel really stands out when you come back into the room and see it again what I haven't done, and I can see it's all lovely, I think it's probably a scent gland. It's nice to put color out of that, isn't it? Then that will be one of those things I would probably spot when I walked back in and I hadn't done that. But sometimes if you stay with them for too long, we work in for too long, you almost don't see some of these little bits and pieces. [NOISE] But I think he is done, so I really hope you enjoy painting Lambo because he has been a joy to practice and paint for you. Please do share these on the Projects and Resources page, especially this little chat because I will also forward some of the paintings onto his owner, some of the pictures of the paintings. I know she's thrilled that he's become a superstar. [LAUGHTER] I hope you enjoyed it and thank you for following along. 10. Bonus Extra Tinkering: I thought these might be interesting for you to just have a look. There's a little bit of tinkering I've done the following day when I've come back into the studio and looked at Lambo, thought that ice was a little bit too big for my liking. If I just go through the process of how I've just tinkered with that, that might be helpful for you. I think. I don't know if you can see on this side this was quite rounded, so all I've done, I've got my little smaller brush, not actually that eraser that was a bit [inaudible] bit too harsh, just it'll smooth, soft brush, dip it in some water. Just got my brush damp and very careful, like we were doing with the finishing off, just gently took that very top corner off. Just looked at it, gave the impression that the eyelid was dipping down a little bit. I'm just taking a little bit of the eye makeup off. Didn't really think much with this, left the inside of the eye which is here, again, I took a tiny little bit here and I reinstated that little line, a little bit stronger there. That was it. This is a tiny little bit of color out of here. Just made that a little bit rounder. It was a little bit more pronounced eyeball in the reference photos, all quite dark, so a little bit muddled, you can't exactly see. Sometimes you have to look at the painting and see what pleases you and what seems to be right, so don't always be such a slave to the reference photo. Have a thinker and see what seems to be right. I think I took a tiny little bit of that top color just soften this top edge and that has given him a nicer to me more of an inquisitive look. He looks like he's really looking over to this corner over here. The only other thing I did, I think at some point I've mentioned probably took a little bit too much color out there, so I've just, again, within more paint this small brush, probably use a little bit of Van **** and just close that little white line in a little bit and that's it. But that to me has really improved the overall picture and probably, a warmer version now this one is probably my favorite was probably when I finished, I wasn't quite as keen with it as I was with some of the others. But if just a tiny little alteration and I couldn't see that at the time when I was filming. As I say you really do need to step away sometimes and look back at your work with a fresh pair of eyes in. Sometimes there's so glaringly obvious, you're amazed you didn't see that when you were painting. I hope this little extra video has helped to explain how I would go about finishing off my pieces and sometimes the next day, looking at it with a fresh pair of eyes is really helpful. 11. Final Thoughts: [MUSIC] I hope you enjoyed painting Lambo. He's such a sweet character and he's been really fun showing you how to capture that. Did you enjoy placing that heavy paint and allowing it to work its magic? It's such a wonderful technique. You just need to be a little bolder if you didn't get enough strength and depth. How did joining the layers up code? Remember when you're rewetting an existing layer to go very gently. Let the glass glide without any pressure. That way you shouldn't disturb that layer too much, which will avoid it going muddy on you. Did all those tweaks at the end pull your painting together. It's important to take your time and really observed the reference photo. I often find taking a photo of my work helps me to see it in a slightly different light. We look forward to seeing you in the next class.