Snow Hare. A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

Snow Hare. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

Snow Hare. A Free-Flow Watercolour Masterclass with Jane Davies

Jane Davies, Professional Artist and Teacher

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11 Lessons (1h 25m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out

    • 4. Front Ear

    • 5. Body First Layer

    • 6. Head and Back Ear First Layer

    • 7. Head and Body Second Layer

    • 8. Eye

    • 9. Head and Body Third Layer

    • 10. Finishing Off

    • 11. 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 we will look a multiple ways to use this liberating wet on wet technique to paint ourselves this magical snow hare

You will gain yourself the knowledge and confidence and 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 paint this snow hare with three very subtle layers
  • How to achieve that beautiful sense of light and dark
  • How to section areas off then bring them all together at the end
  • How to create the eye with two to three layers
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting this magical, enchanting snow hare 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 watercolor, straight from the tube. For me, this resulted in the best watercolor 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"

“Thank you sooooo much! I've been waiting for your class to start. I'm thrilled. Love you’re easy to follow style. As a beginner, it means a lot to me to be able to follow the lesson well. Looking forward to the next one”

“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 to this intermediate old colour class, where we'll be painting these really enchanting snow here. We're going to paint her with a mere east light as attaches and a minimal amount of paint. If you're just starting out through an award color journey and haven't done my beginning classes or suggest going back and looking at those first beetle brachial illegal modularity to my techniques before taking the plunge, painting the snow. Hi, I'm Jane Davis. I live. Paint, teach, walk my lovely spaniel in the beautiful south downs National Park, England. Over the last ten 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 sometimes daunting, but allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis 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 keep your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way to. I have provided you with a template and a beautiful reference voter of the snow hair. In the resources pages. The template will give you the right shape, so you can just enjoy painting her. We'll be exploring many techniques in this class. These includes some are using my own work, such as building up the depth and strength with three layers, but allowing the white paper to showing through. I'll be showing you how to keep the painting soft, but also how to keep those much needed hard edges. I'll be sharing with you some of my thoughts, tips and tricks on taking the time at the end or you're painting to bring this enchanting snow hair to life. If you'd like to learn more about me or my work, please pop over to my website at Jane Davies watercolors CO WK. This can be found on my profile along with links to my Instagram or Facebook pages. I'm very active on my social media pages. Or 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 projects pages. As I love seeing amassed 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, loose style. So come and join me. 2. Materials: So welcome along to this very preclinical snow here. We're going to be painting together. Now if you've just come from the raven, you're gonna find her quite different. We don't put a lot of paint on her is all very, very gently, very small touches. She's, she's really lovely to create. So I shall run through all the materials I'm using today. Obviously, these wall Daniel Smith paints and I appreciate you may not have the same colors as me and it really doesn't matter, especially with her. If you're drawn to a particular color palette, then just go for that and don't, don't, don't be too hung up on getting exact paints. I've got I've had a few feedbacks for people who have panicked. They haven't had the exact colors. It doesn't matter, really doesn't is more about the technique. Saying that I shall tell you what I am using. So I have got sold like genuine. These are all some of my favorites and they have cropped up in previous classes as well. Because I love is to do from grainy granny lighting color and it's very soft. It's perfect for this little lady. We've got ultimately inviolate, burnt sienna. Just use that on her. I said, we don't use that a lot. Kind of genuine, lovely color has quite a new fine for me still, but I'm loving it. So this is a lot of these pleasing here. Sepia, Just one of my favorites. I just love it. And just do a white goulash. And that's just for the corners of the eyes. And else 20 to show you my paper. So this is a hammer and it's a 140 pound. Not so I'm actually using, i'll show you quickly and gunned pad move you can make the chemistry, this is glued around the edges to almost like stretching. Your paper will be not quite as good. It still buckles a little bit, but it does give you a little bit more. Work strata. See it doesn't buckle as much, so it's a lovely paper and really enjoying using her back. And in the resources pages I say these, you don't have to memorize those those paints. Going back to those, they're all listed on the resources pages along with a little template for you. See you then you don't have to worry about during her out correctly. You can just trace around that and you're good to go. There's also a lovely reference photo in there, and it's a really, really lovely photo. So I would suggest trying to open that up on a on another device. She can see you can glance at that. Is we numb when you're following along and painting and also our Popper, a photo of the finished hair. So that's quite handy for you to see as well. What else is a head dryer hung on using hairdryer today as normal but not necessary. So if you have one, sometimes it's handy, we can give it a quick blast and then we can get on with the next layer. But you haven't gone. If you haven't got one, really, don't worry. Do your brushes socket for today. Got to recurs on these recurs adjust parachute could no longer be Sue to them. This one's getting a little todd must make the South lost. Muster FUV pursues slightly larger Weka, that just nice. I like the bounce. Stops me picking up too much paint as well. So I use quite a lot actually even in my larger work pieces. Also cortical choose your brush. And that's you just used for taking color out. And along with this chap, this is a synthetic. Synthetics work really well-taken color out. So this is a very old going this one, but as just taking, I used to take larger lumps a car out, we need to move C. We've got a pencil, vertical potable water, paper towel, potty Rebecca. And I think that is everything. So I think we should go and painter. 3. Sketching Out: Now I'll take any opportunity to sketch her out just off camera so you don't have to watch me carefully go van Mises tensile. But I will give you a few hints to kind of put that to one side. Now when you're sketching out, the template gives you quite blunt ends. It's really worth taking the time to, to make sure you carefully go around and get those lines just right, open up your reference photo. And really, really honestly for this one, particularly take your time and get you it will sketch really nailed. The eye is quite important as well. Make sure that's in the right place because as I say, there's not a lot else going on with painting in your eyes. You know, eyes are really going to be drawn to this heads I. And this point O beautiful line is quite important to make sure you get that in the right place. And again, with the lines, I know who have gone quite heavy here, but this is mostly, you can see it would be ideal with a quite faint. So when you come to wipe them out, you're not left with any marks because we rely on quite well they call Lawson found there'd be areas we won't see the difference between her body and the white paper and what you don't want to see when you're up. And you can't swap these marks out is you can't get them out. So go easy way you pencil marks and think that's it. So I think we would we would put some paint on her. 4. Front Ear: Okay, so now let's get painting. So I again, to just get rid of these two brushes for the time being, I don't need them until we get to the Enter and look tempted to pick up multiple photo brushes. And I'm also gonna put a pits with TBN side. So I'm picking up my larger rigor, plenty water. And we're going to go carefully and wet. Just the ES is always doing for the very first part. Make sure it's lovely weapon. You covered the whole area. A good it'll take to do that is just a, just a bow your head up and down you build to see if you left any white marks. What Marx dry mocks even. Now I don't want this to Southern, so I might just just give us a little bit just so it goes tacky. So if you bob your head up and down is just starting to dry. This is rubber technique actually we used in the butterfly class. If you've not done that, that's probably worth it because it goes over some of these the techniques we're going to use today on the hair so that I've just taken some of it off so you can once you've wet it down, if it's too much water on there, you can take take out with your boss, you clean off. We don't necessarily killing off because no paid. Destroy your brush. And you can do with soak up any excess produce you don't want any part was on the stage. So I think that's just about the White stage for me. So I'm going to pick up my sepia and then my satellite genuine and I haven't come across this R tend to work out achieves, but its just so I can get nice dot of paint that you don't have to. It's fun trying. So I'm going to pick up two colors. And this can be quite Sean. We're just gonna do the tip here. So I'm just placing everything. It's quite loose. Whole exercise. You really want to keep everything lovely and loose. A little bit too much. So light. So I'm just going to add a little bit more of the sepia. I'm just placing allowing and placing going to run this. So I'm using the paint I've already put down there. I'm not going to add anymore. Just gonna run that down here. It is almost coming down a little bit too far. So what you can do, you can push it back up by using water. So if I just drop a droplet of water, you can see that then pushes that backup. And I'll just leave that to do its thing really, hopefully we're that should bet up some kind of pop a little bit. Thank colors. I'm going to put those there for her. In a global space. Ones down might pick up or put tie design because it's very gentle and very, pretty, very technical terms pretty. He just sees it. Just observe for this exercise or this little, Hey, you just don't want to do a lot is so easy to overdo it knows as easy to just believe it. So I am actually going to leave that little ear. We do go back. We do another layer over, over these years. There's time I can novel opportunity, I can, well, I can add a little bit more strength. I feel I need it. And that is that's it for the little bit of there. And we're going to let that. And that's that. 5. Body First Layer: Now again to whet all this body down from Nagarjuna head. Who the, all that back here and we're just kinda country on the body. So just imaginary law and release it just to serve her shoulder to scroll oh, wait that into you can see and then all the way down, this is what I could've done with a slightly larger Bush to wait with who to him, but he didn't do. It moves again to miss out and a little bit little bit of a leg, isn't it? There? It's going to be a sewer line here as well because she's sitting in snow, so we don't want to don't want nice to run down Rayleigh. We want it to be a nice bound end. Again, just make sure it's loving wet. This needs to be a little bit wetter than we wanted for that. So you can go the equation. Make sure you stay within those lines, is that it's really important to keep the silhouette just spot-on. She couldn't normally white. Just write. Perfect. So I'm going to pick up that kind of genuine and the satellite genuine. And we're gonna, pope is almost two spots of shadow. We're going to work on this over there. And so I've had a little bit of five colors on a bush and just touch. So right at the edge of that. See what happens when a patient, but it'll be down there. I'm just going to just drop the colour. Say how can you take that satellite genuine needs just spreading. Beautifully. Integrated kind. I sometimes I use the paint because I know how they will react. So they're actually being used in slightly different ways sometimes because I know certain paint like the bird, tiger xy is very soft serve. I add that to another color. I will get the ability to do that along with the color with another color. So it's worth using as almost like a tool as bows. And we're just gonna do exactly the same. We're going to let that one just dropping. It's just just giving yourself time to watch it and don't panic. It looks like it's all going a bit pear shaped. Just breathe and just let it be a cut there and you can tilt if it's not if it hasn't moved as much as you'd like to done, you can just give a little till we get any funny marks like this. This is ideal, don't worry as excuse me, thinks would give it a little bit of character to thicken up and got a little bit of excess will come down. Here's C, and that's why it is making these marks is a bit of a poodle going on here. Say pop in an ideal world, you'd stretched his paper. Even though this is a PAD, is still, still warping just a little bit and efficacy data. So I'm just trying to suck up mindful puddle who might want to start a little bit more than that because pushed a little bit too much. Because we're doing three layers overhead. If this isn't quite right, it hasn't gone as strong as you'd like to. You dropped your people, help you push in the middle of a we have opportunities opportunities to correct any of that. So that's what we do for that in the back corner there. Today. Pick up a little bit tigers i and the violet. We're gonna put some little bit of the base just to give you a little bit of shadow, keep you on that referenced item as well as ways we're sort of dropping your life, popping your eyes back and forth over it. And I find really helpful if I have the reference voting fun to me, my painting and fun to me, especially when I get going a little bit more and is more painting based. Flick my eyes between the two. It will my superimpose themselves. Just touching image, very Lucy's just allowing. Think that's probably enough before I get carried away. I'm just going to pick up the satellite genuine. I just want to get that spine to pick up the target eyes well, with it. And like a spinal line in their cane is just don't need to go all the way down. He didn't wanna very strong lines that you can just UDL, touches as you go up. Everything, very light really keep everything really. I almost see a bushy just falling on the paper. Push that even we use water to maneuver. So I, if I do a droplet here, push some of these paints back into the spinal spine line, control it with water. So I know that will lend us the layers go on. So that's, that's absolutely fine like that. And I'm also going to use the droplets again herself or nice big photorespiration just kinda drop. So motor just on her shoulder and that will hopefully give us some and I sort of watermark there as well. Just push some of that pie is someone that satellite genuine down and lever a little bit of a natural area of light. She says, and it doesn't seem to be doing what I wanted to do. May have just joined it'll, which is a nice technique is that we use to innovate as well. There's little droplets of water layer. As that painting dries. It will work its way in a hunk. So doing down here, suck some of that up. Think about that for that one. So what we need to do is to let this dry because we're going to be working on the head in that back S0. This is autonomy ahead, dries quite handy, but I would caution, especially if you've dropped water in certain areas, you need to let that dry so it's it gets tacky before you hit you. I'm grumpy headroom because what you can do feel this is in puddles Now you put a hedge on that. You'll blow all the pigment around NGO. You've lost all that work you've just done. So yeah. Give it a give it a moment to dry and we'll get on with the head next. 6. Head and Back Ear First Layer: Okay, so my dear lady do Lovely and dry. So I will pick up my bigger, bigger and we're going to do the, the head. And so just like we did with the other plays, brush, tip in the water. With the area down there, we're going to go up to outline where we started the body. And you will get left with initial funny line to start with. But once we do another layer over the top of that all softens. So don't worry about that. And again, timely that sit on the layers ONE will go up and down the body. And so that's a nice thing. Uki all softens and carefully around the eyes. We're not going into the I2. So spend, spend a little bit of time, make sure we get it just right and stay within the lines as much as you can. And when she wants a little lovey and covered, I'm standing on what? Sittings and sometimes actually he's standing. You can move your body around a little bit more and you can see that some, if you've got any joy Apaches and you don't really want to need to eye patch you on this. All lovely and wet says everything is wet. Pop, Neil. I think I'm done, so I'm going to do that ticket back if I'm going to use satellite genuine and CPI, just gonna use a little bit more CPI. Overzealous Ana, satellites public is a new big tube, so it's picking up more color. So it just, just drop the bush fall onto the paper. Clothes playing down. And then we'll come to Brown to kinda pick up a little bit more to say light. Tiny movements on this hair, really tiny maintenance and go to Bodh. Pitch. A little bit line down there as well. Just a hint. P2p, your photo, there's hardly any is no color on the side to say, Well, we don't want to that one. Over to the far side. I'm going to leave it at that. I'm going to pick up that finite genuine facility color and grab the two colors and just kinda do a tiny little bit of the strong shadow on top of a head. We're working quite small city. He did want to upside your, your Hey, you may find some of these almost a little bit easier, at least very easy to overdo the paint on a small, smooth subject. That's probably enough because again, we, we go around and do more so and previous, and next lays moving a Doha, I think some put cube. So we've pleasant. I'm just going to carefully work around her face, just working on the outside. We're just touching. I'm just popping up Bush just there right on that pencil mark and just allowing it to running. And he took what your photo she has a little dark just in front of her eyes that she have no use. And front Mozilla quite dark. So you're looking into the the sun is behind the business associates in Shadow of lots of other phases in shadow. Let's pick up with a target that I am good enough for that lovely soft column going a little bit too blue now. So I'd say just look at your own PCs as well and judge what you'd like to see. If you think you've got a little bit to, to show me one column and pick up another color. I like using lots of colors. Just finished a Labrador painting. I think I counted 21 paint color, different colored pizza was huge on that, on one particular black lab. So I do like a few colors. So I'm just, just carefully building this up. Looking on painting. Say 50 more eyes back and forth. A little bit brown up there. She's got a lovely, it's nice to emphasize. She's got a nice dark triangle here. J pop-up that can pick up a little bit is sepia. The SCP doesn't move. So again, that's it's almost learning or your, you're paints, do they all have their own characters but SCP doesn't move so much. Was tigers. I does zip across the page. This is really a very dark and I know it won't move so much. Isn't just going to strengthen their Take your time. Is absolutely no hurry all while these papers wet, you've got plenty of time. Who was obviously. So R0 is quite relaxing this little hair, cuz you just can't do too much in it's all very soft, gentle movements. Think she'll have the two together. Has a nice combination satellite genuine in the and the sepia. And as as my paper does begin to dry, obviously the pavement move as much. So if I started doing these markings When I first put the paint the paint and I first put Watertown on the on the paper. This would move a lot more. So as you paper dries, you get a little bit more control your paint more Zip as much. And then you can judge what areas need a lot of coverage quickly and what areas you want it a little bit more definition in and then do the ones that need a little bit more definition is it is the paper begins to dry. You just need the practices and there's no RAM. There's no substitute is if it just playing and doing new loan or digital things, just picked up a little bit violet because something told me I needed a little bit of violet. So trust your instincts as well. I seem to have gone a little bit out of my line it and if you can see that she's got darker water, knows. If you do go out your lines, they don't panic if you've done if you've done something like I've done here, because that once it's dry, we can take it out. If you try and take it out when it's wet, usual damped brush and then it gets larger and you go little bit further. Irony is larger. So any mistakes like this where you've gone outside the Europeans would line just, just ignore it, leave it. You can rectify that as editor. Once. Once it's nice and dry, I'm just adding a little bit more and put a little bit CPU. So really, really strong. Shut it a little bit of violet just on her back, trying to keep them vague idea of keeping a little bit warmer, brighter colors. My left-hand side and darker, cooler colors. And the White. I think probably for that some labor overhead over fiddle. Again, put those down, crushing them. That needs to dry because we're going to do the next layer. We're going to sort of join up some of these layers. So again, either with a hairdryer over two gamma is half cup TV. You fancy a cuppa, favor a break from it all. And I'm just sucking up water. I can see that to so I put my hairdryer over that in a minute. It's not going to move other mother paint around. The trouble with the hairdryer, if you say if you to overzealous with it, you can end up blowing pigment. And man, it's never good, especially when you start getting further into the painting. So select that doesn't get, get that lovely and drying with where work on the next layer, next. 7. Head and Body Second Layer: Okay. She's all nice and dry and vote for. If I draw it her, then I use my little cheesy brush. Took out once you dumped my brush down to color out, and then draw it again because what you don't want to, this, this is layer that we've just worked on, warm, fuzzy bush. This is the area to be damp because when we went this down, if you've if this area is a little bit damp, the paint will find it. And you end up with a game with a funny, funny water goes into her nose, but I can carry on with it. We've seen that. So what we're gonna do a wet, a big area down. So I've actually picked up my, my old synthetic brushes so it covers a couple of Arabic quicker and load it up with water. We're going to go over this little lake over that line. And the pace. And say carefully, with a canvas hanging over my work, it's not quite so easy for me to get very close to my works a little better. A little bit harder to get right to the edges and see. Simply go careful because you've got, we've got Lei, He already, we want to keep everything very light. So when you are applying this, any layers, just so careful, you don't want to rustle up those nice layers you've Gordy achieved. And we go into the head and we're going to go to this frontier. Might just wet the middle Bateson and work. And a little bit with my dad. And I pick up my small brush again so I can work around the edges. A bit of a big compiled synthetic brushes hasn't got a very good point anymore. Try not to give a water. Then you often find is an area that you either overwork or seem to do the same thing again and again. Think of avoided it. I can't see a wet patch there. Sika deer carefully, especially where you've got a very strong area and it's a very OSU loss of painting. He don't want to have you rustle around, you'll find it all starts to bleed and you lose some of that strength. So you can go nice and gentle right up to the little tip. Just because you wet an area down doesn't necessarily mean you're going to work over. It. Just stops at the boot lines where my paper is slightly buckling, mending up a little bit too much water down on one side. So I'm just gonna take up any excess. So he's sitting in a puddle just to suck it up. Take the excess moisture via Bosch paper towel. And that's that's got a nice clean all the way over. No no white patches anywhere. No puddles upon this one. And even all the way over. So we are going to be quite bold. We're gonna put this shadow in. So Copia, U2 struggle colors, whichever. With every ship it to you. If you go to college, you use of our money. So I picked up my and kinda genuine and satellite genuine says to quote, shown colors, cool colors. And we're going to put, like we did with the way you can do quite a lot down is right in this far corner. Don't worry. We're going to sort of move over her body for that. Place. Absolutely. Quiet and R naught by a pipe. And then fairly quickly, nice, nice loose, Don't worry to keep complaining about this and just move out. Move out the shadow. I get too far. You don't wanna go. She's not very big. Just at that value you can tilt. If it's not moving, you're gonna have to pay medical bills and allow it to one of the top business. You created yourself here has a little shadow, like shadows and the interesting on eye goo, goo sense of depth and interests a little bit more so light just a little bit stronger. Say, look if I'm piece and judge you MPs. And then we're going to work on Thasos shadows here as well against this, strengthen that up if you've gone a little bit, a little bit weak on the first, first application in just properly way down, if you, if you fail, you look at your PCSK9 much strong enough, then donate anymore to say, judge, the earpiece each as we go along, then yours isn't public AND differ slightly each time the mindset, you have the competence to look at your own pace and judge what you think's gonna be right fuels. Just adding bit moocs on what, a bit more shrimp there. Key glancing at that photo, It's a really good way to down for get carried away the two colors. And a pickup, violet and the tiger xy. And we're just gonna put a tie in the most tiniest little hint, really, really tiny hint of color on the left. Animal rights. And they'd have ten side. Is my new TV thing is doesn't look a lot perfect. Hip-hop. It's got enough too much, they're mine view. So now finished piece or almost what needs to be this? Let us always have no color. And that's why you need this to be nice and strong and give that really nice contrast between the two. This will be a brown down here. You see a slight shadow here. Current knew whether her back joints at lakes kinda talk as I is not very strong but it will give me enough. Just kinda go little bit, neck as well. That is definitely enough. We say we do another layer and I might add a little bit more strength. Pedaling a little bit in that corner there. Took to get away. And what you can do if you're happy with it and it looks enough, then you can do those equal flicks. So we there, my tiny riffle almost headers brush to kinda wet it down because it needs to be you haven't used a brush and it's dry. He just wet it down. It just it just helps everything to move along. And everything's very loose. Just you starting so in the middle and just picking out just a little bit too carried away. Do you think he calls it a flicks? Once it dries, you'll see them. They won't get in any two of these and this side, I have noticed a few pieces of people's work and it's a flicks you need to do really quickly. When you've applied the paint was if the if this area dries and you're trying to pull out a flick, you'll find it looks like it's sort of stuck on. So to try to do it when it's nice and wet. And you've got you've got painted pull out and it's wet things I think of his name. So many aspects when you're painting at all work should have done that already. So I think that I do for the Flix molecule push down. I just want to add just a, I don't want is to be completely wrong. We need a little bit of color on. So I'm going to pick up the tigers i again and the violet because I know they're both very soft colors. And if you squint at your painting, you can see that just a little bit of color. Just so here is an even color, but there's sense centrism. So shadowing, suppose it is white. Mist now has do to have a most orders a, there's a mote from their brown coats in the autumn, winter coats, and obviously they do have a brown phase and vice versa. And once they get the spring kids back in against this one's got any motion is completely white, isn't it? So we worked with the work with this one. So I'm just keeping my eye on that photo of the time is clicking back and forth. And I'm just allowing insurance, trust my instinct with it a little bit. Just a tiny bit. And we say we use the that big old blue brush and I take out. So if you feel like there's too much painted this day, new thinking, oh god, my god, put too much stuff with that can be taken out, but try to keep everything loose. And Jeff, very minimal here. A little bit more and her face here. Just a tiny little bit down as points, I look at yours, if you feel you need a little bit more, little bit more strength and add a little bit more. I'm going to get back to her face now. If you're working in a sort of warmer place, and I've had a few people. Working is a very, very exotic sounding places and their papers drawing quite quickly. So as long as these tacky, you can add a little bit more water. Say, say we've been playing with this and you've looked at your head and it's gone almost tacky and it's starting to dry. Then you can just bury very gently. Just wake up again and put boycott. Pope bought water, aqua color outta. Then. It's just going to add too much water because on when all that hot here, the moment saddle. So I'm going to do, and I want to know about little ear to be a little bit more defined, a little bit more. So I've just got a Tiger. I still held onto that. Just adding the test at minute is bit might get a little bit CPH strength that it's quite nice for is defined in the middle. Don't worry too much about the shape. It's just an impressions. And what analytical bit more CPU up here because when I first applied the up there and put too much, so like January and a little bit bluer down this h has picked up the kaolinite genuine. Thanks just very gently. Just, just watch it. It's so beautiful when you watch it. And it just gives you a slightest little hint. Which under to join up those lines and say I've got a quiet defined line there where we had where we sectioned areas, Officer. And this paper does tend to give me a a so strong line. I'm just trying to soften. So these synthetic and it's, it's natural and it's very sort of bouncy and doesn't give me much Kongjian much pressure. So I'm just too so awakening those two up there. And so filling node two areas up specif. So I'm looking at mind and I'm thinking, Anita, I needed just to make this a little bit more defined. This I have a mosque. And if you can make that out, tell me he's not very defined on on her, but she has a shadow mask here. It goes round and her white, she has to go from premature are spread around her eyes. Doesn't choose to. We we all we do, we we just don't put any color in there. So we showed these if I show you. So I'm just going to work very gently and say, it's got a nice stage and those you find your papers are worth just right. Just giving me the right amount of look. So I'm just strengthening up that mosque. I'm not going into there. And just by the mere fact of not adding any paint in there, you'll find you've got a, you get left with a nice white area. Working a little bit down here. And say, did you get it with more details? You find you end up shifting down your brush venter. That's it. You find it in any detail work at quite an ISP sitting actually, if I'm honest. When you're doing the loose bigger students stuff is nice as Dan, but as you get into them in more detail is sometimes called guideline, that luxury here today. So I'm trying to work on underneath a camera. Just pick up a violet cause I just got a big stack of a violent I think just that one needed a little bit more color there. Sometimes I can't tell you why isn't some intelligent I need to put something. They're not sure why I put that. As we go a little bit too strong, sound, a little bit more tigers i because there's a, there's a line there is sean, pick that out. So if you made a mistake and you think you've got to think too heavy, you can just the stage. Inches long. Is your paper still wet? You can sort of take in, take out. And I'm now beginning because I'm trying to take somebody's color. I'm beginning to lose that nice sepia. Strong line on the Kinsey is kind of at the backend, is very gently hyperfine. Relax. By now. I find this one very, very calming. There are no CPU there. Keep up mosque, tiny little line. Just see where her muslim sort of end. You can do. She's got them IS NOT minute digital news isn't. She's tiny little dot. So I'm just going to stop in just a tiny right on the edge. Trotsky wrote like I did. And I think that's, that's looking pretty good and just having a bush Dan and having a bit of a glance to see if I need anything else are fair. I want something here, so I'm going to pick up that CPU. So ACP pedagogues, I just want a little bit of code on top of that. That's give me everything. Once you start doing self-police Tang, keep everything loose as well. I think she's looking pretty good at she thinks she would do for that that layer. So again, we need to let that dry before we can do another layers. Layers really, really need to be nobly and dry for me. He starts another because it's not an it's damped still within you're far more likely to pick up the undeniably you've already put down to really make sure that I've enjoyed before you start again. 8. Eye: Okay, now I've allowed that to dry beautifully of actually condemned made myself a cup of tea, come back and it's actually dried naturally on its own. Even I would only work in only i is worth making sure it's all dry cuz I'm quite, quite light to come from a big old handling in sputter specific around the place so I make sure it's all nice and dry. So you had a hand in anything. So we're gonna do the I so I pick up a smoothly see a brushes. And we're going to wet the inside of the IN0. A word of caution is really easy to make digital hair, like she's got an array that's too big. So be really, really mindful and careful when you wet the stay inside that little inside. Hello, I am going to pick up my burnt sienna and tigers i, and we're just gonna mix them together. You're going to get them on our bush. Am I just going to drop the o is always looks really odd for a while, so don't panic. What you want is just a nice mix of the two colors. And weeping over cautious and aware of wet peeping, of clicking a bit odd. I'm going to actually paint up to the edges. Say, very, very carefully, you might want to be sitting on this stage. I am desperately wanting to get a little bit closer to our current assumption. Naca poppies setting. You don't really need opposite top my head. I think that's quite nice. Actually. Say keep an eye on that reference photo. She's got shit. You can't see the people that we're going to put that on in on another layer. Just make sure you've got a nice bit of talk. Towards the right hand side goes down. And as it begins to dry in mind actually because I didn't add that much water. You want to pick up your CPI or your dark color CPU is, are definitely worth a worthwhile Collins, I get one. I do use a lot of its strength alike and the color. And we're going to do wasn't enough paint on my brush. And we're gonna go inside, just make sure you say inside and we're gonna do a very gentle knowing define line. You can see she's got like a I might've eyeliner. He go very carefully inside. Don't be tempted go outside somewhere. It's tomorrow, practice PCs. They end up she ended up with a large eyes. I think I did just that my tasks do they I might I make up outside the lie outside WHO I stay inside every cafe just theta and work our way around us. Whether I like these wiggles, I just give it a little bit of a balance. Softness. Step y, partial y heavily. If you think we are iso guy has got a pupil. But if you look, sir, why? Then leave it, Papa Bush? Damn right. I'm going to do and what needs to happen is that needs to dry before we do another lasering and do we have at head while that quickly because it's it's quite tacky already. I know I'm not going to below any of the pigment around, but the word of caution, if you eyes quite wet, then mature dries, poppy civil lawsuit I mentioned. When you drop color with joy, when you first talk about water in, sometimes you can end up with a big bubble of water. You don't want that, you want to suck it up. So if you placed a layer, you've got big bubble. Clean, your brushes, clean, taker, their excess moisture off the damp and to suck just like we did with this corner. Before you add any colleagues that color will just sit on top of that bubble promote. So Kim and I'm just gonna get the adroit. Pick my brush up, make sure that someone enjoy because what you don't want to do is pick, pick up the lay you've already put down two. So psyche assignment we did start with pop it off of water and I think you can maybe the camera show up, but I've got a bubble of water, just like I was talking about a minute ago in years where you don't want to just give a little rustle around to make sure that the colors blending together the event and they're just going to suck it up. That's just the moist or Dr. temp, temp bush. You'll find that the bubble will suck up your brush. Okay, and then just look at your, look you, I now see how that looks. Person one a little bit more burnt sienna in this corner. And it's just a little bit more brightness and color is. And make sure we emphasize that it maybe even a little bit more than is shown on the photo. You can always open, necessarily recommend it with this reference voter, but you can always think we reference photos may turn up the contrast. Lightness e. So if sometimes ANOVA, my pet portraits, I will play with the image a little bit. So I've got something I'm looking at that I can see where the shadows are, any detailing since it's worth bearing in mind. Well, my act now so I'm going to pick up the Thai because I just want a little bit more strength to target IS very soft. It's not like the CPR. He's not gonna give me a very strong I strong cultures. They're concentrating and talking. Okay. And before that drives too much, I'm going to pick up my CPS. We pick up a satellite genuine. So I was looking for working on a very old tube obstacle from our very own cubicula must push when he said, pick up via satellite, genuine, darker pupil color. We just kind of drop that puke when I'd go right in the middle, actually. See how it looks. This is often the stage you're like, oh no. Oh no. So just tiny time. Don't panic about it. They take a lot of finessing and it's always a tiny, tiny little movements that will get you there. And suddenly you're looking at it. You gotta, gotta say, thank you. Time. Going a little bit to wider. To make them a little bit rounder, won't quite get close enough. Cpu interests don't go below in front. You can only take color out again. You can just gently stroke with a damp brushing phone you take color out. So just just feel wrongs that still damp. You can kind of fiddle around a little bit, you add a little bit more water in and blend it again. Just take your time and just keep, keep watching. Don't keep watching, and don't panic. Say yours is going to be probably different than mine. This data is very hard to oversee both to the stage of hair your eyes looking over, I would say is don't panic and just keep looking at that reference photo. And sometimes it's a case you're, you're you're levy or get some way that you're happy with anything or no identical twin have laid that step away from it and come back and look at it again. Could you you must, you can stare at it for too long. I'm quite happy with that. Y can see of it. Quite yet, close enough of it. We've got a bar in front of my camera and stuck my head getting in the way. So is actually physically Colgate close to this this painting. I think I'm going to leave it at that before making any, any larger. We need to let that dry and we're gonna put that tiny little bit of white in there. So again, I'm just going to give it a quick gloss for the hairdryer to so we can quicken this process along for you. But yeah, you can let that dry naturally. Sometimes it's the it's the best way if you can, and you've got time, then it's wasted. Isolette, any of this wall color joined actually evolve and Anna, ahead, rife. But for sake of this today I shall read ahead or over it now. Okay, so now that's nice and dry. So I'm going to pick up my anytime we're gonna use this. What do you do with the whiskers? But generally I don't eat a lot of it. It's a tiny little brush, just trying to wake it up and set on day. We're willing to look and see the way you want to be very careful and very delicate. White point till I needed alloyed. And that's suddenly you don't need catch lights. So this is almost in place of those white dots that you put on there on law. The pieces we've done, this is in place. And if you put a catch light on his well, it's too much. I did play with the idea but didn't quite work. And it doesn't show it on the reference photo either, so it's worth drawing. So I'm just taking a little bit of color out here. It's got a little bit too heavy. Even though that that black or very dark markings show, it goes all the way around. It's quite nice, almost loses this one in this corner here. Actually. I think I need to stop, stop playing with that. And I think that is the R You can, if things don't look quite right still. Before you put that little white light on. You can do another layer. You can do it for five lays, harmonious and slowly build up the colors. But if you're working larger, it's quite hub and a little because you haven't got a lot of room to play with. But yeah, if it didn't, didn't doesn't look quite right before you put that white line in, then another color polynomial l1 to exactly as I was. We give it a second and just build up a slightly different if you wanted it a little bit. I don't quite like mine. A little bit more burnt sienna, sorry, in this corner here. So I'm, I might look at it again later on why people do that in a little bit there, but for now I think that's she's worked out. Okay. So we need to do the final bit so one, make sure that it's nice and dry before we then go on to do the velocity based and PT. So should I join? 9. Head and Body Third Layer: Ok, so that's nice and dry and I feel like I repeat this. Every young calves less than shall I say. Yeah, sure is nice and dry. And then we're going to weight everything down. Apart from the I said, I'm just going to pick up my bigger, bigger, I'm going to go round the is to start with. Now in this layer, we just adjusting where we think we need it. So this is, it becomes a little bit more individual. And what you're painting looks like to what mine looks like. We're going to hang. I feel I want to strengthen this area up again. And the sum her markings, random noise, I'm quite sure enough. So I'm going to a cafe van. You can touch that sepia. I mocking. And that would just softens If your eye looks a little bit staring stuck on. This is a great way to soften it. Just be very, very carefully go around the eye, but just touch some k If you work your way around. Because I'll put hedger over my papers drawing quicker so I can see it. Oh, these onto draw up there. That's the trouble of the hydroids. Well, uhm your paper up into your then your weight lays enjoy quicker. Can I pick up my pickle Bush, gets MOOC or that quicker? And this is the last layer I'm going to do over this, but you can continue to do more. But I always think of just selfish recently done a a black Labrador and that had probably about eight layers. Just cyclist I am citing technique is we're doing here, just kept on building layers because it's adult subject. And it was a big laptop subject as well. And all people have asked me to do PET portraits, but they're all dogs particularly, but I'll do them exactly as I'm showing you. Just how I would do a do a doc doped, right. No difference. It's a second-line techniques. I think that's all of you. So I'm looking at my own pace. I wanted to say a bit more strength here. I want to put it a little bit more as almost a bit to Cyprian dock there. So I'm just going to work my way through K1 pays on work around. You, maybe started even just look around your painting and see where you think you need extra bits. Onto a put. I have picked up so genuine and tiny. Little bit too close to her. I doesn't matter. We can take that out and pick up a little bit of violet color. What do go through? A 303 cubed, three cubed, and that's nice and soft. I want that to me. The Cp is just a little bit too. To borrow a little bit darker, a little bit punctually as well. I think what that role contrast between the almost nothing to being quite strongly for, for kind i in there as well. And what we want to do fairly quickly and say with these flicks, while this is nice and wet steel, we need to do some, just pull out a little bit of that for that needs to be done. Well, this is loving wet still. Say you get this little Stockholm looking effect is if I push down and pick up my little, tiny little rigor and I'm going to start working from somewhere. Sort of they're not from the edge because that's, again, OK. Give you another impression. It stuck. And it's very gently, just a little bit of clicking. You can change brushes as well. You have your brush looks like it too small, too chunky. So it's quite nice to swap. Swap partial is probably going to make a little bit to junky. But so you see what I mean? I've had enough color deck. It's not very faint. They're a bit more color into the body, a little bit more to work with. And go down into the shadow as well. I think it's push it a little bit too big, but hopefully you get the idea that you can change the size of flipsides depending on all the machines. It's so easy to get carried away when he flicks and you don't want them all the way round, it would look too, too stuck on to uniformed, show little bit targets are to tiny little bounded layer on the Hadoop chin, neck. Beginnings a dry so if I'm not careful, I'm going to have half a painting still wet. So it's drawings, and then half of it is too wet and that's always a tricky stage. So while it's tacky, and I can see stills tacky, I'm just gonna add a little bit more water. It gives you a bit more time to play. If you find you've got one draw area on one rather wet areas and ways. We said tricky stage is almost worth and letting it dry and starting again. The old wall is still old painting, still damp. Then you can get away with adding a little bit more water and then continuing on a little bit at tigers out there, I think. Go we go, you gotta instinct. And kinda just down the way you can eat in any lines up. Maybe if he Just got a little bit remedy. Sometimes you can then just, just neaten them up like this. And get you wanna tiny, tiny spit of colleges, Hannah, see what? Just draw it. Only hope. Joy that I just want to head the tiniest hint of color there, a blue. So I seeing it's almost too much. You can see that these are losing, that lovely lost and found effect isn't already just by adding that tiny amount to kinda take it after too much. But I just used some of it for flick. Ok. Thanks. I just wanted to keep my stand up a little bit. If you're sitting in the stand up but just have a look and glance at your painting loans that you reference photo. Some of these down clutching the MOOC. You're going to pick up the tog is I because that's say Mondavi soft color. A little bit. This will give you an impression. That's what deep, which is a little bit down. Pick up the violet as well. So I'm not using the violet and targets. I didn't go inside here into that dark area if you want, kilobit Brown If you want. So don't be afraid of adding column on top of the top of another colleague would he got down? Is to show you the screen to work as well as help us point who I got that right. Emphasize is quite, it's quite a lot of emphasis here isn't a disjoin. Gives that lies to the shape eating sea where she sort of sitting, twisting your body round. Just put into a dry patch down the line. I have a big bubble of water sitting here going to soccer with medication or a tiny bit of time talking a little bit. Emphasize that join. And as you build up delays, the paint won't spread as, as quickly either. So that's another tip to remember. When you first lovey white piece of paper and you pop it down and it spreads like that. So as you build up the layers you weren't, you'll find your paint same amount of paint won't spread as much. So again, another way you gain that control. Let me put it down so I'm going to do a bit to volunteer and on her face as moving up a little bit too much, I think I've just picked out tonight. Come almost there actually is a little bit stronger here. Psi because this is beginning to draw. I now know that if I put this down here, it's not going to go very far. I can emphasize this again up here. Strengthened lab condition tone you can fix as well and that's quite sweet as well as have a few fixed on top of a forehead. Okay, because I've just added tog is a target I sodium satellite genuine up there and I got something to work with him. Pull out. Be careful because the It's not a very, very large area we are working with. It's very easy to study, to create big long, long has just want Walmart. That ear is still little bit tacky and actual warm working and I went down. I just want to add a little bit of CPU in there. That is to me, almost going down too much easy. It's quite a long lines. I just want to break it up a little bit. Don't want necessarily to do all that shape, but just to me, it's just drawing the eye down a little bit too quickly. That's too much. Okay. I think I've fiddled enough. Bows down. We're going to draw her off again. And then we're going to do the very, very lossy little bits and pieces where we take color out. And so this is where we find you to complete the snippet that Micah come to life. And I do know what I haven't done that. Here. There's a tiny needle low and it comes out to her. I just kinda pick up my CPI and put that in actually to put my fist in the wet area. Just just to me. Sometimes as tiny little base, which was fun at the MD doing a tiny thinkers, what must stop. Okay, let's give our dry and where do the last little bit. 10. Finishing Off: Okay, a little dry hair. Why want to do now this is all the law, simply tinkering middle bits, found deceit, lie. Just looking. I want to put a little bit more width. I know I said about the little bit of a CNS. What I'm going to do, graph-based is all dry somewhere I shied adding any weight and want to put a little bit in this corner here. I'm actually going to go around outside of the LA. So my brushes, it's damp and I've got a little bit of color on there. Very gently, just, just to describe it really just booms up a little bit. So just blends as well to help, helps that sepia, which squashed or can be quite strong, bold, sort of a hard color. And that's just me just warmed up at fractions, tiny spades is just that. It's barely, barely recognize boys net, but when you look away, it just gives a little bit of warmth. That's all I wanted to do on that piece. I'm going to do I'm just going to whiz ahead. Drove that quickly so I know it is nice and dry cuz we're gonna do a bit of moping out and taking these pencil mark sounds and lights are gonna read ahead driver that. So I'm going to bring back my two wiping out Bush's. First, this is the fun bit, grubby little. Okay. And we're going to rub out these pencil marks and this is where hopefully, if you haven't gone to boldly pencil marks, you will get these lovely, kinda lost and found. Look we're trying to achieve. And we're also going to do a bit of taking Colorado as well with some question. And if you've gone less light whom you may have found, you suddenly got some nice white paper. This junction here between this isn't for me at the moment. I haven't got one white enough Humarr done. So what we're going to do, popular Baba down again to get clean kitchen or you start off nice and clean. They pick up the big brush. And it's that's where it will be holding a bit of kitchen row matrix. That's where you want to damp. You don't want it wet and we're going to take color out. So I'm just describing very gently and it depends on your brushes. Some are softer. I know wants take quite a bit of thought loss, color their boat. Yeah, I want to take what I've got out. So this brush is perfect for this. I'm going to tab and then you can start to see that lovely effect, isn't it, of the lost and found. And work my way down little bit half. Being a little bit more gentle, nuclei could have avoided decimal mildly practice species. It didn't really get to add too much caught onto this left-hand side. Putter. Philosophy is illustrating the class. Now you need to just go round your UI and see where you want. Color taking out. Here is, see, I haven't got much color here anyway, but you may find, you won't take it little bit car out there. And underneath it's quite nice to quite a hard line and the moment just to soften that line down a little bit. Then I gave you and take too much out because you can go the other way and it disappears, which you dissipate. And I wanted just to take just a little bit off the top of this shadow. It's a little bit, I think it's a little bit rough. I think it gives the impression that it is a bit of a rough snow there and it's the light falling on it differently. And we'll say if you've got a little bit about my water my into my nose, if you don't want to take out when I did that, you can then take them out now. Just like you just said. And I'm going to put that one down. I'm going to pick up clinical. She's really brush because this one's a little bit more, a little finer. And I want to go down. Jumping around here, isn't it? I should have been working my way around the hair. Can help myself. I just saw this bit here needed doing. So we're just going to try and take out that any color here, say Tokyo reference photo, they should go really just wants. And also just a little bit, hey, want some lines, but not all lines goes up a little bit, doesn't it? And again, with a mosque, depending on how yours looked carefully, I want to try and keep as CP objects putting. I'm just going to be very careful if a cheese link sculpting, take a little bit out there that can really autoharp expression to be careful. The tiny, tiny little tweaks at the end and it's way so IES funds to just take your time might be quite nice to before you start the finishing off. Committees have Cup TC will kind of relaxed in a bit of time. And there's a little bit a nice light here is I'm just going to, and so partially because I know my natural brushes won't take as much cholera out. So I'm just taking With that, we'll probably take out all the layers. This might just take out the first maybe number three layer, maybe down to the second disco. Careful. Jumping around, Hadoop. And we dropped that water droplet, they're yours may have worked a little bit better, but well, I didn't really work that well. So I'm just going to try and take that. Never put a color out. Yours might've worked perfectly. You would need to go. Now, I'm just going to step away. Make sure I'm not getting to overzealous with my taking stuff out. And I think yeah, I think she's she looks quite good and it gets a little bit old to me. And I want to put on, just pick up this kaolinite genuine. And there's a line down here and I'm going to just pick a wet line down here. At that point, I just get a little bit of define line there. That's quite nice to have that on. The other side will be pushed out there. Didn't just want to make sure I emphasize and out those shadows and the junction between light and dark. Pick up tigers. I'd just run down. And I'm going to soften a odometry. Too much. Pushing back in a little bit. My big push to it, clean, color back up again. Or if I really want to make sure that's light, school, barely any column that left-hand side. Sometimes you feel like you putting on just take it back out again, but it's the smallest suggestions. Do thinks you're almost ready for her whiskers. So you can either do it those with a very sharp pencil if you're not feeling confident, I'm just gonna go with it and going to is it a little bit of soda-lime genuine? Or Tony is the brushes and you might want to practice this on a scrap piece of paper for use of commit as it's trying to keep you, you wished lovely enlight and start. We've been overworking. Start somewhere. He invented cheek, just, just very carefully pull out knife, I think on my brush. Quite a bit harder. Ones. That's enough. Give her too many risk is I think that is my little hair done. I think I'm I'm pretty pleased with her. Now you can add a few spaces and I will show I had some that had spatters and some that didn't. So let's do a feast battles with this one. So I'm gonna use my synthetic brush because I know that those dozen good patters for me. And again, this might be a good place to try on a scrap of paper for, for your game, for you commit. Might even do that myself before I go into doing it. I think that's about right. And you just with your finger, just flick back the bullshit like that. Use a toothbrush because it depends on you. Look, you're going for and you can tap. And that'll give you a bigger, bigger probes on a little bit wild. And I think she's complete. I would I always like to look at them the next day. So you may put put that aside. And the following day or maybe the afternoon went whenever you time Eve, you've done this. A couple of hours. Come back and look at it again and see if you think anything nice, adjusting. If you really feel This has been a bit, yours has been a bit little bit washed out and it's not strong enough. As I say, you can go back over everything down again. And you may only want to add a little bit more strength here. But you really need to watch everything down to stop these funny watermarks. And then just add a little bit more color. Say Be brave Doom again, the OHIM lesser, calling him a Hema has m0 times. But, or you may be just the face you can deny. You probably get away with just wetting the head area and that is and you can probably adjusted a little bit there. But yeah, I hope you enjoy painting her. 11. Final Thoughts: I really hope you enjoy painting these no hair. Even I found these claws relaxing to teach. Did you enjoy painting her with those FSR soft layers? How did the shadow go? The painting just wouldn't be the same without it. It helps I to ground her and gives the impression of snow all around. To hook my tips and tricks helped it really ease the smallest suggestions and the time observing a work at the end that really makes your painting come to life. Always helps me to do my work the next day you with a fresh pair of eyes. So we look forward to seeing you in the next class.