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

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

Jane Davies, Professional Artist and Teacher

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

Jane Davies, Professional Artist and Teacher

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12 Lessons (1h 37m)
    • 1. Introduction

      3:01
    • 2. Materials

      5:09
    • 3. Sketching Out

      2:23
    • 4. Antlers

      9:30
    • 5. Ears

      3:24
    • 6. Chest

      8:26
    • 7. Head First Layer

      11:49
    • 8. Head Second Layer

      11:23
    • 9. Eyes Nose and Mouth

      12:12
    • 10. Finishing Off

      17:22
    • 11. Baubles

      10:42
    • 12. Final Thoughts

      1:20
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About This Class

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

In this class, we will look at multiple ways to use this liberating wet on wet technique to paint ourselves this festive stag 

You will gain 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!

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I will show you:

How to paint this stag using soft layers/washes to build up depth and character

  • How to create those wonderful loosely painted antlers with the lightest of touches
  • How to section areas off then soften and blend using layers
  • How to have to confidence to tilt your painting and apply several colours together and allow to run
  • How to paint those lovely baubles in a very easy to apply method
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting the handsome and festive stag and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"That’s the shortest and best class on Skillshare"

“Jane has immediately become my favourite SkillShare teacher! Her unique style and explanations of how and why are fantastic! Thank you, Jane! ”

"A very enjoyable way to begin to learn the fun and skill of watercolour"

“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.”

“Hello Jane, I viewed your lessons fully and will rewatch and paint. I see where wet in wet can be an enhanced feature for illustration. Listening with my headphones and the chirping bird in the background was a lovely feature :). I have a Samsung tablet and the resolution and sound is really beautiful for your lessons.”

"This class exceeded my expectations! Wow, congratulations Jane!! Just watching this through... I just LOVE trees, they are my enduring love, so I may take some time out from surface pattern designing to just relax and watch the paint flow where it wants! Love DS watercolours too, so I'll have a rummage about, see if I have some granulating ones too. Thank You! Lovely bright, cheery class :O)

"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

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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Transcripts

1. Introduction: Hello and welcome to this intermediate water caucus, where we'll be painting these habits of festive stack. Now don't worry if you don't want to do the Boer Wars, it doesn't matter. It's an optional extra at the end of the class. We haven't done my beginning classes are suggest going back and looking at those first before taking the plunge and doing this lovely festive cycle. I'm Jane Davis. I live, paint, teach. I 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 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, who as part of a group in a wonderful studio in the heart of the self-doubt. I also run a successful commission-based business, painting PET portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time. Or I can guide you to keeping your work loose and fresh without ever fussing. I'll be sharing lots of tips and tricks along the way to. I provided you with a template and a beautiful reference photo of the stack in the resources pages. The template will give you the right shape so you can just enjoy painting him. We will be exploring many techniques in this class, including tilting the paper to allow mix colors to running together. We will be adding multiple layers to build up depth and interest. And I'll show you how to control the paint in a gentle way. I'll be sharing some of my thoughts, tips and tricks on taking the time at the end of the painting to bring these wonderful stack to life. If you'd like to learn more about me, all my work, please pop over to my website at Jane Davies watercolors dot co dot uk is can be found on my profile along with links to my Instagram and Facebook pages. I'm very active on my social media pages. Go, 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 page. Has a love seeing them our 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 rather handsome and beautiful festive stack. Now you might be thinking, or you may be in the middle of summer thinking, I don't want Papal bulls on my stack, then you don't have to. And that's where he looks like without there's a chapter right at the very end where we just pop the ball wars on. If you're wanting to do a, a Christmas the theme, but if you don't then of CDO need to entirely up to you. So we're using a really lovely copilot for this one because I, personally, I want to make this a little bit more festive and cooler, more wintry has been, as I say, just talking about your good color choices. If you're if you wanted to be a little bit warmer than you, the warmer palette, if you want to make a bit quirky can cause and pinks and purples is no White along with this. So don't be fooled. Restricted in film, you have to use the exact colors. I've got to be really interesting to say your, your mixes. I'd probably go with six paints that gives you a nice sort of mix, a nice combination to use. So I'm using, oh, Daniel Smith as normal. And I personally got a satellite genuine, one of my favorites and one if you've watched my classes, you'll, you'll get familiar with these colors. And this is his lovely, very dark granulate in blue here. I've got a C99, genuine and new one for me, not one I've used a lot, but it's loveliness costs right-wing CO2, it's as perfect for this is some festival. I got sepia. I love Cp is really lovely. Enrich holds its ground. It doesn't ways across the page too much my, I apply. It's, it's a, it's a nice painting when I use a lot. Along with the bird hikers are another favorite of mine. And that's got warmer, slightly warmer, Brown on a safe and it's got some nice granulation. It's great for Deniz, atlas. And I've got some burnt sienna. And I don't use a lot. It's just a couple of little bit say hint here. And in, in his eyes, then I've got ultramarine violet. And that against just mixed, getting just a little bit of variation on his head and obviously on the bobbles. And then we've got a neck or say, whack, all be found in the resources pages. So you don't feel you have to memorize those. And then we have our template. And that again can be found in the resources pages. Say I'd highly recommend downloading that and drawing round. Or however, people do some other clever things, but I would use it and it's, it just get the right shape then and you're not having to worry about the complications of sketching amount. Even included some disks if you do your Goebbels. And what else have I got to tell you, a hair dryer is, again, it's not essential but handy to draw, to draw, to draw between chapters and the paper I'm using today now a match. She'd got a stretched boards quite oblige board today. And it's blocking fit. And this is a 140 pound, but he's been stretched, so I haven't tried stretching paper before. He is good, is good is always highly recommended really, then it will stop, stop. I need this buckling and you have a lovely flat surface to work on. And I would google it if I'm honest. And if you are unsure about how to stretch paper, there'd be lots and lots of videos on how to do it. Go IPO, I've got my pot of water as normal. I've gone a little bit of gum here, which is to do the snowflakes. You don't need to. If you're not doing the snowy stack, then that's not necessary. And I've actually got a very old monkey, Bosch, but she's just to apply the gum, whatever you do, use your lobby Bosch's on supply gum because it will ruin them. I got a little pencil, just a Duomo moment RAM mistake. And I've got I've got tunnel for today. I've got little rigor is just to do some eyelashes actually in some fluxes, it's only a small brush. So if any, any small brush you have will be fine. I've got a size ten and I've got a slightly smaller as a for. And I've actually got a little cheater one for just that down here you can see is a nice point. Has cheated. See that. And that's for taking little bits of color out, taking some CO2 out here on his sum for a nice, nice arrays, a brush and I like it. And it actually sympathetic. I find the synthetic would take color OUT better than any natural resources. That's clean tip worth remembering. I have got my little heart and that is about an inch high. And that's just one of those stages are one of the chapters. We raise our ball a little bit so it allows the papers are ones that just gives me a little bit of elevation. Then I've got paper, towel or kitchen role. And I think that is all you need to know for materials. So I shall show you how we get about go about sketching them out and painting him. 3. Sketching Out: Now take any opportunity to sketch him out offline so you don't have to watch me carefully covert my stencil, but I will give you a few tips now if you, if you do cut yourself out to Central and you obviously go very carefully around there, it's worth once you've taken your stencil away, just taken the time to go carefully round and sort of sharp but up some of these entities, antlers and just, just refining because estates will give you very round blond he dens same easy is just, just make sure you've got lovely shape and his eyes are get everything looking right. So when you look at him, he yeah, he looks right. Cross-reference to your lovely reference photo. Pick. What's Marie I found really helpful is to flick my eyes from the reference photo to my drawing or painting when I come on to painting and that they almost superimposed on top of one another and go, Yep, that's not quite right. So just take your time. And I think the other little tips, he looks a bit jolly at the moment, but you don't really see this bit that is quite an important layer, so pop it on. But he won't necessarily look so generally when we when we come to hate him. So once you've got your painting, your, your, your, your sketch, how you like it, then what we will do is to put this gum on at this stage. So give it a shake. If you're going to put those flicks are going to give you an impression of snow. We need to put those on right at the beginning and let those dry. So I've got my gum here. I'm a very, very old. Say don't, don't ever use and lovely push bush that loaded up nicely. And we want to do is sort of tap. She says, and then we go and we want to, I'm going to have to do some flicks at the end as well. And I want my flicks to sort of run this way is it's those coming across the page. So you also want to give the impression of that doing the come, doing the same. Now if you get, obviously, we don't have a loss of psi aware these end up falling. So I can say one and absorbing into the, I know I've gone in there, but I'm going to let that completely dry and this rub any any specs that I think aren't quite in the right place. We're going to look a bit funny in the painting. So what we need to do is to let that let your gum dry and then we can start the first layer. 4. Antlers: Okay, so this is the digital DOM is really up in John, I've already taken that little speck, the buzz in the eye that looked a bit bit order and a couple of ones that I thought were a little bit too chunky. So we're going to start painting. We're gonna do the janitors first. So grab your little whatever you've you've chosen. It's about an inch. Hi, I'm just caught the app again to tilt it so the paper runs pavements down so can't quite see this is off camera just popping under my board and I've got a slight tilt. Just allow that to run. Pick up your big brush, load up BU that lovely water, make sure your buses could do soaked. And then very carefully, we're going to wet the entrance and take your time with this because you don't really want the paint to go outside your carefully drawn antlers is very easy to do because you and I tip is that if you and I might do, is just to add a tiny amount of color. So you can just see where you put your water sometimes helps. So I will just add a little bit at bedtime because like it's very soft color. And I can then see a little bit more. Well, I put mobile to just take you time. And it might be as well as the Gropius slightly smaller brush. And just get moist up to those little ends. And make sure it's nice and wet. We want we're going to add the paint to the base here and allow it to run. And it worse comes to worse. I can see I've just gone outside that line there already. We can tidy that up and that's why that digital judo Bush I showed you Sandy Bosch. My bigger brush down, clinching hold of it. Tips. Colors on civil I'm doing comes better. Again. You could just Bobby ahead. So just ducky heat up and down. And you'll go to see the gleaned out on the watercolor paper. You want it, you really want it nice and wet. Because say if it's not wet, the paint won't travel and that's what we want. I think is a common when you're first starting out is it's a bit daunting to drench the paper, but there needs to be lovely and wet but not, not too saturated. Who is a, he's a curve isn't alleles that Goldilocks, you want it nice and saturated, but if it's bubbling or you can see it. Yeah, bubbling on top and that's a little bit too much water and the paint will just sit. Then on top. I think I can see this machine in my window. That's nice. It just about right. So what we're gonna do. They burn tigers. I is lovely for this, and it's IV. If you haven't tried bird target or hadn't got it and then it's a lovely paint. I'm going to use that and you watch how this spreads and granulate some granny lighting. It's just a it's just got pigment in it at all. Is it sounds, sounds, big postures and IP is it's nothing can very technical. And you were just adding the base mainly. We want it nice and dark and I quite like it where the analyte almost disappears. The x0, this one we're going to have, this one is a slightly lighter one. It's quite handy to have that. The actual photo of the finished piece I've painted in front of you as well. So you can see as well as your efforts photo. So don't be a slave to a reference photo. It's a very detailed, beautiful picture, but you get very D to onesies. Sometimes very easy to just keep going and making a details. You can just kind of give this a slight raise, just gonna rise out and just be careful because what we're doing, we're just encourage it to one further down. But this will also end up with some bubbles at the bottom here to just suck those up or your brush o either VGA take YOU accessible to offer your kitchen will want you get, you know, we just want to always add water here. He just dropped ball to there he can see and that's that's the one you don't really painting. You're just allowing paint to run. Then we're just gonna put that down for a minute. I'm going to pick up that. I'm putting on Bush and keep butchering. This is kainate, genuine, coin it. So he, Daniel Smith. And I'm gonna put that on top of the burn tigers. I and I give it a little bit more depth. And you can add a little bit at the end again and allow that to run. Just, I've just lived tilting my board again, you can will be hopefully see that as from running, just trying to keep an eye, this doesn't fall off the end. Run encouraged into them. Spear antler. So as much as you can allow the paint to run and do its own thing of new interfering the better. So we're very tempting to keep painting which I lit it, try let, allowing it to run much using my smaller size for the moment. Just to give myself a little. So I've picked up the ultramarine violin. Hotel one for colors are just, it's just very instinctive. I will pick up this and my no, maybe not very helpful for you to learn. But to go with your gut feeling. If you feel there's a certain color you want in a certain area. Go we go. You've got feeling burnt out because I again, I just want to add a little bit up there. And I don't want to do too much. It's very easy to overdo these antlers and it's lovely to have that sort of Lost and Found. So that's where it almost disappears. You have no color. We wrote this, the pencil marks out a little earlier than we normally do. This. Nice is you can see where you're going with it. I'll see that sort of image. You've got the illusionary you go to that Lawson found. I think that's nice for that. I'm not going to fill any more than that. I'm going to go on to the next one. Just check it's nice and wet because we go see what that down a little earlier. A little bit more water. And I always say mortgage juice a little bit less and I wanted to as much when there's one. That's better that's running now. Just going a little bit up here. And all the while I'm standing, I'm not sitting at this stage. I think if you want your stuff to very loose and at the beginning you can Standing helps it just stops you getting too close and getting to my newly detailed with it is it's good when you get to the o towards the end and you got eyes to do then it's sittings quite nice. But, and at the beginning, whenever things dumping, losing, allowing things to run its better to I think it's better to stand but give it a go if you've never tried. So I've just picked up my ultramarine violet obviously want ultimately about admits. Talk until I say fully your instinct out to there a little bit. And don't worry if you haven't covered at all. When you take, take this pencil marked off your, you'll find it's really lovely that you haven't covered at all. And it's almost disappear. And it gives you a really lovely soft look. Tiny corner. I'll call it like that. I think that's probably enough. I will say this, it's enough. And then I stopped painting in just a little bit. Might actually grandma sepia might pop a little bit. Fishy, still damp. She is just a little bit of strength to the bottom. So not going to do that is again says it is no more layers to these. So this is what you see now is what you get on the finished painting said, makes you in, say, actually aligned the nice, nothing needs to be, CAN. Don't panic if you've gone out somewhere up here, made it into a bit of that, going outside my line, but that can be adjusted at the Hindus. Don't panic too much. But that's it popped up down. And now we need to allow that to draw. I'm just making sure I'm going to be baboons at the end here that suddenly going to wash off the pages. I don't want I'm just sucking those upsets. Gave a Bosch soak it up with the kitchen role. Just tap. Hopefully. 5. Ears: Now we're going to do the next little bit sectioning parts off rarely. So I'm going to take my little love hot sum then working flat again. It's not tilting. Some of these will run slightly down, but don't worry too much. We, we've got the main main RAM. So much She's continuing my size for Bush actually. And I'm going to what this is, is covering it all over water, all nice and wet to the other at the same time. Just be careful you don't touch these antler when your ears are quite an, quite close to the antler, you don't want if you were to touch the antler with a wet brush or this lobby paint more rushed down into the one that now I'm Sam, I'm all I'm working attitudes again, if you haven't followed any muthos issue, you may think this is a law that shave you've just happened upon me. I like working stress that you don't get a lovely concentration. I don't tend to waste much either because it's not sitting on pallets or orbital plates that are used to use. It's a gift that I gave you never tried is it's quite fun. So I picked up my sepia satellite genuine, and I've got this Carnot genuine and you can hold in your hand at the same time, it's really 3D satisfy. And we're going to, and you can load your brush up but different colors and you're trying to say you can put same colors on, on your brush at the same time. So we find doing that as well. And we're going to just work round the year. We're not gonna go inside. There were taught just as nice as quite a low concentration on this quite boldness. The advantage to working straight out of the tube can get lobby concentration of color. And I'm just placing of just allowing it, not doing any more than that and just say, hey, that's running in and set Kainai genuine. It's lovely. Am I just leave it at that? Actually, what we do in one of the other layers is we went down and just the mere fact that some of these color from the head runs into the ear and you will just give enough background color. It's all I tried to keep that really loose. Lovely, Lost and Found. Look. We're not going to do a lot of paintings. It's just, I'm just doubling, doubling again. Just touching. It gets Lovely. Patents and Marx, anything that looks like what actually AMI and just leave. The joys are just placing more than actually painting anything. It just allows a painter before you do its own thing. Merging with other painters was quite fun about adding the same colors on your brush at the same time. And you get, just get not mix. I think. And I think I'm going to do much more to that are like that. Then we'll do the next next part. 6. Chest: Moiety, WHO home with the next layer. So pick up your, get bigger, bigger Bashir going to, going to pick a solid brush and we're going to weight down. Now. It's all about sort of doing sections here. So we're going to weight down this area here. So I could it according to the lower cheeks. So this asset is quite makes him look a bit January the stage, but this is actually popping more his his head and chest. But if it's a combination of the two, but we need to get them. So we're going to carefully go round his muzzle, round his chin. And you want the crappy little, little brush him not to go to light up a little bit more collegial PC1 doing money. These colors just for you to say, well, I've wept stuff down than to worry about I didn't know individually adding color this David, just so you can see where I've wet. And then P can get an idea that's where lemme wait, pushes on down, pick up, might be gone again. Lots of love you alter. I'm going to meltdown. I haven't got them out today. This I haven't gotten to actually fix this tank, so it doesn't matter which is going to let this, I'm going to just pull it down a little bit further. So this will not most of the other classes we've had amount. And we've obviously worked within a and a boxed area, but yeah, I'm going today we free-flowing wet towels, Vasa C. That's just for you to say fama, Which is gone then. I appreciate you not might not be able to see that. Okay, those that live in wet grab beautiful utility. Tricky thing to pop out underneath the painting. So it's just giving us a tilt. Yeah. Keep keep the nice big brush. And we're going to start at the top underneath, which is on the facade. It'll be there. Got some satellite genuine. I'm going to pick up my burn tai chi. And that kind of genuine. I think let's go with those three. Just kibbutzim, the two blues. I'm just going to drop and allow that to one. That's what you want. It's just just touching. So everything's fairly loose. I'm just allowing that to one. Word of caution is you keep adding water and paint your again financing, see how big that bubble is water. You can pick up your kitchen roll or you brush the kitchen was quite good. Soaks up even more, just suck that up. You can allow it to run. Some of these drip marks are quite fun, but tend not to do that. And that's a little bit of photography popular when you put them on top of one another, don't be afraid, just let it run its transit. Let you get he says let me subconscious go. Yeah, that's where it needs to go. It's not an easy state to get into. Do you confess? But that's, that's the idea. You know, I deal done lots of practices. This some stack before we, for I filmed it and it was this into Sherlock Holmes audiobook. And that's sort of almost takes your mind off thinking too much about your painting. So, yeah, twice a musical on audiobook. Needs and very relaxing. Make sure that it'll pick up the i gets covered. And we've just letting it run. If you see any reference photo, we got a little bit of alloying going there has nice it just just add a little bit more paint. 31. As I just share what Shabaab whose cuz if you've got a big pool of water, it's, it's not allowing it to run down, say just brush now, almost acting as a barrier. And you can another technique, you can pull it down with a wet brush. That's just going, I'm going a bit further down. That is drawing it down, then that's allowing it to run a little bit more. And look at your own pace. You think somebody's putting their due. So you try and try especially County use you, you sort of instinct and look at your keep your eye on that reference photo. Pick your eyes back and forth. Keep it Bosch, nice and loose. Definitely try standing at this stage. So I'd be a slave to the colored. Say that, that's on there. You drive yourself mad. That Alexandra, very soft caliber antagonize is love labor. It's not particularly punchy. And when you get to something you're you're happy, wait, stop. Don't, don't keep fiddling. It's very easy, especially when you are enjoying the process, just carry on. But I think he's not too bad actually. We don't do anymore. Lays over this bottom part of his chest. So make sure you got something your your happy with and you've got enough paint because we say we go with this little bit here but not down for them. Well, it just might just pop a little bit of violet. Why not? Try clean your brushes well before you apply and you can see just a little bit and say to my seeking squint your eyes sometimes that helps as well to get a gauge of the column, Stanley, step back. Yeah, I like him cylinder, popular those colors down. I'm going to go up that tiny little bush. It's just dissipate underneath mine. Is if I put that down sets or is it the rigor, you don't need a bigger just a small brush. And we're going to recap some of those. So it's nice and loose holding at the end. Just, just flick and you can even start somewhere in, in the pin tools, the body. It can even do you think now's as we lead to simpler trees, every natural sort of as well. But then to here then get too carried away with one of the satisfying things to, to do for you know, it. You've made a very fluffy D. And if it hasn't run and you want some talk more run marks, you can I don't want to do to money you mine because I caught like the mountain runoff got but you can add just water. So that's it. Maybe not as partially with us gets slightly large once you fill up your brush and even just drop water. And it will slowly run down giving you a little bit more one marks. And again, keep your eye on this minds dot into getting puddle and Boston ESA, cleaner Bosch. Take your excess moisture off. So you can either use a brush with or kitchen while we haven't actually got a bit clean water to hand him, limit, abandoned it somewhere. Coastal studio. And what we're going to do with this sigmoidal package and was quite damp. Noun is ideally what you want. Pick it up. If it's too wet. One is messy. And we're going to just very carefully. Just dab is all my I'm just letting that almost fall actually onto the page. And it's just giving, you, see that it's just giving you a little bit of texture. Do too much. I think that's enough for me because you don't want it. You don't wanna take too much color out either. And that's C chest severe. Have you lovey stack down. 7. Head First Layer: Okay, so this is lovely and dry and I should have mentioned in the last chapter, make sure once you finish this Kim applause for the hairdo, I forgot headroom or just leave them to dry naturally. That's the ideal because you're not interfering too much, blowing colored pigments around. But you see how lovely DZ is a dry day. They pretty much dried naturally actually and they look, they look greatness, just dropping that coloring, isn't it? What we're gonna do, we're gonna actually rubbed out these pencil marks on the antlers. And you can see that lovely, lost and found and isn't ease nice. Vc your, your painting beginning to take shape. Boy, you're painting kind of inspires you and keep you, keeps you going. So I felt mentioned in the materials you need to digital potty Weber or a rubber. So we're going to carefully, initially, it's going to take that stand out so to get rid of that. So we're working flat again now. Let's straight. Look very good at being orderly. Has my husband will tell you. Right? And we're going to make sure these lovely joy, a major, they are really lovely and dry before you up because you don't want to do is to take any take any cut if there would be robbing which paint around and if you've got some gum that doesn't matter, that can be rubbed off as well, saying time and say we're not planning going back, oh, this atlas again. And you can see almost disappeared as almost, almost disappeared too much in that corner there. But it's lovely to just disappears and merges into a better lover. Say if you want yours to be bolder than people in the beginning, we can always do those to the aids as well as what goes out. She can get that loving, again, Lost and Found. Look, it might be quite fine if you've got GEM, lots of nominees, ease and whole via felt, don't log that, sets up the gum out. So say we're gonna do another layer over those. I might do is just to tidy up. So if I've got a little bit here, that's got a bit messy. So I'm just gonna tie did out desal. I've got something nice. When I'm carrying on with the rest of the painting is beginning to take shape and look nice. And when a glance up, I'm, yeah, I feel inspired because it's looking good. You see Missy Bateson sometimes it can be enough just to drop the competent. It'll make you feel a little bit threats about it so you can keep your painting look as nice as you can. And just keep your morale going. I think put that back there. And we're going to we're going to go do his face now. It could be a big bush who's going to get that down. That's also nice water and if you, if you would just got muddy then niceness freshwater. But I think we think that's a good sign if you quote, is quite clean. You got halfway through your painting. January means you've been quite careful and you've been mindful of not getting to putting too much paint around and getting how to explain it really. If my water is clean, my paintings usually good. He's just a sign that you haven't fiddled too much. You haven't been keeping a boutique paintbrush back in and out and trying to find out the colors on. So that's always a sign for me anyway. It's my water clean, my paintings probably probably working out. Okay. And again, what we can stay around the eyes, making it very clear and round his muscles. We're not, we're not going inside that muscle is doing and going down to these little cheeks. So go ready carefully around those eyes. He may want a little bush does to t get locked into those corners. We're not doing anything with disease, but just the mere fact of wetting this down some of that color would just slightly bleed into those white areas. And when we add color here, some of that Mobley back in. And it's just enough you don't need to do anymore than that feeling. And the more you do, the better it's going to be. But who'd color? Sadly, it's not always the case. I can see that's not enjoying. You want all all where you don't want any weight. When he went any dry patches in there, he wanted to live in wet. So I might pick up my signs for spotted them. We're going to pick up the sepia and we're going to pick up the satellite genuine fatter. Anyway. So dark current says quite dark on top of his head and we were going to work, let's say the joys of working strata achieving get nice paint on there. And we just drop no, no painting. There's no brushstrokes home, just almost doubling. Again. We're trying to get that as soon as light and dark in there isn't. You could use salt. I did try to clip it a sole. You've never tried soaked, it's quite fun to you can sprinkle on top and didn't find it quite worked. But you may want to have a play with that if you're familiar with using. So now this will continue spreading. We're doing another layer over him so we don't wanna get too carried away with my books remarks. Suggest that just allow is to allow as much as you can. Put those down. Can I pick up that kainate genuine going a little bit of purple. And we might have that burnt sienna. And nice coder, those working straight out. Nice concentration again. And then we just again, just doubling. Say fully you instinctively, If you feel it needs something somewhere else with a different color, put unlocked, you have an exact colors I've got so you have to use your use your instinct tinea, sexual running inadequate you much and I've missed, clip it. Dry, passionate cilia. Deconcentration accounting to be able to speak and deep concentrate together. So if I'm totally going very quiet, it's obviously thinking about something so you can keep taking little bits because over the top, the top speed eyes are white. So you can put it as I do, you can add and so to say almost take away at the same time. So if you feel that's running too much into his paler areas and you just Just low-key up just to put in there. It's getting a little bit warm for me. So I might put those down, is really concentrating enough on that kinda. Papa going to pick up sepia. Better, cooling it down again. Looking a little bit too warm or middle bit to pink for my liking. And as soon as you're happy with it and you think that the marks you've made look pleasing and right, I think that's fine. We just bear in mind, we're doing this again. So you don't have to get this right at the, on this layer. We're going to move down to heeds. No, no, I didn't. Fully why instruction clear enough. We are going to come down here with a wet brush size. And he was his ships do not and whetstone, It's absolutely fine. Which kind of under one down underneath there. You can see that. So that's that sort of Qin Zhao ulema, as I said earlier, that it's making new Jahiliyya is sort of part of his chest. So get worse again. So in US mean that reading my notes properly and we're going to have burnt TOEIC is i and a bit as sepia. We're going to drop color. You need to be quite heavy. We're not doing this little area again. We're doing the head but not he's still to January area again to make sure that it's nice pillar strength there. Just dropping colour, keeping all light. Pick up a little bit as who'd like genuine as well as coud underneath the chin. You gotta pick a hairy Harish. Has neighbor we can, we can take that out and another layer, so don't worry too much. And you can see this has got into running into that pale areas. I'm chip London. I do just and just encourage it down. It'll just keep me don't wash them, don't panic. Just just keep everything as light as you can see there as well. Just keep looking at your own pace. And that's quite a loving darkness. And what we're gonna do, pick up that little new, smaller Bosch ones you use to do the fix here. And we're gonna do some flicks, pull-up paint to the paint you've added, you just using that as a palliative, they're working. You just flip some of that down. And Fifi haven't put enough their mind seem to run out domestic in Agile. He's multiple continously. Way up to that chin leaching to be too big. A lot back again. See that starting to leak up there. Who just going to pick a bush. That's almost drawing. I'm just going to encourage that back down. You see that little white area there as well. Haven't got to go there, paint, paper, waiter. And at this stage you just have to observe your own piece and just Jen Lisa, that's starting to work its way. Apple going to places you don't want it to gain with here. Just pull back that white again. Whiteout show sizes, just taking out the behaviors. You want it to bleed him but not too much you want it is nice to have this white reserved. Thinks that this stage is I will not touch. Oz IS a tone. You see how that's colored now in the middle? Well, that was white before. And I think as soon as you say as soon as you think that's yep. That's looking at why I'm I'm pleased with how that's shaping up in the moment, so I am going to leave that. I'm gonna give it a good old hair dry. And we, we will do almost exactly the same with just infinite mosaic is again. 8. Head Second Layer: Mighty home on whether next layer then. So pick up, yeah, pick up again as I make sure it's nice and dry and if you've had dried it, make sure it's it couldn't draw it almost. Let it cool a little bit because it's at board very hot to pay with a hot womb. You'll find your BWM painting paper dry quickly. So we're going to look down the and again. Go and his head cap you anyway again. And we're going to go into the muzzle is time. Roundly. Cheeks, what cheeks were going to miss out? This jelly area. Doesn't matter too much if you go into the nose. Just this is how we pay some of the painter. Here again, you could miss out is you don't need necessarily need to let them down, but quite lucky to keep all blended and get any sort of very strong lines. Make sure it's nice and wet. Safety. Wobbly head up and down V, you unsure. Just go down to those Zhao Ni, lucky enough. Joy. The white cheeks though going THE alleyways again. Nice and wet. We basically going to do what we did on the first day really. Just again, cases strengthening stuff up. So I'm going to call a bit weak. Strong as I'd like science. You're gonna pick up that satellite genuine. Whichever color you got this nice, nice and dark and heavy. Just touching, just allowing that one could assume a bubbly look. You can't do the wet kitchen roll. There's sometimes that's we did down here. The chess that can them give you a little bit of texture element kinda ago. Starting a little bit more, it's going to be spotted the moments. And if I add a little bit more water that encourage you to blend again. So every pain has his own character. So unless you go exactly the same pages may behave slightly differently. And that's what's nice about building up a sort of a knowledge of your own paint to ADL Bush called Bay tigers on just wanted put little bit of script up there and see how that tigers eyes running. You just get to know the characters, your pain. If you, if you apply that certain painted, that certain time, you know, it would do. Give you a certain looks. And then this is start to run a little bit. So I'm actually going to put your paint a little works. I've dropped that loss of wetting there. It's almost saturating and it's just going to take a little bit of that moisture. Then we say you don't want it sitting in puddles. Let's have a little bit CPS, we haven't used CPU, have we have a little bit CPH, just wound up again. From your lump here has an ESA 20 courage that a little bit darker there might have. Yvonne As well as folder just dipping DB income. I'm looking at my iPad open off-camera whom sort of switch in my eyes for flicking my eyes back and forth, trying to, trying to build up that depth. So put a CPU, I've got the x, I know it doesn't move around at tigers on, we use a lot under the CPU, doesn't put that down at the CPU in the ultraviolet and noise combination. And we can start to these lines down here, who just almost painting just encourages it aligns down there. You can see that make those out and use, I'll say a little bit too bold. So if it's a bit too bold like that, just can you Bosch take x emotion of injust? Just pick it back out again. So ZZZ underneath he's only just keep, keep your keep clicking noise back and forth is the best way to do it. Of me representing a variety. Just keep your eyes clicking back and forth. So you can always colgate into a zone if you didn't have me gambling away. You can numb. Must be sort of a zone in. Everything disappears as the world around you disappears. What needs to be a bit stronger down there? Some Thomas I say when I get into that sort of zone, I'm almost I'm not aware of the colors I'm using. I'm just picking them up instinctively in it is the state you want to get into. So I mean, you're going to tackle this Muslim little bit and that's why it's better not to have gone around that know. So I'm just gonna put that down, rearrange the colors again. Let's have a little bit of satellite genuine and that violet. And we're going to do that. Strong markings on top of his nose is just again, just dropping. Just allowing. Said that satellite gentleman's lovely for that. I know it spread where we don't want it to. What we do. Keeney Bosch, Christian encourage it back in. Again. It very Jen is, oh my gosh, it's just falling. It's just a natural white. Just teasing. More info sensors or Cooney worked as an environment that is just, just being very mindful, gentle. You could be sitting at this stage. I am still standing because I actually don't have a chair in my students. So I am still standing. But you could be sitting on this stage and it gives you a little bit more control over some of these big burnt eyes I just just show to get the right look really. Strip there. Bleeding a little bit still on up. He's hate, isn't it? And we're going to start again. I'm gonna pick up my sepia. But she popup down there. He's got some quite strong lines as nu here as well. And you can only, Oops, I put a little bit more. It's going to be weak again. Just going to pop in that level. Starting his beard anyway. Will tinker with that. And the last little bit of finishing this off, the starting of it anyway, he's coming together of things starting to emerge. You get to a point in the painting or he becomes just taking color out. Again, just we might damp brush to lifting LTI. So we're case of husband was editing this the other day, said it, putting it down into taking out again what you're doing. But just the process that you state your editing or state of the painting. He does a very good job teaching. I'll give me three. Ok. I think I'm I think I'm telling you my life history is going to see the my white starting to disappear. Really wanna keep that white above his eyes. So just lift them out via wireless is while this is all still damp, say check is still damp, cleanses, but there's then you can just take my money. It's completely dry. You can screw up. But if you get this sort of middle ground where there's not much some parts of dry, some parts on. It can sometimes take too much out. Just lifting, just keep going until you got the right amount l. Shall we go on to what round those always as well. Left any sort of dry area under that, under the eyes. A tiny little bit of CPU that wanted me. It's all about is SLAs that you build up the lazy all about just very thin, very small financing. I think I'm sticking away from a little bit more and I think he's hanky, looks pretty good for this life. Actually, I'm going to do is you just start into joy talking. If layer is still wet, you can very carefully we wet them, cut off new find. Certain areas will dry quicker than others. And I wanted it, it's getting a little bit colors, just getting a little bit too much of the same. There's probably I might try my kitchen, my deprecation role trick. So that's that's the kitchen while I've been using Take the moisture off my Bhatia and just like I did here. Let's see if we get a texture that's better. Yeah, I think that will, that will do me sometimes the smallest suggestions and you do it and you're like, that's, that's right. And I'm happy with that. So we need to let that dry again. What we're gonna do, we're gonna use nose and he's on these on the next, next chapter. Bizarre. Give inlet dry naturally or polyhedra. I repeat a word of caution, the hairdryers for puppies instead earlier. Try not tried to lift them. Headroom quite high, especially if, especially in the earlier layers because it will blow pigment around potential channels. Keep ahead why nice and high? And as it begins to draw, you can then load it. Let's get an us and drivers for we can do these nodes are nice. 9. Eyes Nose and Mouth: So let's do some eyes and ignorance and new digital mouth. So crappy little brush. And we're going to put the first layer in a Visualize. So pick up your burnt sienna. And we're gonna do just what the eye down. These way you have to be quite, quite careful. Careful can without document head into the camera. So it's working quite a long way away. For Pinterest, it's not quite so easy for me. To take the molecule Bhatia, who I can get into this core is a DEA take time. It might be worth sitting or getting quite, quite close to it. You can see. And we are going to, once that's nice and wet and if you've got a good shape to worry about the shape of the stack. And then you just gonna drop color in the ground if it doesn't sort of blend and distances to the TED around. It's all nice and covered. So what you want, it's going to look a little bit strange there for minutes, don't worry. He said, but everybody, there's always an odd East Asians is probably it when you start to do the I, he's only got one column and pitched range. And that needs to dry. And I stamps on it because we won't just they just really want the agencies Brown to be showing them. You can see in the, in the photo is it's very dark eyes. Slowly. We will really strengthen them up in a minute. Okay. I'm going to just put my little tiny rush down. I'm going to pick up my size four and we're going to let the notice to go around that knows keep the C has it'll pay off Apaches haters anyways nostrils are so I would miss the algae, don't want young those dark. And we're actually going to go into the chin lesson. What? Okay. And then we're going to pick up that the copy you got my sidewalk genuine. And we're going to just touch that right underneath International sitting because this is probably a little bit too much water. Here's here isn't it can't move up because it's being blocked by the amount of water up there. Just just gently TZ up. I'm just gonna move what that none of you want to do. This is blending down huge wanted to make into that mouth shape. So we keep backup. And here you can see that the new allowing these white areas, it's got a little white boxes in here so you can kind of get out there and take that column out to about gentle movements to try and get that shaped rights can see reusing my shape and I can't, conquest can't get myself close enough to it to see what I'm doing. Heats up a little bit of CPU had just, if we can strengthen it, bottom ignited a bit line. And this line is quite important because this is still the smallest gonna give him that character. Let me just write that down, a little bit of that. But CNO actually, and that the IMU, that institute all tiny little movements. I pass just switched itself off. Amused me, Kim, sorry. You can do with a tie, with a brush and into a nice latitude. And then you can actually take some color out because he's got Israel heavy heavy team his knee, he can become outside of that and it will be lift out less pain is painful. Then to too many. You don't want to get just enough. Just keep keep pedaling, just keep watching it. Only it's only doing this hilarious. We haven't got locked, concentrate onto it, just display it on get them. It's quite important nickel part. So just be be with it. Just take your time getting them shapes y. And I get a little bit of CPI. Going a little bit better. I can take, well I've gone bitter array then I can take this out once it's dry, I can, I can reclaim my little white area. So I'm trying to imagine it. I haven't done that in trying to kick them shape, right? Well, I think yes, when I looked back and he is looking a lot actually CPU up that a little bit darker. So a tiny little things at the end. Take the time to make a big difference. Always much exciting to watch on camera, I'm sure. And I think, I think we're about there. Keep it nice. And that's lovely. And now what I'm going to have today, I'm going to give the article hedge right? Because he's always still damp planning again to be nice and dry. So I'm just gonna put a hairdryer over those within to do. There's always again. So what we can do exactly the same as we did the first layer. Nice and wet. It just helps the the painted just emerge a little bit more natural. You could paint them in, I think dropping them into wet paper just helps a little bit more natural. So I'm going to pick up my two satellite, genuine and CPS, and I'll start with the CPU fs. We almost want to drop this white over the eyes. Say pay with it, cuz it's gonna look a little bit odd. I believe a minute. Something like that. If you can reserve a little bit of that area down there, which I've just brought in. That's ideal. But you can take out as well. So we're going to do exactly the same thing that sepia and the other eye. The really carefully make sure you get that go around that I tried to come outside. It designs quite it's quite unique shape actually. Make sure we yeah. I would probably if I could, I would probably be sitting if I well, I would be getting very close to it this pretty well, although I can actually see here. So it would be helpful if I could get a little closer to x. X. Okay, so what we're gonna do is put that satellite, Jamie, and right at the very top, and the darker indigo would be quite good. Paint gray. Can't really say, I know, but it would just give a little bit of strength to the top of the I just settled the shape a little bit and not looking quite light. Come up a little bit. Better. Put those down. Get yeah, little tiny bushes a week is quite good for eyelashes. But it doesn't matter if you haven't. Pick on satellite genuine again, and we're gonna do is eyelashes. So a little bit more Bosch and moves or using any cubic for unstoppable I anyway, the color of neon, which is going to just quickly flick out beautifully. And to reshape the size a little bit. And this is where you can very, very carefully lift a little bit out of that corner, those eyes. So you you'll rediscovering that sepia that's I'm sorry, the burnt sienna that's underneath there, which was the first layer. You're just scraping away the second layer and coming down to that first. Very gently, that statistic tiny, tiny movements and keep looking at it. Sounds silly, but just almost bring your eyes up alphabet and look at them. Stand. If you are sitting, just stand up for money or just get a little bit above it. See sometimes seem a bit clearer. Them see me in relation to the rest of the painting, will take a photo or can find that's really helpful. Is off. But I will often do that my pet portraits of the latest ADSL or take photos and look at the photos. And I were always adjust from the from looking at the photo. As this begins to dry, we can just make a little bit of that color. So I've got my little brush. I'm just touching the end that I just, I just want some of that colour from the eye just to make love sort of tear ducts, all-male, same ducks. Just trying to bring them out a little bit. I think he's doing a life that I wanted to do too much more to him, homage to that knows, those dry. And then it'll settle at the end. That's an often then. Okay, we'll go push down and we'll doing all finishing off chapter, we will adjust anything that needs adjusting. 10. Finishing Off: Okay, so this is the fun businesses where we kind of bring them all together. So there's very few ragged edge ij where we need to put some dB more strength, take it, it'll be out. We need to do is catch lights and need eyes and kind of just to tie this nodes area. So what we're gonna do, we're gonna miss out there. I like those ears, so as you're going to miss them out this time. So I'm going to go badly, said again. Now I can see I've got it. White spot there. We haven't covered it. So this is where you can look at your own pace and adjust this all about adjusting your own piece. So it's, it's, I can, I can guide you and show you what I'm going to be doing on my piece, but have a look at yours and see what you think needs strengthening. And if there's any areas that need taking colonies coming out, this is where we can do it. Now, I'm going to go around that knows, it's going to be the right thing for me to do. So I want to find that little white area again, so I'm gonna go carefully round it much as I can write. I likey chins are actually going to leave his chin. And then you go carefully, Mountain Dew, he's I wouldn't unless you, This is very weak 20 reason. I'm, I'm not gonna go into this body. So it's just the head area and to adjust his eyes. Just because you West Hall every down doesn't mean to say you have to adjust everything in that damped area. It just it just keeps oh, soft. Reason why am wetting all down on I may not even touch to talk about head, but just by wetting it down, it just allows them to be soft, vast DOT working into this area with I drew a wetted area, would just look at it. You will have the divides and water lines, the audio very good. Each time you wet something down it, you're always letting color, blending. We want another soften again so you can get to soft. Who's the that's why I don't want to do easy is again, because I think they are like these marks, so I keep going in a wet, wet I think again, it's gonna keep merging and reacting the waking those paints up there just gonna spend little bit more. I'm going to just take out, say looking at the IA reference photo up there. We coin up again, switched off again. And I again just adjust E1, E2. And if your eyes are going a little bit about today, this is where I would have gone around the eyes or haven't been caught by the eyes in this weighting down. I always do the I separate. Very, very rarely blend them all in with their head. Tend to hold him a bit further down. So it's it's getting a little bit more control and I'd like to be a little bit narrative or having to keep my distance. She doesn't have I don't have to look up top my head, which I'm sure you don't want to try and find that little white spots in there. Say if your, if your mouth is mighty so you could have incorporated that in there and just so adjusted that might put a little bit as he's looking at ways to cool actually. So she says, picking up the talk, picking up a cool color. Just wanted to add a little bit there. Suspend the net file. I'm going to add a bit of burnt sienna. Just wanted just a touch warmer, almost a little bit too cool. So I'm going to do some of my adjusting and strengthening with sienna, just warming up. It's a touch. I can see he's got some boom patches here has an extended down to deliberate their covenant by white area had their just missed when I wasted it down on the corner down. Little bit test. That is always a tiny, tiny little gestures, just dropping columns on top of the. Secondly, you'll find the paint will move as much. So the same amount of paint on the very first day we put it down in the weeds. Secondly, wouldn't move as much. And now this third layer isn't moving even less. That this is where you gain that control and the strength. And this is a little bit washed out and we mentioned that dark enough to try to do his lines up. Lines up his nose are spent on his nose and muzzle. I'm going to go up that sepia. Got the violet sunlight, that violent CP together. Strapped in a up a little bit more. Say if it goes too heavy, anything oh quarters a bit too strong. You can always take you could take out and blend again. Easier to is always easily heavier than it needs to go light because you keep fiddling key brings up over the top. Spokes. They keep putting them in and they keep disappearing with joy of this. A little bit more strength to the top. Cnv again. Just a few clicks. Feudal bits and hair. There hasn't been a little bit of character. Let's look a little bit down here. And tigers, I blend them up, not the most exciting viewing. I do understand this, but I think it's quite nice to see the process is these n bits really do finished paintings off. And it's a white patch here. He's never losing a little bit. I think he's written quite good. I think if I do too much more on, is gonna get a little bit to Muddy's. Muddy's where you just keep adding color and you keep muddling around and fiddling. And they still say senior food colour business book people tried to avoid to it will becomes to blended. Just finding those point. Tops to reside. Test really helped actually need to put these catch lights in because that always gives you get more encouragement. I think he's looking pretty good, actually. Caught like nearly see, see him coming to life to take a little bit more little bit more out there. And what, what I would do if this was a pet portraits, I would definitely step away from him. And revisiting that following the next day and then adjust and look at him again because you will say, See it was a completely different eyes. It's a bit strange thing. It's a little probably like taking pictures with your camera and that's a weeds and say a quite a good deal tape, but I will I'm sure when I finish him and I'll come back and look at him tomorrow, I will see bits that could have been done differently better. Thank you to come to bear. So I picked up my little white Guo ash. And this is just to do the, the whites of the eyes. So be careful because this is obviously still wet, but you want to do a little bit closer. Hongkong quite just wanted to do light. Just at the top has a just here. I'm just gonna do a little line there. Same the other side. And then I'm also gonna do a little bit just in the meantime there. And you can see how that later getting higher yields for looking at yeah, I think he's too bad. I could take a little bit more. Let's say that would put a little thing. I may look at it the following day or I could take a tiny little bit of light out those corners though eyes, but I can still see that I've got to touch it. Probably just enough. No, I need to do. Just do a little bit sepia and what actually almost paint missing. So that's that sepia and got that little small vigor Bush. I just do a couple little flexor. Careful not to get too carried away. These sort of things where you end up getting a good musical video. Chin hair hasn't. Pick up. Pick a bush. Squinting my allies desperately, that reference voter, I can see that lithuania light just here. Just take a tiny bit out. Such light movement. Bushy, just about falling onto the paper, somewhat scrubbing the Daniel Smith painterly, some of these k come out almost too easily in the Peace Corp. Too much. You're funny, findability do you lays out unless it's not what you want? I think I think he's not too bad. Actually. I need to do I need to get my hair, do I really? And then we can, we can do some of those flicks and love out some of these little pencil marks. Just put a couple of clicks in here and there I think. So I'm going to with a hair dryer over him and then I can see what it looks like when it's dry. Okay. Now I can see that he's dry it I want just put light by his is here. Lead II is metes head. I actually going to do a little bit of painting. Just want to put a tiny little bit darker in there. Tiny touch and you can be a smaller bullshit. You can't just bury Jenny, I think once you get quite a few layers, you can afford per little bit of strength like this and just gently blend out and they shouldn't be left in a watermark. When someone tells me I needed just a bit more shrimp, they're doing it aside as well. Little bit, which is shown here. I think that's enough. You want to do that? What I will do is to map out some of these types of monks. And I might get a better idea of what's going on around his body said with the party, Robbie, and make sure this issue, I guess I can call it alpha because it is really upsetting. You. You've up and you find that the fates wet. And be careful with that malaria was a thinker who have expected pieces had to mock taken out. And I'm going to very carefully and try and avoid that bit. I'm going to rub up that this gum nest. As a district Christian, if you think that there's a moocs. Well, we shall put few more stuff. There's no kinda done with a few a few more on thing. Quite messy here. He said what vehicle spoke them all. They also hopefully where I've gone back and forth and drops paint that actually like BZ cleaned up with a clean thing or China and a bush of shoeshine would be this witness. It's almost better synthetic. As long as you pick up that little chisel Bashir synthetic and you get the idea, you can just squash and then take out the kitchen roles. You can go over the whole piece if you've made it less like I have Sqoop. And in this way you can take out a lift because this to me is just a little bit of a straight line may lead to continuous. I'm just going to take a tiny little bit color up. Yeah, I like that. Sometimes it's just a tiny thing that a gay man the ears, because I haven't be able to get that close to it being a bit messy. So this is where you can go round. If you've been like maimed, kind of bit tatty. You can carefully go around and just tidy up really. You can get the student go all around him and clean up. I think. Yeah. I think he's always he's almost hour. I I I would like to see him tomorrow or the next day and and just thinker. And I think you will probably do the same your pieces for its good step away and come back and just, just reassess, it almost becomes when you step back into the room and see him again, you go. I can see what I need to do. So guided by instinctive. If something telling you something needs adjusting, adjusted, and see how it goes, you can always do this. You can do this many, multiple times. So it's another one of these. So we're gonna do those status on here as well before we move on to those balls, if you're deciding to do the boss and if you're not, then you're almost finished. So I'm going to do exome keeping is little bit more of a snowy theme. I'm gonna pick up that kaolinite, genuine shown puppies to be butchering. The name of scattering is is where you get a lot of paint on the brush and you flip backwards, you can practice. This is might be advisable to practice off-camera, not have come up under onto another piece of sheet of paper before you commit yourself to it. But let's just go for it. You can do that splatter or you can you can tap like we did with the gum. I like that. So he he is done. If you're not a save you not not deciding to do the ball balls. I'm pretty pleased with him. I think he's worked out quite well. He needs with these little bit clearly in some of those spots is tidying up. And so sadly, I haven't gotten mount to put round it to show you because it's always quite nice to put them out. Manager, you're finished piece but some yeah, I like him. I think he's hanky, works out. Okay. 11. Baubles: Okay. So he stayed on to do the Christmas balls. Here we go with the Christmas balls. So there I did some nickel templates for you in the reference and pages. So we only need one little Babu. Sometimes having the three is quite handy because you can you can place them. Yeah. What do you think would be suitable? And I'm going to have one over there. One there. Because I think that looks okay. Sanctuary, every event say a date to around the digital. Let's use quite often technique. So we want to decide on your only colors. I'm actually going to do one that kainate genuine, one ultramarine, and mix the two colors up together. So let's start with the top on the, you're less likely to put your finger in it. We are resisting this hand hand. So we are going to almost paint. So have a nice little paint on your brush and make, make sure this is lovely and dry before you really don't want to put your hand in. We work starts in the middle and just go around and go carefully around here. You circle. It does really help actually to have them really lovely sphere because that makes you look. We've done a very good one known me. But if you can take your time to do that, that's, that's fab. And then what you wanna do once you've got a wave and we're just going to drop color into one corner. And we're going to just allow that to the blend. And that almost if you Bobo yet wanted to do much more than that. And just watch it. If you find it's moving too much. Color here is moving Nickleback too much. You can always just like we did here, you can already think a quite nice Dempsey. If your budget is damp and always wet is always at the moment, then you're not going to be taken out. And you're not going to be adding lots more water in it at the same time. My head to see whether it is going. So King, OK. Just a little bit more. You can just be with it for a little bit as you go Nevada. Nothing else going on. You've got to do is concentrate on that mambo goo. And if you want to do little tops to the bubble with the tiny little brush, just wanted to do something that you don't want to do all of it. So don't get too connected to the clock a little corner and H, And then with the Bush. Just a tiny little bit of within. While However, there always will measure the Bobo with title. And then it's on to the next one. So if we do the do the cane Cohen ICT exactly saying would we give it that one starts in the middle and just go around? You could wet, wet the ball, boy, you try all lots of different methods. I found this is sort of the most satisfying and gives you the most natural Lucas quickly as you can, but you could have wet the Bobo and drops. Calvinist is another technique you could. Many techniques I'm sure are doing blue balls. A nice easy one today. And then you didn't set cosine joined drop and drop the column in it the same, in the same place. Because in theory here that see a darker area, unnecessary light coming in. I want to have different light sources I wanna set has done quite well in a notch. More fiddling. Again. Top one, top. You do completely. Leave that fuel. Or ways to choose. Just be with it for a little bit, just to see how it all blend since it's all going to be moving around until that's completely dry. You will carry on moving and blending. You can just be with electrical politically more strength there. But when they start, I can see this is starting to dry at different rates now, it's best to leave them when they start drawing it different in different areas. And just to see how I got into a probability is really interesting and unusual marks. And we're gonna do the 22 colors together. So crappy, two colors, both on the same time and exactly the same star in the middle. Just like I'm painting. Strong, caught nice, minor haven't become particularly round for the east. Definitely worth getting 3D. You taking the time to really write nice and round. That makes it does make a difference to the painting. And then we can just skipped skipped the color into the corner that she eclipse quite strong because I had because I was physical, both of them. Because my boss at the same time of the strength. So I'm scooping that away and popping into that corner. I don't want it to be too, too bold to, to, to interface. And then put beautiful top on. You want to put the top on when it's when you boost a wet day so you don't want to be adding this later. Same time. Mr. picture, uncle my circle there. Imagine me one of those things and men would do absolutely precisely. And if you're anything like me, then I'm not very good at being very precise. Intake a little bit of color out at this stage here as well. So let's just go back in and take a little bit of color here. Because that still say I don't because I still wet. You can continue, Kelly. I would let this one Joy and I would take it out with a dry dry Bosch old take it out when it's, when it's dry with a slightly damp Bashar say, is to give you the two different ideas. Yeah. You can have a little you can do it. If you have a little straight edge, you can obviously run your boss your paint up along the straight edge, but I'm just going to move it. Just a hint. You don't have to go all the way up to just an idea that is something there. I'm sure if he does a very nice straight edge, it will probably look better. And say it all the way down. It'll often founds a week, nice Christmas. And I just want to draw a bit moocs like to show you how you take it out with a when that's dry with a damp Bush, I'm just going to use a hairdryer over these. And then actually you had enough. Okay. So that's that's nice and dry now. So I can do Kim a Bosch, take any excess moisture of I need just the right angle. So you can see on day he just taking CO2 out, keep a hand TO following that circular bubble. Took a more defined light by taking out with taking, taking the car out when your ball was completely UI. So that's a, a couple of methods to doing that. This is dried. It it'll odd because I'll pop the hairdryer over this. It started to let that a little bit longer. I saving leave them to join actually, and then take that color LD50 is, that's the method you want to dry with the buck-boost, then it's best to let them all dry nicely and then take that light out of whichever one you decide to buy some. I think he just about done. I can see these are the say, little messy marks here and they would need to be taken out carefully, but I I won't, I won't bore you with me doing that, but I think the overall effect is, it's quite fun, isn't it? 12. Final Thoughts: So I hope you enjoy painting the stag. I'll felt he was a very handsome, regal gentlemen. Did you enjoy painting the antlers? It's very satisfying watching that paint flow and create your beautiful loose affects. Remember to keep that paper lovely and wet. How did adding the layers go? I hope you got enough strength under his chin and enjoyed doing those flicks to create his fur. And don't forget, keep you nice and loose. My tips and tricks helped, which really is the smallest gestures and the time just observing your work at the end, that makes the painting come to life. Sometimes it helps to look at the painting the next day with a fresh pair of eyes. So we look forward to seeing you in the next class.