Watercolor - Let’s Paint a Dog: Chocolate Lab Edition! | Mary Evelyn Tucker | Skillshare

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Watercolor - Let’s Paint a Dog: Chocolate Lab Edition!

teacher avatar Mary Evelyn Tucker, Full Time Artist & Coffee Aficionado

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 21m)
    • 1. Let's Paint a Dog: Chocolate Lab Edition!

    • 2. Supplies

    • 3. Eyes and Nose

    • 4. Ears

    • 5. Snout

    • 6. Forehead

    • 7. Chest

    • 8. Details

    • 9. Optional Background

    • 10. Share Your Painting!

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About This Class


In this Skillshare class, we will walk through the necessary steps to complete this sweet Chocolate Lab. I broke down the painting into sections, so that it is manageable and easy to follow.

We will talk about highlight and shadows and what to focus on to achieve a simple watercolor look for this Chocolate Labrador.  If you have wanted to paint a lab, now is your “oppawtunity.”

In this class, we will:

Explore painting the Eyes and Nose
Explore painting the Ears
Explore painting the Snout
Explore painting the Forehead
Explore painting the Chest
Explore painting the Details

This is an intermediate level class, but I think it is a great starting point for those who are interested in painting dogs or other.  I went over some of the basic watercolor techniques in my "Watercolor: Let's Paint a Pumpkin" Class.

If you want to paint other dogs, I have several other classes available.  There are classes covering a Basset Hound, a Yorkie, and a Golden Retriever.  There are also classes that focus solely on dog eyes and dog noses.

Materials are listed in the "Projects & Resources" area of the class.  There are four resource PDF download links for the supplies list, sections of the painting, line drawing, and photo reference.

Once you have completed you painting, please share your work, in the Project Gallery.  I would love your version of the lovely Lucy.  If you have any questions, please post them in the class discussion area.

If you have any questions, please comment in the discussions area.  Happy painting!


Thanks to Tori Mistick for allowing me to use Lucy, as a model for this class.

All music was sourced from mixkit.co.  Mixkit offers completely free, royalty free music.

Meet Your Teacher

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Mary Evelyn Tucker

Full Time Artist & Coffee Aficionado


My name is Mary Evelyn Tucker.  I have been a full-time artist since 2015.  Over the last six years working on commissions for clients, I have painted hundreds of pet portraits.  I love capturing the unique qualities of each individual pet.

In 2020, I illustrated three children's books that were published.  I worked with author Susan Jones on "The Adventures of Cooper" and "The Adventures of Cooper: The Fire Breathing Machine."  We have a third project in the works, "The Adventure of Cooper: The Flowerbed Fiasco" that should be available in late 2021.  I also worked with author Tamara Menges (Light Filled Home) to illustrate her children's book "The Nativity Set," that was released Christmas of 2020.

I found a way to do water... See full profile

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1. Let's Paint a Dog: Chocolate Lab Edition!: welcome back to another skill share class. My name is Mary Evelyn. And today I'm gonna be teaching you how to paint Lucy. I have been following Lucy for several years now. I believe in 2017 I painted Lucy for the first time. She is a dog on Instagram and her dog Mom. Owner is Tory mystic, and you can find her at T mystic on Instagram. And she also has a blawg where Wag repeat that you confined as well. So they do a lot of fun things. So I just decided that Lucy was the perfect subject to paint a chocolate lab, and I realized that I have not shown anyone how to paint a doctor yet, or I've not included it in my classes. So I did a happy, smiling face of Lucy so we could tackle that little project. And I also decided to include a background in this one optional. But I thought it was a fun technique that I would show you how to accomplish this. Look. So between the two, I've got the one from 2017 on the one now, and there are a few differences. I did this one on crescent watercolor board. So you've got sharper edges and a little bit of a deeper tone here versus this £300 paper . We've got a little bit of a softer look and a little bit of a different coloring. So just note difference. Different styles, different papers, different paints from, you know, going on three years ago in this class, I have taken the liberty to break down the portrait of Lucy. We're just gonna take it piece by piece. I'm gonna walk you through all the steps necessary to accomplish this painting. So with that led skits started into our class. And remember, you can do this. So fun. Fact. I have been on one of Tories podcasts. She talks to a lot of dog bombs, and I had the privilege of being asked to join her on one of those. Her show is the wear Wag repeat broadcast. So be sure to check that out wherever you listen to your podcasts. 2. Supplies: I want to You quickly walk through the supplies with you. Today we are going to need the outline. You can decide if you have a chocolate lab of your own or have one you want to paint for a friend. Feel free to print off that photo and just go ahead and either transfer or sketch Whatever method you prefer, there is no proper or correct way. Teoh, do the outline. I've already got mine transferred onto my £300 Muanda Roy Cold press watercolor paper. I have printed out my little guide for you. So we're gonna walk through section I have made a few notes on here. I suggest if you want to print one of these out, you can make your own notes As the class goes along. I just use a regular ballpoint pen to transfer the print out with the graphite paper onto here. We're gonna use our favorite little art and fly white gel pens is archival. I'm going to use three brushes for this project today. I have got a number 12 Masters touch round. This is one of my favorite brands to use. I'm gonna use that for the big large sections of wet on wet. I have a new brush. It is a silver black velvet. It's a number four round. It's got nice, soft bristles, really lovely to work with. OK, and then I've got a 00 Grumbach er round. So those are my three brushes. That one's gonna be for detail. I've got a little bit of salt menus for the news. I've got my water container off to the side. I have some paper towels off to the side. I have my colors over here Have this fancy new palette I'm super excited about because I can actually take the little guys out. Hopefully, that will be helpful to showing how I'm getting into those pigments. I've put up a photo here with our colors that I will be using during this class. Feel free to pick your own colors. They do not have to be exactly the same. Just something close something similar and you will be good to go. I also decided towards the end of class to grab my watercolor pencils to finish up some detail ing and some highlights. I just really appreciate what they have to offer. So I decided to throw those and feel free to pick up your own colors. Just a light, a dark and between. And last but not least, I am gonna be showing you this little fella here. Fine line. Resist. Pin. This is masking fluid. And what's really cool about this is it's a self cleaning system, so it's got a really nice fine points on it. So we're gonna be using that for a little bit of a fun idea I had for the background. Okay, So without further ado, let's jump in and remember, You can do this. All right, let's go. 3. Eyes and Nose: in this lesson. I want to focus on the eyes and the nose, and I'm going to start with my number four round silver black velvet brush. I am going to take the Samore approach. If you have taken my Yorkie class, you'll know they jump right in with a little bit of a dark outline on those eyes. So I am going to do a little bit of mixing in this class because the brown tones weren't any to achieve. Really? Come with some mixture of tones. Miss Lucy here has really pretty read purple chocolate color. It's a really interesting color, so I'm just going to go back and forth here between the Black Wash and the Brown Derby. So I'm going to go between the two mix a little bit, and then I'm just gonna gently go around the eye and at a little bit of like, just think of in terms of, like, an eyeliner right around the iris there. Okay. Just to give us some shape, I am gonna go ahead and fill in the pupil just a little bit here, Okay? I'm gonna go in with a little bit of the burnt number. Just add smidge around the I just to warm it up a bit. Now I'm gonna jump over and do the same with the other. I a little bit of wash a little bit of brown. Derby Brown Derby is our cooler tone of brown that I have selected for this project and always feel free to just get colors as close as you can. They do not have to be exact colors. Just a cool brown tone, a warm brown tone, a little bit of ah red. You probably could get away with maybe an orange. You just have to be careful with mixing orange with certain brown tones. Sometimes they come out a little bit green, always fun experimenting with that. I'm gonna go into that. People take a little more wash for like my shape got a little bit skewed during the transfer. Now, while I'm waiting for those two dry and then and jump in to the nose area here and put some black wash in those nostrils. Okay, just taking the same approach that I've been doing with noses where I feel in the nostrils . Given a little bit of an outline, just kind of setting those dark tones that I want onto the news. Okay. I like to go ahead and do this all in one fell swoop. So what I want to dio is I'm gonna go ahead and just take my brush, cleaned it off. Video went on. What? It is totally okay if your colors bleed together a bit, you can always go back in and dark in that a little bit. We want a little bit of that bleed. Sometimes it gets a little carried away, like this. Side's got in a little What carried away put probably a little bit more water on that side than I did this side. And that's OK, all right. Lucy has a really nice chocolatey brown nose. So we're gonna mix a little bit of the brown Derby with burnt number. And I'm just gonna take it and brushing along the top, brushing along the bottom. She even has a little bit of pink to the bottom edge of her nose. So once we get that nice brown in there, I'll show you we're gonna mix couple of things. It's gonna be exciting, all right? And of course, around her nostrils is a deep Brown. So I'm just gonna go ahead and liberally put some dark brown is the mix between the birth number and the brown derby. Okay, I do want to take some of the buff titanium. Bring along top of the news can do the dab the dab technique on top. There. Go back in. I'm actually gonna mix a little buff titanium with some of the Venetian. Oh, uh, took off. Like I said, she's got a little bit of pink nose just but just a little bit. It's not really quite as much as I think it is. You just want to keep in mind, no matter the subject. If you're painting your own chocolate lab, just be mindful of their color tones. Get some of our shape back here. What made you go ahead and add our salt, let it do its texture, and then ad some more detail to this nose. I'm just gonna go ahead and grab me a little. Well, fault continuing here. All right. And we're gonna let that dry. All right, now that we've got Miss Lucy's knows driving when it just brush off this salt trying to be mindful not to brush off too much over the white paper, just in case some of that pigment didn't quite during and might still be wet. Okay, Yeah, We're gonna drop back over to the eyes. Briefly. All right. With these eyes, I'm going to do a what? On what techniques on What I want to do is just fill in Iris with a little bit of water. Go ahead. Knew that for both. So one can be soaking in still a little bit of color left in my brush, and that's okay. I'm gonna use a little bit of the burnt sienna. It's just a brighter brown, a little bit of orange tendencies, and I'm just gonna bring it around the edge. Just gonna follow that. Soaked in really quickly on that side. She's got a little bit of golden in her eyes, so I'm gonna bring I'm gonna grab a little bit of this buff titanium in, can it? I am going to grab some of this Burke number now because she's got some golden in her eyes. What I want to do, I'm actually gonna dab up a little bit here at the bottom, each eye, and I'm gonna grab just a little bit of yellow Oakar. I mean, this is probably the only part you're going to use any type of a yellow tone if you've got one. Great. If not, that's OK. You can make do I just want to add that little bit of golden tone almost like we've got 1/2 and half Look, we've got the dark brown and then it at the base We get to a later tone. If you want to pull up some of that pigment and witness on your paper, just get that brush dry and swinging around. I'm gonna go in with just a little bit more of that burnt number around the iris that around the very edge of the iris Just tap tap tap, says the partner. You can take control. You can have it dark around the pupil as well as around the iris. So it gives all those nice little characteristics of the iris and all. It's wonderful properties. Okay, You're looking good. All right. We'll take a little bit more of my black wash. Just gonna add to I hear up and around. Well, what it kind of seep into the wet that I have We're gonna go back over that with some highlights here shortly. All right, Now, let's talk about the nose again. I want to dive back into that. I'm gonna grab some of my brown Derby, mix it with my gosh and just shape up the nostrils a bit. Mind you got a little carried away with the paint at first. Go around. Just adding a little bit of that outlining, cause I'm gonna take my brush. It's just damp and just feather that out for their part, Just so we're adding that shape, the curvature of the nose back in. We're not losing losing those nice shapes. I don't I don't want hard, really hard line. So we're just gonna take it? We're just seeing that shape come together as we go along. Okay? Now, I can take a little bit of the Gulf titanium we're gonna follow along the edge here. Those little areas that would stick out a bit further than the rest of those, Which is why they catch the light. It's why they're gonna be brighter than the rest of the nose and again. Just gonna feather that out. You know, if I've used that term before. It makes sense to me. I'm just taking my brush and sweeping along the edge so you don't just have a hard line of paint on your surface. I'm gonna take a little bit of this and actually just run from highlight across the top of the news. Make sure not to go too far with this or you'll lose the texture on your nose. I'm gonna add. I get at a little bit of that Venetian back in here and there. It's a little bit of those pink tones. Okay, I'm gonna go in and and some highlight to the eyes using our lovely wash that we have makes for a great highlight. If you feel like this brush is a little big for you, switch over to the 00 Grumbach er or the smaller brush that you have again. Brushes don't have to me exactly the same that I have just something similar. I just like to go between the three sizes for most of my work, the bigger sections and then those little nitty gritty detail areas. It's kind of my my go to method. All right, I'm gonna add a little bit more here to the top of this. I again we've got those highlights are opposite. Something to keep in mind. I don't know. There's anything is too much highly. It all depends on where the dog was sitting at the time and what's reflecting off of the ice. All right, those are looking pretty cute. I'm gonna take a little bit of the brown derby and because the lid of the I will sit usually a bit further out. And when a dark in the top section of that I just a little bit more just to give it some depth, okay? And we will go back in with some final details on highlighting the nose and the eyes in our final lesson. All right, let's move on. 4. Ears: Okay, We're going to work on the ears. You use a wet on wet technique for both years. Most likely gonna go back and forth as you noticed, with the eyes waiting for one thing to dry versus the other. So I'm just going to jump right in. I am gonna just keep a hold of this Number four around to do the ears. I don't feel like I'm in such a large section that I need Ah, bigger brush. So what I want to do is I'm just gonna lay down a layer of water, okay? Just on this top section here, because underneath this line here is a bit darker and we're going to tackle that after we do the outside of the years. So for the ears, I am going to do a little bit of mixing now. This is getting a little a little fancy. I am sure that they make a brown. That's maybe Lucy's exact color tone. However, I am going to just mix a little bit of the para lean violet or if you've got a purple. I think I've custom mixed a brown before, especially when I do commissions of chocolate dogs. or an animal that have a lot of brown I'll mix and purples and browns, especially warm tones, are really pretty together. So feel free to experiment. All right, I'm just gonna lay down a good amount of pigment just following the edge here, trying to control how far out that pain is going to spread. And where have those lines here. I want it to be just a little darker following the edge here and then just up. Okay? Now, I do want it a little bit of a deeper color. So I'm gonna go between more. It's gonna go between these three right here for her chocolate colored for I may add in a little Venetian, but it may not be necessary at the same time. So if you want a dark in that brown, just get your cool tone of that brown derby, and then I'm just gonna bring them along here. I've got a little section where her ear dips in. I have it here along the edge. Swing it here. Okay? And I just can't push the paint where I wanted to go as well. Right now I do want to take a little bit of the buff titanium. And I'm just gonna edge this here with some of that. Yeah, I feel like I do need to probably go just a tad darker. So I'm just going to take some of this brown Derby and added, along here and down here, just tap, tap, tap. Okay, again, Just going back and forth between the photo. What you're working on constantly looking at reference points. She's got a really nice light edge along her ear, and then underneath it is darker. So I'm gonna go ahead and paint in this darker section. This takes from my brown derby. Another option for mixing colors would be to go ahead and get him laid down and just mixed them onto your painting color mixing wet on wet and then just dropping in the pigments as you choose. Noticing this brush has a really sharp tip. I get a little carried away with it. Sometimes I can take this brown derby that I'm laying down and at a little bit of the peril in violet to it to add some of that warmth. And we're gonna blend in this with the top of the head when we get to that area. Not too concerned about that at the moment. Same here. You can just add little little wisps here and there because there's gonna be a a shadow here that we're gonna work on. Come over here and groups on a pair. Allene, just loop it along the edge There. It's always find a mix. Colors You're doing these types of portrait's. Okay, so I'm noticing Over here, these colors aren't quite drawing away. I want them to. I'm gonna add just a little bit more of the buff titanium in areas that I want, especially because the light is hitting from above. This outside of the year needs to be a little bit brighter. Get a little a little crazy that that color there, and I'm gonna go ahead and do the same and bridge the gap between two colors I have here. I'm not actually gonna wait for those too dry. Just gonna run the buff titanium. All right? Go to crazier old end up losing that line, all right? Pretty happy with that. Kind of like the little bit of spider vein in going on over here. And I can always do a glaze and dark in this area here if need be, I want to go over here and do this part. And this whole section here is the top part of a year we don't see quite underneath like we do on the other side. So I'm just gonna lay down some water here, grab some of that burnt umber mixed with a little bit of brown derby. I'm just gonna follow along the edges here. Those lines that I make on the outline here, kind of where I make a note to mentally. Okay, that's a dark area. So I'll run my brush over those lines. So outside lines, plus the lines inside. Hopefully that's hopeful to someone. Okay, I'm gonna lay down just a little bit of the birth number. Fill in those gaps just a little bit, or here mix a little bit of a number with the pair. Allene, I'm gonna want this section here to be a bit darker, so most likely just gonna use the Brown derby for that. And if you really wanted a deep, deep chocolate, I would mix the brown derby with just a little bit of wash the black wash, just tap tap town anywhere where those really dark areas we're gonna be. And then on this, when we've got a little dark section here, I'm gonna to kind of take that same approach room and a bridge that as soon as this paint settles a bit, trying to get all of this in one fell swoop, sometimes it works out really well. And sometimes it doesn't. And you have to be prepared for that. And that's okay. It takes practice and determination more. You paint pets, the better you were going to get. Fill the summer. Pull it better than Brown. I'm still considering this part of the ear, since we're we're on that curve right there Are trying to take a little bit of the buff titanium. I want to do the edge here like we did on the other ear. What the paint do its thing. The pain took off. Sometimes that pain just just does its thing. Where that little there is darker here and it folds out here or sticks out foldout sticks out. Same difference, right? I had a tad bit of the brown derby here. Want that Quite as warm. Okay, I think that is going to take care of it for the years. We're going to let that dry, and then we're gonna move on. 5. Snout: are moving on to the snout and tongue were fill in this little jowl area as well. I am going to continue using my number four and I'm gonna do a wet on wet on this top section here. So I'm just gonna go ahead and add a layer of water. You want to make sure you've got a nice, even layer of water on that snow area. You are ready to drop some color in for this. I'm going to use a bit of the number. I'm gonna drop that around the nose and on the outsides. Okay. Take some of my brown derby. Want dark in this area here a little bit darker. Who, around the nose area. Okay. And then just fan out a little bit more of that. I'm gonna go ahead and take it above the nose. That's a Sfar as I'm gonna go with the top, there will finish the rest in the next couple of lessons. Just pushing the paint around to where I feel it works for this particular portrait. Yeah, I'm gonna take a little bit of Venetian red and run it up along the bottom here. Do you want to take a little bit of the buff and run it here and along the outside of here just to give a little bit of debts. I am also noticing a little bit of pink in the nose area. And that little bit of a nation. Just add just that little dot Just I had some depth. You know what, That dry? Okay, Now that that's dry, we're gonna go ahead and work on this underneath jowl area. I'm actually gonna mark off my darker areas. So technically, it would be Mark making just to give myself a bit of a guide. So where her little happy, happy smile goes, which is always important with dog portrait, Same time they have these little will. Ruffles on edge just makes him look happy. So I just go from section to section, just trying to make sure I'm following what is given to me on the photo. Just give yourself a bit of a guide. That's really the goal of this particular exercise here. Just giving yourself a guide. We are gonna be using a bit of Venetian red in this jowl area where we have the pink gums, different areas like that so same thing here. Just once, some clarity on where teeth go and make sure I don't go too over the top with how dark different areas are gonna be. And this Venetian Kimmy mixed was a bit of that brown derby to get a really deep red brown tone. So again, just I'm going in with those darks because I'm gonna be adding some wet on wet on top of this, just a blend it 100. That tone is gonna be a little darker. We can just pull in that here and here. Hello, Brown Derby To that that I'm just gonna lightly take up just a light wash. I'm going to lightly take my brush that has a little bit of leftover pigment and just fill in this section here that's gonna have little bits of for white little chin hairs on it. The nation with the brown derby or your cool tone brown. I just want to fill in bits and pieces here, and you can really play up the pink as well. It doesn't have to be this brown red can have more pink to it brown derby here. Okay. Gonna go up into that little section here again. You know, you can add some of your buff titanium along this edge here. Okay, I'm sure. And tap it along the edge here. Just really Just getting some texture going. Don't let this intimidate you. You can always brush, watercolor. If it's still a little bit damp, you can kind of rushing out of the way had that shadow. Okay, if you really want a right section added, just add a little bit of wash to that little bit await wash to grab some of that brown derby and come up in here with this dark area and then a little bit of the nation. Okay, While that is drying, I'm gonna go ahead and fill this in. That's actually pretty much black, so I'm gonna go and start with the wash. I'm gonna Bullen that into the top of the tongue when I go to drop in that color. So I know we haven't done a tongue before. Don't let that intimidate either. They're pretty simple. Once you realize what they're all about, I am gonna drop a tiny bit of the brown derby along the edge here because that is when we're going to start to blend, and by blend, I mean, attempt to feather out the color brush wasn't quite what enough for that. Okay, I'm gonna mix a little bit of pink color. Something a little my rambling rose. Mix it in with just a tad of Venetian and a little bit of both Create a really pretty pink tongue color. And I'm just gonna do what? On dr. For this. I'm just gonna drop that pink right on top goals to get a blend there at the top. Okay. And I'm like, in the texture that it's creating already on its own. If you need a deep in this pink tone, just grab a little Venetian she wanted pull a dark, a little bit of a darker area where there's that wine there in the middle, on the sides and around the bottom. And they may want to tap it up into the top because the tongue is going back into a dark area. Now, back where it gets darker. I want this area to be darker, so I'm gonna take a little bit of my para lane and mix it into that blend that I had made it with a little bit of burnt number. I'm just gonna tap that along edge there. Okay? And again, trying to maintain that. That little bit of a swoop here and there. And anyone add some brown derby into that dark section here. Not quite where I wanted to be. Okay, that is looking pretty cute. We've got some nice, nice blend here shading that is looking good. And if you wanted some texture added to the tongue, you can always add salt to the top of that tongue. All right, we're gonna move on. 6. Forehead: All right, We're gonna go ahead and fill in this forehead section and connect the top of this now to the rest of our forehead. I am now going to use the number 12 round for this area, since it is a bit larger. Were you wet on wet? So I'm just gonna lay down water. All right? We've got a nice sheen on her head. We've got more on this side. You can see words swinging over. I'm going to start on this side and work my way over that way, in case I have to re wet this side if it starts to dry, It's not a big deal, All right? So I do want a darker brown fur underneath the ear there. So I'm gonna come over here and mix some brown derby with Cem burn number. I go ahead and use my plate out here just to get those colors. So I have that tone a little bit. Apparently. Just do you have a little bit of this color for the other dark areas we're gonna be doing for Lucy. Okay, so I've got this dark section here. I've got a dirt section above her eye And if you feel like this brush is too big for you. If you feel like it's putting out too much pigment, just switch over to your number four. It's it's not a big deal. You can use whatever size brush you want. I'm actually gonna let that cool. And then there, you know, I said I was gonna do half and then work over. I got a little carried away, But do you see how much more moisture this has on it than I originally thought? So I'm gonna just kind of continue over here. I'm really just putting in the areas that I think are dark. And I know her whole face is chocolate, but I'm looking at the value and looking at the highlights versus the shadows. If I need to pick up some color, I can certainly do that, too. Get a little carried away here with top of the nose. Always take a paper towel, dab the color, and sometimes you just need to blended a little bit. Just so it looks like you were intentional about it, its particular papers fairly forgiving, meaning I can blend it pretty well after even after the sections have dried, so that is encouraging. And some more of this dark right now for that really dark area underneath here. I'm gonna run a little bit of the wash here, and then over here, she has all these beautiful curves to her face. I want to make sure those gets put in, really Just getting our base in. Okay. A little bit of burn number to the top of the head. We really want those eyebrow areas to be really dark. No. Switch back over to the number four. I'm gonna mix a little bit of the black wash with that brown mix I created just again following what I'm seeing. I just want to get in these really dark areas quash, and brown makes squashing around next back and forth. We should be able to blend this bottom area pretty easily once we tackle the rest of it for the chest. Just a little bit of buff titanium or you see, they're needing to be highlight around the eyes. Just a little bit of that buff. Okay. When a feather, this area right here dried pretty quickly. Just gonna bring out some of those little areas. There's feather amount between drop a little bit of white, wash into the center of the forehead standout area. So down here by this now and then up to the top of the head in our final video for the lesson, I will show you what to do to get back in and get the final details ready. All right, let's move one. 7. Chest: I think we're ready to tackle this chest again. Keep in mind. We're gonna go back in and get all those details. Once we have filled in the chest and that's complete, I will show you how to fill in the rest of those details. All right, We're going to wet on wet for the chest. I am gonna use a number 12 round, and I'm just gonna fill this in with water first. Okay, we're ready. Teoh. Put down our colors. That seem that leftover dark brown I made. I'm gonna makes a little wash with that little black wash. If you want a really deep brown for her chest area, I'm just gonna take it. Follow based on my picture of sibling. My favorite part of what? What? This paint doesn't think it's just really cool. So she's got these, like, ruffled chest hair. So I just want to take and follow. Lay down the colors where the deepest areas. We're gonna be under the little lip. All right. Gets more that Burt number. I'm gonna mix that in with my little concoction I have over there and this Start dropping that down. Really nice, brown. When it comes to base work. There's not a whole lot of work involved. It's just a matter of getting your values put in the right places. And then you can start bringing up you're areas toe to meet so that we can start blending those shadows and highlights. If you have water pooling up anywhere, just take a drive brush, pull it up, gonna go again and go try to get a little bit deeper Ganges mixing brown germy and the burn number together. There's kind of this like dark area here where her chin is above. So it's gonna be darker right underneath there. I'm gonna do again with a little bit of that brown derby. I'm gonna go ahead and make some of the para lean, violent as well, because this is going to dry a little bit lighter. So I just one of those really deep, deep tones in here. Same thing right underneath this here in the edge of the face here. We want it to be darker, so I'm gonna tap the brush off. But I am gonna bring where I know there's that shadow. I'm gonna bring it down and then pull some of that dark up to the side of the ear here and then just kind of blended in. She's got such a dark area over here. I just want to get the right right values down. And I'm just gonna take in the side of my brush here and just sweeping the pigment that I saw have left just across this face here in areas that I'm trying to gauge where it's darker, kind of like above, above the eye and around. And then it gets darker right here because this section here's actually darker. You want this to be darker than that snout, because it's now is the furthest part out, so it's going to receive the most light. So we're just gonna go ahead, just let that blend in, okay? And then over here. Need to address that blend. Doesn't want to look like we photoshopped it on top of it. Another dog's chest. Same thing here. We've got this really dark section, and then it kind of jumps into a light section. That is where the highlight comes from A Sfar as the lighting. But I do want this just a tad darker. Someone take that brown mix, come over here Just trying to bridge that gap a little bit. And again, Just bring this up those little areas. Kind of like I did over here, where I'm seeing that I might need to add some depths, and then I can just keep taking my brush, wiping it off on the paper town and then coming over here and just trying to blend one that out of it, just taking advantage of what's on my brush at the moment. You don't have to do it this this way. You can do it before that is looking much more Lucy like on and sweep this up just a little bit further because I'm going to end up taking some with a white wash when we got to do the little for marks. And I want them to shop really nice for those chin here. So I'm just gonna kind of bowling that in a little bit. Okay? I am really happy with the so far Now what you can dio kind of finish off the edging is just taking number four and pull symbol hairs out. So, while it's still wet, you just come over here, just pull out little little wisps overdo it. Just a few here and there. I always like to pull away from me. I don't know what that's really about. What? I'm gonna turn this just so I can pull towards myself. Same thing here. I could even take this brush and go ahead and make little little intentions here. And I'm still gonna take the white wash and go back over it so you can see those little wisps. Okay. All right. I'm gonna add a little bit of buff titanium into the chest. We've got a little light patch here and over here that I want to address with some buff. So what I'm gonna do is just take this and run it here, run that here. You could take your 12 and do the same thing. Might actually be a little more effective then when I'm doing it. Still brings from that titanium up. Gather where some highlight you can take the tip of your brush. Just make some for marks in the directions that they go just sweeping back and forth. I'm gonna let that dry 8. Details: Okay, We're going to go in with detail. I wanted to show you how we're gonna finish off all these really deep areas. Some highlights, and we're going to achieve that with our brush and paint. If you watch some my previous classes, you'll notice I like to use watercolor pencils. Feel free to use them if you have them. It's no big deal. And I've even had a student used pastel pencils on top of watercolor, which I think is a lovely idea. If you want to experiment with some mixed media, I say Go for it. Okay, let's take me number four, and I'm just wanting to go along and add some depth where I feel depth is needed. He's taking that black wash. That's gonna be your deepest tone. That's why I like to use it for eyes and the news and around the mouth and actually want to go ahead and deepen and refine this area more around the eyes, even though you could certainly do that with a deep chocolate brown. Since her eyes are nice and chocolatey, always feather that out if you need to take that small brush, though 00 feel free to do that all right, and was taking a little bit of that mixture of the burnt number and Brown Derby, and I'm going to go up and around where this eyebrow is. I will be adding wash highlights or even the buff titanium highlights above this just to show the firm works. I'm not super anxious about all the details. You want to just kind of feather that out just to blend dendrites, finding those areas that need touching up When it comes to these darker breeds, like the chocolate and even black labs, it's really difficult to get them as deep as we want right off the bat release. That's been my experience. So just noting where your highlights are versus the really deep tones that's going to help you gauge where to put certain paint colors. I'm just adding highlights around the eyes where I see that there's a lighter tone again. These can be achieved with watercolor pencil, just a nice light. Either the white or creamy ivory tone will do, and I might use that little a little brush around the for Can I continue on adding lightness up and above her eye anywhere on the bottom. And if the buff titanium isn't quite doing it for, you can always add a little bit of that Wake wash to it just to give it a little coming in . Just bringing. I want to bring a lot of light to the top of the snout here, into the edge. So I'm actually gonna grab a little bit of white quash, be here and here and again just blending and out a little bit of the chocolate here above the nose because I want the top of the nose to have a really bright highlight on it. So do that back to my buff titanium here and mix it with some white gua so I can have a little more. I like power. It's a really light wash of this mixture. It might not dry as bright as you think, which is fine because that means you can go back in and add another layer. And that way you're going a little by little versus going Oh, no, it's, you know, too bright. Or, you know, maybe I did this or what? What ever thought that you might have about that? It's better to go slow and steady versus you know, you feel like maybe did something that you shouldn't have, which I don't know that that's even possible in the world of painting. But I But I do understand the thought process. I'm big on being able to fix things. If I'm like Oh, no, The color was to braid or not, right the right tone or something. I usually can fix it pretty easily with watercolor, especially when you have the power of wash on your on your side. Okay, we are getting there. It takes a back wash and go on the other side of the year just adding more depth. Try not to take too much away from what ivory done. Do you think the texture is really pretty noticing the balance of the depth here versus the other side? Simon A. A little bit of a shadow on the other side as well. And a little bit, uh, bird number over here. It iss supposed to be more my the warmer tones. So I want to do that. This is more or less a glazing just running a tone over the top of dried watercolor. It's pretty effective near wanting to add warmth to a subject black over here on the brow show these little tidbits, different areas here. Make sure I get those make Lucy me. You see, at least that's Michael and just adding even a darker little punch to this area Here. She's where I've added the dark that I'm taking a damp brush and just kind of feathering out. Oh, this will take my dark brown hair and just do a little bit of cleanup work along the edges of the ears and a little bit of so sticking up in different places. And as I say with most things that I paint here, you can take these as far as you want, or as little as you want with detail does not have to be exactly the way I do it. You can have your own variation. I am going to use some watercolor pencils to wrap up this detail section. I will add those into the supply list, but when this is dry, the really cool thing about using a little bit of wash with your paint is that you can usually take ah, light colored watercolor pencil and make nice little markings. You just go in just if it's the top of the highlight there. Same thing we can do here. Take a little if you get a nice A nice shortness to these same thing with around the eyes so you can really add a punch really helps from making the for. And then if it's too much, you could always take a wet paintbrush and just go right over the top of it. New problems. I like a combination of drawing and painting, which is probably part of what I love about watercolor pencils. It just combines those two things together, and that makes me very happy. It's kind of getting my my basis here. I always take little little strokes or big ones, all right, just continuing to add little strokes here and there. You could always glaze over the top of this as well with a warm tone. If you feel like maybe there's an area you need to warm up, you can certainly use like a light brown and just wet over the pencil markings. Definitely take a wet brush over this area here. Just wanted to kick up some of those highlights just a bit, okay, just having in highlights where I feel they need to go. It's gonna take me number 12 for this trust area. And there's gonna I'm gonna wash over those pencil markings. You get too much water, they'll just disappear, By the way, I just want them to be soft. You know, if you get too much on their they just kind of disappear, Chef, to decide what your goals are. I'm gonna take a light gray pencil here and just go around the tongue in the tooth area. Take me dark brown to a little edging. Take my number four gets water on it, fade out a little bit of that. Well, a little bit of buff from realizing there's little area right here. This lighter brown. Well, that will do much. I don't think it's gonna do much. Actually, any some wash on that one. That is not quite the brightness I would like. Just gonna add some little wisp ease to the chin area and some of those little white whiskers here. Just add a little punch, actually, add in her whiskers and then the highlights in the eyes. That is what has been missing. I just realized No, I knew that the whole time I knew I knew what was missing. There's that shine we've been missing. And if you want to do dots on the nose, do dots on the news. I think that is just about it for our details. You can take this as far as you want, with little markings. Anything that you choose. We are going to work on an optional background in the next lesson. 9. Optional Background: for this background, which is optionally. Do you have to add this? However I thought would be fun to use this little guy for some of the background details. Now, keep in mind, you could certainly use this as well for marking off highlights and for markings and things like that. Instead, having add them back in, you could just mark them off. So feel free to get creative with that. I want to show you how to make small little roses with this. I think that is going to just be really cool. So about this ready, todo I'm just gonna take this little needle to appear, and it's it's kind of coming out a little bit fast, but I'm just gonna take this in, like little like the letter C is what I mean, So a dot Well, that was a bubble, and then just take it, swing it out around kind of doing every other side. So what we're gonna do is just make rosaries essentially that are gonna be left white in the paper. We're going to color in the background, so don't in a way around. It's kind of filling in here and there it doesn't have to be too much rhyme or reason to it . If you'll just take like a C and then another, see, and then you go back and force and then just connect that center. That would be my method. Okay, that is all dry. And we're ready to put some paint on fourth of this background. Um, as you saw in the preview, I chose a beautiful pink tone. I'm going to use my rambling rose and just a little bit of the operas pink. And you can take this two ways. You can do a wet on wet. It's holding wet, add your color, or you can go in and add went on dry and do a little bit of multi coloring. So I just have a little bit of the pink left in my brush and then add darker pigment where I choose. All right, I'm just gonna work a little bit at a time, so I'm gonna start on this side and then I'll finish off that side's I'm just gonna bring in the pink. Did you probably my darkest down here towards the bottom and work my way up? I can even go in between each of the centers and add a little bit of a deeper tone. Okay. Now, for the really exciting part Got this old dry, we're ready to rub the masking fluid off. How much fun is that? You got all of this off? How need honesty is that background? Now, if you feel like some of these roses are little too bright, just take a wet brush and just go right on top, soften the color. So it's not quite so stark. And that is an easy way to get a neat pattern into the back of your painting background of your painting. We want Lucy to be the star here, so I'm just gonna Tony's down just a bit, okay? And that is our back room. 10. Share Your Painting!: Congratulations. You have completed Lucy the chocolate lab. I am so excited that you took this class. I am sure your painting looks fantastic. I'd love to see those in the project gallery. Be sure to upload those. I will be on the lookout for the images and feel free to ask me any questions you might have about this class. Maybe I left something out where I said something. You weren't quite sure what I meant by that. Drop a comment. I will be on the lookout and I will make sure to reply to those Justus soon as I see them. I hope you had fun and just stay tuned for the next class. Goodbye. Thank you.