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

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Watercolor - Let’s Paint a Dog: Golden Retriever 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

9 Lessons (1h 11m)
    • 1. Watercolor - Let’s Paint a Dog: Golden Retriever Edition!

      1:09
    • 2. Supplies

      2:23
    • 3. Eyes and Nose

      12:34
    • 4. Ears

      10:21
    • 5. Lip and Snout

      12:21
    • 6. Forehead

      10:58
    • 7. Chest

      12:46
    • 8. Final Details

      7:40
    • 9. Share Your Project!

      0:34
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About This Class

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In this Skillshare class, we will explore the fundamentals needed, to create an 8” x 10” whimsical watercolor painting, of the lovable Leilani.  Don’t stop “retrieving.”  You can do it!

This class is a great starting point for those wanting to explore the world of painting golden retrievers.  I will walk you through painting this wonderful dog.  If you have always wanted to paint a Retriever, I hope this will be a "pawsitive" learning experience.

In this class, we will:

Explore painting the Eyes and Nose
Explore painting the Ears
Explore painting the Lips and Snout
Explore painting the Forehead
Explore painting the Chest
Explore painting the Final 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 animals.  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 Chocolate Lab, a Yorkie, and a Basset Hound.  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.

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

 

Thanks to Brittany for allowing me to use Leilani, 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

Teacher

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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Transcripts

1. Watercolor - Let’s Paint a Dog: Golden Retriever Edition!: Welcome back to another skill share class. You haven't taken my class before. Welcome. I'm Mary Evelyn, and I'm going to teach you how to paint a golden retriever. Today we have got Leilani. I've worked with her mom Britney for a little while with some exciting things that are in the works through Instagram and she's got two beautiful golden retrievers. This is Leilani have already painted Kaya before. But today I want to show you how to paint her. She's got some really nice features. I am going Teoh, break this down into little bite sized manageable pieces so that you can accomplish an entire painting. It doesn't have to be done all at once. If you could just do it as you please. I won't encourage anyone at really any level to explore some of my classes on skill share. This is my 10th class on skill share. I do have a butterfly in a bird and I have several classes with dogs with varying for links to get you more comfortable painting different types of for and eventually I'll add curly hair, which should be really exciting. I just want Teoh let you know that you've got this. You're gonna be great. So be sure to bring your sense of adventure and let's go 2. Supplies: Let's talk supplies for this class, you're going to need your outline. Feel free to print out your own golden retriever if you have one, or if you're just wanting to paint someone else's golden retriever, feel free to do that. You may also in large or shrink the pronounce size to what suits you for this lesson. I've gone ahead and transferred my image onto my board for this class. I'm actually going to use a watercolor crescent board. This is a premium watercolor board. 511.4. It's just got a nice surface to it. So I thought I would be fun for this. The lessons I've gone ahead and done that if you want to transfer. I used the graphite paper methods, so feel free to get a ballpoint pen and some graphite paper. For that. I've gone ahead and printed out our guide. Just a little simple guide I created for this lesson, as I do with most of our dog lessons here as far as light sores, how we're gonna break down the pieces, just little notes to take here and there. I have my water off to the side. I have paper towels off to the side. I've got my selection of colors here, and they're gonna be shown on the screen as well, so you can take a either screenshot or pause the video and take note of those colored feel free to use colors similar to what you see. They do not have to be exact colors at all. Okay, we're going to use a number 12 master's touch round brush. This is the one of my favorite brushes. I have a new favorite. It is a number four silver black velvet round brush. Order that on blick dot com, and it's such a great brush creates a lot of lovely textures. And also going to be using a Grumbach er 00 for this class is is also a round. This is great for scrubbing little areas, different things like that. And then last but not least, we are going to use this handy dandy art and fly our Bible white gel pin. And with that, let's jump right in 3. Eyes and Nose: for our first lesson. We're going to dive right into the eyes and nose of this portrait. It's going to give us a bit of an anchor as we continue on and not have what I call the zombie I effect as far as leaving the eyes white. I think that would be just really good to go ahead and get him in, give ourselves something to look at as we're continuing on our portrait. So to begin the eyes, I am just going to dive into a little bit of the black wash and a little bit of my brown derby over here to the side, and a little bit of each is fine. If you want to use just black, that's fine. I'm pretty flexible when it comes to painting details, but I just want to give myself a bit of a guideline first, and I realized with this painting, when it comes to brush strokes, I go from left to right. Now I am right handed and so I wonder if that has a lot to do with it. As faras, the way I pull strokes, I wouldn't want to necessarily go from right to left. I think that would be a little awkward. And I can imagine my line work would probably not be a smooth so just something to think about As you're jumping into the world of pet portrait, it's and painting they're features because I think the reason we do things is important is as important as how we do them. So yeah, I just something I've been thinking about. So I will try to explain as best I can as we go. I like to do the outside of the I fill in the pupil of the I am gonna go in and just a little bit more black wash. If you feel like it's pooling up too much, then you can certainly dab your brush off on a paper towel. Come back over here and just soak up a bit of that pigment. We can always go back and add some deeper pigments to that. Okay, Now, I'm gonna go ahead and do the same on the other. I am issuing swing. I'm just going to swing over that line coming here around that out just a little bit because of the angle of the face. This I does seem a little more elongated as part of the reason for the shape. And that's okay. Something wrong with that. And we're gonna come in here and fill in the people going here and fill in a little bit more. I'm realizing my highlights or not quite that big. And if you've taken any of my classes before, you know that I like to add some highlight at the end. All right. Now, Miss Caya here has really deep brown eyes, like, really deep. So I'm just going to take a bit of the brown Derby, have quite a bit of pigments on my brush, and I'm just gonna swing it up underneath her. I hear same thing here. Have a little less pigment on that. Since I used it up on the first stroke. A little bit of brown Derby letting that black kind of fade into the brown. I think on this one, I might have gone a little carried away, and that's okay. There's nothing wrong with that. I am gonna grab a little bit of my parallel in Violet, and I just want to dab a little bit up underneath the center of the Irish. Okay. Now, with that as that is drying, I want to take a little bit of the brown derby. Just the lightest wash you can see over here that I have just got a really transparent wash . I'm going to take some of that and run it around the island and along the bottom of the island. Just building those deep tones. Okay? And then, as you can fan out, just used the tip of your brush. And this particular brush has a really fine tip on it. It does a beautiful job with those details. So I'm just gonna fan out some of those deep little first strokes. Okay? I can even go up just a little bit. Consider this mark making. So when we go to do wet on wet, we might lose a few of those lines, and that's okay. There's nothing wrong with that. All right, I'm gonna take a little bit of that transparent wash and come back over here. This other I added along the bottom here along the top. I want to get too carried away. Now I'm gonna dab my brush off of my paper towel. Continue Forward is pulling out a little pieces of that paint that I laid down and I just jumped back over there. That's part of a habit I have with painting. As they just jump a little bit back and forth again, you're gonna want to do what's comfortable for you. So the more portrait so you do, the more you likely you're gonna find out how you like toe work. Okay? I'm just again building on what I have already just winging out those eyes just a little bit more or the I not the eyes. Hey, just little bitty brushstrokes. I want to share some of that detail here. A little little Benny strips. Okay, just you have a nice, fine little Well, I mean, you know, that little wisps of hair. Just a little wet Russian. Damn, that little area just attacked with my brush. Okay, I'm gonna take just a dab of the white wash here, and I'm gonna soften these areas that I left white. Now this people here is actually still pretty wet. So that's gonna run away from me here. Okay, just soften it. I'm just dabbing out that color, and I think that is looking mighty fine. If you want you can take a little bit of the black wash and run a bit of a line underneath the iris. Want to kind of give the illusion of that water line? That little shiny area up underneath the eye. Okay. And the one that's dry, I'll go back in and add even a little bit more detail. All right, I'm gonna jump into the nose. Gonna take my black wash. I'm going to run it into the nostril. Yeah, kind of run through this fairly quickly. I do have classes on the eyes, dong eyes and adult news. So if you wanted to kind of further your knowledge on that, I suggest taking a look at those classes because when I first started doing Domino's is they were a little bit difficult for me. I couldn't really figure out their shape. It was one of those things I don't know. And that's OK. We're all learning. I'm still learning. I think if you can wrap your mind around that, you will do amazing things. All right, now see how I've got this nice outline all the way across the nose. I'm gonna go ahead and bring up their like this little dark patch on top of Kai's knows, just like a little edging. So I just looked at my reference photo here and realize there's that little dark topper on her nose. Now what I want to dio is take a bit of the Brown Derby has a base, so I'm going to just take a light transparent wash of the brown derby and run it all the way up into the nose. Now notice that I picked up quite a bit of that black. That is not a problem. I'm not concerned about that right now. I just want to get the surface wet because I'm going to drop in some peril. Lean Violet Kaya has a bit of a violet toned knows between Violet and Brown, really? But I think between this brown Derby and the violent, this is gonna be a nice color. I am just gonna take a little bit of that. It's a little bit exaggerated, and that's OK. Going to drop more black, wash onto the bottom part of the nose because again, when you think about noses, the bottom part is darker in the top part because of where the light is shining. So the light shining and hitting the top of her nose. I'm just gonna grab a little bit of brown Derby. Mix that in with that para lane. Violet, try to soften that tone. Okay? You can go in and add even a little dab of the French grey. Come over here. Have a little bit of that French grey. Get a little my brush. I'm just gonna go in here. Just tap, tap, tap ad where the highlights around. I will go back in and kind of sharpen up some lines if I feel like they need them. Once this has tried, I'm happy with how the tones are shaping up this far is the deep to the top. And I may even add just a little bit more of the French grey right on the tippy top of the nose here, right along the nostril and right along that side of the nostril. Okay, That gives a little more of a three d effect, and that is what we're after. Okay, so we're gonna let that dry, and you may feel free to put a little salt on the nose if you'd like, but I'm just gonna leave it that way. I'm really digging the texture and we're gonna move on to our next lesson. 4. Ears: all right for this lesson, We're gonna focus on the ears. I want to mix a little bit of my to buff titanium, and that's right. I actually have to of these for this Class. One is a lighter tone, and the other they each offer kind of their own unique color tone. So I just decided we're gonna including both. You don't have to. You can include just the one or the other. Does not have to be both. I just thought I'd be fun. All right. For the ears. I want to start off with a little bit of a deeper tone. I want to grab a little bit of the brown turbie and mix it in with some buff titanium. Come over here and just kind of giving myself a little bit of a guideline. And if you feel like you need a warmer tone, just mix like a raw sienna, maybe like a raw seeing a color, like a really pretty brown tone. It's got gold in it as well. I'm actually gonna mix a little bit of that in, see if we can't get a little more golden. Okay, so that's actually gonna work. Al Qaeda. I'm gonna make a little more creamy. All you'd have to do is just take these paints a step further to accomplish a deeper, truer Golden Kaya is going to stay pretty light and airy. So what I am doing, I'm considering Mark making and all under another's a shadow down here. So that's part of why I'm bringing little marks over. And if you feel like you're lines or too dark, when you start working on a piece like this, feel free to take a kneaded eraser and just gently run over your marks and just soften him up. Since I'm doing Kaya very lightly, very creamy color. I realized that those pencil markings are a bit dark, so I'm gonna have to try toe work on that momentarily as faras as I go along. All right, She's got this ear that kind of has a little edging here, so I'm just gonna take little marks for me. It would make just what I'm seeing. The values in her ear. Same thing here. Now, the way you hold your brush will effect how your lines are being laid down. So I do encourage you if you want to practice some with some of the color mix that you've done, whether it be a darker color or a lighter color and just work on those strokes as far as how they're gonna lay down. And sometimes I'll go and start to turn just lightly turning my brush just angles. And if you can tell here, see if I can get this focus. The tip of my brush starts to bend in one, respectively, another at the very tip of it. So the way I hold it is going to dictate how that point ends up being and how much paint you have in your brush will affect those lines as well. I like to do line work in almost a section fashion, if that makes sense. So, like the these little lines here? Yeah, I made little lines, but they actually connect same thing down here, made little lines. They do connect, and, again, highest, very light. So I'm gonna let that dry for a moment, come up here and get my buff titanium and it had a little bit of the brown derby. I'm kind of going between this warmer tone and cooler tone again, you decide what works for you and your project. Okay? And I'm just gonna sweep down, take a kneaded eraser, just gently run over. So my lines here just pulling the brush down towards me. Okay? In the brush here. And I've got actually a really dark section right in here. So that's where that Brown Drummey is gonna come back in the play. A little bit of that una Let that be there. Bring some of that down here. We've got a nice edge. Were hurt. Your is hay on top of the face. There's a little bit of a shadow there in a pool pull poll and then take those dark lines out just a little bit more. You can bring up lines as you go. If you've made a little section that has extra moisture to it should pull pretty nicely again, depending on how you want the strokes to go is dependent on how much pigment you have in your brush, the direction at which the tip of your brush is going. And then to kind of get those uneven wisps of hair You can turn your brush slowly and your fingers as you're making marks. I know for convey a little overwhelming. I don't want to seem scary or not accomplish double. Is that a word? I think it is. Now I think we just decided it was a word. So again, I'm just following my picture where I see that there's darker tones. I'm just bringing those colors down if you comptel that are light sources to the top and goes down. So you've got a shadow here, a shadow here, Which is why, by her ears are gonna be the deepest tone. So now I'm gonna come back over here, be mindful not to put your hand in your paint. I am notorious for doing that. We've got a shadow here that I want to add in as part of our gear technique and just I'm just going to bring down a few little lines there and here. I don't want to go too far out just because we're going to include that in the chest area and you can just do a wash and then drop a dark color into that. That's not a big deal either. You want your lines to be soft. Just get a brush and run. Damn Brochure with edge of that that should fade out nicely. This is the American journey, buff Titanium. And I'm just gonna take it and run it across the top again. I'm trying to preserve those nice light tones that she has on her ear. Same thing here is gonna take a nice light wash. We'll run it down and over. And you probably noticed those marks that we made are gonna soften. And that's okay. There's nothing wrong with that. Take a little bit of the other buffed teams. Maybe I should say, buff one and buff to his buff too. Just run it along the edge. I just saw it almost fades into the rest of it. You know? Why? Don't want technique. Got it wet with a late wash. And I'm dropping into more of those tones. You feel like you got too much. Just damp your brush off and swing it on over. Okay. Her ears are looking really good. I wanted deepen a little section that folds right here. Just gonna add a little bit more drama to the year down here at the tip and then up next to her head. Okay. And then where she's got her roughly years. I'm gonna just add a few strokes there years pretty roughly. And then I'm just gonna swing out some pieces. All right? I'm gonna let that dry years try, and then we'll go back in with our final details with those years at the end. 5. Lip and Snout: all right, This next part, I want to focus on this bottom lip area before we tackle this top section. And what I want to do is take a little bit of the buff titanium or buff one, because we want call it. And I'm just going to add a nice layer all the way across. Just kind of use and one swoop. Let the water and the pigment of absorb into the board just a bit, and then I'm gonna add on are other colors. Okay, you know what? You take a look at what kind of moisture we're looking at. See that shine? Okay. And there's a little area right there at the bottom. It's not quite wet anymore, So that's about what we're looking at. So now I'm going to grab a little bit of the brown derby. Can I want to just gently add in a little edging right along those lines? Okay. A little bit of the raw sienna to some brown derby really make a nice deep tone here. Just gonna dab it in, and that is already starting to dry pretty quickly. So you've got to work fast when it comes. Teoh watercolor board or just make sure it's really saturated, but you're kind of your options, but it is a cool substrate to work on, Let me tell you. All right, Now that middle part of the lip here has more of the gray in it. So I'm just gonna grab a little bit of the black wash, come over here. I might have come over here to the middle and just talked about the middle, and I'm gonna add, but more here and in that top part of the lip is really deep color. So I'm gonna grab an extra liberal amount of the black wash, add it right along here. And I was gonna staple or just dab little dots of black along the base there gonna take a little bit more black wash, just kind of run it along that line. And right over here, we're just give a little hint of a smile. It was this. Golden retrievers typically have a very stoic look about them. I like Teoh kind of jazz it up a little bit. I'm going to add even more black wash their here in the middle here. Work had dips down, one edging here in here now, I can take a little bit of my French grey. I want to add some really crazy texture which we can are painting. We can do what we want. You just kind of determine what works for you, okay? And even if you need to grab some of that white quashed, you can add a little bit of that up underneath here, outside, there just for fun. All right. I'm just gonna continue on with adding in some depth, using the black wash. You can certainly mix a little bit of that black wash with the brown derby or just black with the brown. You don't have toe have those exact colors at all. I mean, really, I've even done some portrait's where you can use Payne's gray for a lot of the really deep tones. Create some really nice, really nice textures just adding alone. But more net over here to the side, just bringing down some little details. You can incorporate that small brush if you like. If you like to work with a smaller brush, I would encourage you to do so. I will most likely use it when I go back and add some more of those details. Just taking a little bit of my mixture of the buff titanium and the raw sienna. It's a very transparent wash, just wanting to add a little bit of depth. I'm just kind of gently going along the side here cause Leilani has a little bit of a warm edge to Hershon out here. So I just want to kind of break up that line and what I'm going to do to achieve the little fuzzy aspects of her chin is to add little tiny hairs in whitewash to her chin area. All right, now, what I want to do is I'm gonna actually do well on wet, so I'm gonna just bring some water. I'm going to get her entire snout area here wet first. Okay, grab a little bit of my black wash here. She's got a really dark palette going on right in the center. I'm just kind of dabbing where I want that paint to go. I gave myself a little bit of a guideline with those little hair marks going on either side here, just so I know where to stop with that darkness, that will just about do it bring some dark right down here as well. You are more than welcome to feather out some of that darkness. If you're bored has started drying or your papers started drying, you can just feather out the black. However, my board seems to still be a little bit wet, so it's just kind of fading out, which is fine. Not a big deal. Okay, Just a tad more right underneath her nose. Just taking the flat side of my brush and just kind of stippling this black into the little areas that I'd like it to be. Okay, I think that will work. Oh, right. I am pretty happy with that. I am not going to bring down. It's a little dark piece real quick. She's got a little bit deeper. Well, area here. Okay, Now I want to start incorporating that buff titanium into her muzzle area. So we're just gonna come to the edge here, bring a light very light wash of the titanium down. Okay, so I'm just taking a little bits of that really light buff titanium adding it along the edge there because her muzzle is the furthest point out from her face. I don't want to get too dark because we're gonna have the darkness beyond either side to create that little bit of depth we have going on. And how far you take the color is all going to be dependent on the tone of the golden retriever. Your painting. If you're not careful, you'll get black onto your brushes like I did from the nose. Always a good time to be had while her muzzle is drying. I want to take some white wash and just on a little pairs along the edge of her chin. You can take this as far as you like. You can even go in with your white art and fly pin and add those little markings once you've got all your values in fish wanted kind of blend in, too. Areas here. Okay, I'm pretty pleased with. I think that's a good could go for the snout muzzle chin area. However, we want to label that, and our next lesson we're going to approach the forehead and I'll be exciting. So let's go 6. Forehead: all right. Our next step we're going to do is approach the forehead area. I can take it the same way that I did with the ears with the mark making and then doing what? On what? However, Because she's so light, I'm gonna be able to see the lines anyway. So I'm gonna go ahead and just do a light wash of the buff titanium hand just going to just add that along her face here. And as we go along, you can just have a little bit of a more pigmented wash to certain areas. Just grabbing a little bit more that wash between that raw sienna and the buff titanium. So just kind of dabbing a darker pigmented wash where I see that there's shadows or her cheekbones go in and create the highlights and the shadowing on her face. Take a little bit of this French grey and mix it with a little bit of that peril in Violet and the brown derby that I had on this plate because I want to add a bit of shadowing along her face here stepped up Damn swipe, really the goal just to create a soft base that you can start adding all those little details too. I think I am done with that. Number 12. Jump back over to that. Number four. I'm just again taking that a little bit of a darker wash. This will lighten up a bit. What dries? So I just want to take it and go around the eyebrow area in the crease of the I and the cheekbone area. Okay. I'm pretty happy with that. Fill in some areas. Just kind of double check glance, your shine. How much water is on the face? Just kind of doing an assessment of what is going on. Okay, we're going to let that dry, all right? Now that we've got her forehead dry, I'm just gonna take again the starker wash Feel free to mix it up between a light both titanium of this little bit deeper titanium just to have some options. All right, so I'm just gonna go in and add nice little lines that are really going to make her face pop. Just swing that paintbrush down. All right. Again. Just dragging little for marks out and across. What's really cool about this is you can take these little marks and get your brush wet and you can kind of smug him a little bit and they won't necessarily stick like they're not permanent on the board. You have a little wiggle room to play and some depth down here. Total area that is going to connect into her chest here in just a bit. Okay, just adding the lines have following those little marks that I made with the original transfer again. You can kind of tone these down just a bit. Take a clean brush and just I smushed the paint around until it's too your liking. No religion out of describe that. I just know I want to take little little lines here. Bring this down a bit and just bring those little lines down just to give her son depth into the little area here. Because thes eyebrows are raised up and then in the middle is recessed. That is what we were trying to accomplish here. I'm going to grab French Grey and add it to this area here. Just had some depth grab a little bit of that paling violet brown derby mix. Come under here. She's got quite a bit of a shadow there, It's going to go down into the chest. So I'm just sweeping down a few little areas for that swing over here, and we're working our You'll notice if you've got larger wet areas, how it dries. Part of what I like about this board really lends itself to a really pretty watercolor effect. Can just kind of finding those areas that I feel need some depth to it and fading out where I feel like it doesn't need to be as faded She is coming along. Now I am noticing around her. I didn't get it quite and deep, so I'm just gonna come over here and just a little bit Have some depth to that while I've got some of this tan on here and then just I'm gonna get some little We'll switch above I there, give it a little more punch. More contrast. I think we are working mighty fine on the face here. I want to add a little more depth right here and a little bit of a shadow appear it's gonna go between us, Gray. I want almost like a gray brown with just a tad of that para lean showing through come here on a bit of a shadow and then take my brush that I just can't have rinsed off itself A little bit of pigment in it. They rinsed it off. And I'm just blending out that shadow, just taking the flat of the side of my brush and just kind of pushing it around. Okay, I think that is a good stopping point for the forehead. We're going to jump into the chest area next. 7. Chest: for the chest. I want to take number four, and I'm gonna mix up a little bit of a darker variation of what we have. So a little bit of the brown derby with some of our raw sienna, I could just have a nice little you know, mixture of that sitting are please come here some of that stuff and then mixing a little bit more of the French gray over here. Just so have some options. So taking the French gray mixture and you can certainly just take the French grey. I just have a habit of mixing colors to my liking, and I'm gonna do some mark making. So I want to follow along with where the for is going to be, as far as how it's going to flow continuing on. I tend to have outlines when I do pet portrait. So that's a bit of the explanation for why I'm following that outside edge there. All right, when it comes to connecting underneath her chin to this area, I kind of want to just get this What? Here. There's a little swoop. She got a little more depth right here in that little swoopy area So I'm gonna grab some of that little brown mixture. I mean and just got it in there. And you can even take a bit further and take the brown derby in added, right up underneath. There, it gets pretty dark right in that little area. So really, give her that three d effect, All right, I'm just following those initial lines and kind of I do almost like a I think about like Zorro the when it comes to brushing on strokes, it's like instead of doing stroke stroke, it's almost like I'm going back and forth like a zigzag. But if you kind of think, even even know straight like is like a zigzag or like Zorro Z, it's it's turned to the side. It's the same principle. Leaders going swish, swish, swish is the idea that is my preferred. I guess when I'm laying down strokes, it's like either I'm doing a single one. I'm just going swish, swish, swish back and forth, back and forth So that might be something to think about. As you're laying down for is what is your What is your pattern? What's your repetition? And over here we have that dark area. Kind of like over here. We've got a dark airy here, but in the shadow. Just sweep out some details here and then continue on the same little path. Just sleep, sleep, sleep. So there's that. And then there's going the other direction. So I guess I could do the Z this way. I feel more comfortable doing it. Left to right. Just kind of swinging the pigment up. Okay. Got a little bit of a deep color right underneath her chin here. So I'm just gonna kind of go where I marked it. Just pulling out a little bit of the tone as I go along. Okay. A little bit of warmth. So I'm just gonna dab on some of that Rossi and a above titanium makes. And I do want it a bit darker underneath her chins. I wanna mix a little bit of the brown derby with the raw Sienna, and then go back up underneath surgeon one more time. Really? Add some punch, okay. And then just kind of sweeping those two colors together, right? And I'm just gonna pull down some of those on a wisps just to kind of blend. It is a bit of a harsh shadow there, and that's OK. So I'm just gonna kind of whole down little strokes there blended into what I already have . Okay, I'm gonna take some of that deeper color and I have on my plate here and come over and add it to some of these sections of hair that air a little deeper on her chest as faras maybe, um, some pieces that are further back, I guess, is what I'm trying to say. So they have the illusion of of the highlight hair and then the recessed hair. That's kind of the goal. Okay, at that nice warm patch right here, we're just gonna kind of continue that on. I just like to kind of jump back and forth with colors as faras mixing him, I find what works for the painting, and then I adjust accordingly again. These can be accomplished with just plain colors. I just tend to get a little caught up in color mixing. Sometimes again, we're just kind of taking thes darker tones. And I'm adding a mid tone just a really light wash of buff titanium run that tone up underneath the edging of her neck especially since we've got the dark shadow here. Come here with a little bit of that mixture again with that para lean and the brown derby just to bring down some of that now, because we have this so warm, I'm actually gonna bring a little bit of that tone here where that here is casting a bit of a shadow. I'm gonna add a little bit of that here. I'm gonna try to get the warmth kicked up over here on this side. So just taking a little bit of my raw sienna thing. If you're golden retriever is more golden. Lean heavy on to that raw sienna that will benefit you for this portrait. Okay, Now, I'm just mixing those edges with some of this mid tone here where I'm just going across the top, adding in some of those tones now where the hair fold or curves, I can just dab a little bit of the pigment onto the edges to create that curled look or or bent. I guess you could call it man. When it comes to the longer hair. I like to add motion to it. I like to add my own flair to it. So the more pet portrait issue new. You're gonna find your your niche where your your way of doing things? Because I tend to cluster my hair groupings together. I may start with little individual hairs, and then I just kind of cluster them together as I go. And hopefully that makes sense. And like these bigger strokes, I'm just taking my brush. I'm starting light, and I'm just pushing my brush down into the board, which is pushing the brush flatter and giving me a broader surface to paint with that brush . The brush is being fanned out, and I am able Teoh, get a larger surface area covered, payin pretty pleased so far with what is happening here on the chest, I feel like I'm getting the depth that I want. And, yeah, we are getting there. Could always take it darker and deeper. This is just kind of a guideline on how I accomplish these types of paintings. They love golden retrievers, ANC. They're awesome, are so pretty. But there long flowing hair. And that's basically the gist of painting the chest hair you can keep, adding I would recommend retaining a lot of the highlights that you can throughout the chest, as far as you know, your your shadows versus your mid tones and then the highlight so we can punch up this ear as well. Now that I'm looking at a if you notice this is just a dark as here and then we have a lighter section here, so I'm just gonna I want to quickly come over here. Just add a little bit more of that brown Derby violet mix. And I'm just gonna sweep that over. I'm gonna come over here and grab a bit deeper pigment. Don't be afraid of the pigments. I really want to show that it's There's depth there. And so adding that deeper, more contrast color is going to accomplish that for me. Same thing there. Okay. And again, just take it as far as you want. With the tones, you can certainly go. I know several shades darker to create a different level. Yeah. So we're gonna move on to our final details and we'll get Leilani finished up 8. Final Details: okay for our final details. What I'm wanting to do is just taking what I already have and adding a little bit deeper either crisper lines to the edges. So I want to take some of this buffed titanium. I'm just going to add a few more little outside strokes to her ear and along forehead versus leaving those pencil lines. And then this is the part where you can add a little bit of the little fly away hairs. Any kind of little extra details you want to add. This is your time to do that. And you can just take little little areas that you think might need some assistance again. This you're here much gonna go ahead and divide that little bend. And I'm just quickly just going over my method as far as how I have finish up a portrait So you can even take this outside here and just create a little bit of a deeper area, okay? It doesn't have to be a lot can just be simple, simple little strokes. Part of what I want to do it with the final details is finish up her eyes. This this highlight I lost just a bit and the nose. I want to just refine the detail on the nose real quick. So she's got that line that goes down the center, her nose open the nostril. Backup. We lost a little bit of that. And if you like a looser painting, just leave it. How it ISS just don't take it. Don't take it further. I think a lot of texture is really pretty. I'm just kind of showing you my my more or less go to when it comes to Pat Portrait. It's just deepening that a little bit. And for those eyes, I'm gonna swing over here and grab that 00 Grumbach er a little bit of white wash. Come over here and just add a little bit. And I need to add in a little white area here on a little tiny one here, just like the water lines in the eyes. Just have a really soft look to her. I that's important to me. So that really softened out for a little lines that I had just sweep out these lines and then I want to go in and add. We're gonna add her little wispy hairs. Make sure you don't have too much going on there. I'm just gonna just gently juster adding little little sprigs and Brandon patters. Now, if you're wash mixes too watery, it's gonna dry, and it's not really going to retain the little hairs you're wanting to do. It will dry and just kind of disappear. So just be mindful. I think that was probably a little much. And that's the beauty of washes. You can just take a wet brush over it and be on your merry way and fix it. Not that I think there's anything wrong. That's not what I mean. Even these you can kind of just cluster together because they don't a big fan of uniform. Here's all over the place. But I do want a nice fuzzy model. Okay, Go back over here, Tyne. You on adding those little hairs? That's really fun when you do one side and then you have to go to the other side. Sometimes we'll turn my painting upside down so that you get the same feel of pull of brush and hairs or a little more. Uh huh. I would say even, but the method is similar. That is kind of difficult sometimes to trying to get those. Like I said, you can certainly do this with the art and fly pin as well. So if that helps you with a little more control, I just thought this might be soft, softer Look, using the wash. No, I'm just gonna pull up some of these. Here's here just to give that fuzzy really fuzzy. Look, I'm gonna use the pen, though, for her whiskers and a little bit of highlighting on the nose. Just panning a little bit those dots and sometimes will go in and put my finger on top of it just to soften him up. Okay, so she's got some. It's a nice whisker action going on. I try to be fairly light handed when it comes to whiskers. So just kind of, ah, swish down. I'll start top and just kind of bring it down. And to, um, the shape I want, depending on how the dogs whiskers are positioned, I guess. Let's put it that way. She's getting lease wispy whiskers. And then when it comes to the lighter colors of gray, you can go over that with the pen just because it's going to show up a bit better than the washed ID. Okay? Always a little. Well, highlights where you need to add highlights over all. I think that represents a very light colored golden retriever. And yeah, thank you. We're gonna gonna let that dry, and I will see you in the next video. 9. Share Your Project!: Congratulations. You have now completed level golden retriever. You did awesome. I'm sure you did. Awesome. Amazing work. We went through all the steps. I want to see your projects. That is a big deal for me. Please post them in the project gallery. I will be on the lookout for these. And if you have any questions, feel free to ask. I'm always on the lookout. So I'm an open book when it comes to all these things. If there's something I didn't quite explain Silver Task and I went into your questions until next time. Happy painting.