Watercolor - Let's Paint Dog Noses Vol. 2! | Mary Evelyn Tucker | Skillshare

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Watercolor - Let's Paint Dog Noses Vol. 2!

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

Watch this class and thousands more

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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

7 Lessons (51m)
    • 1. Watercolor - Let's Paint Dog Noses Vol. 2!

      1:27
    • 2. Supplies

      1:24
    • 3. "Dudley" Nose with Brown Spots

      14:27
    • 4. "Dudley" Nose with Black Spots

      16:32
    • 5. "Liver" Nose

      7:43
    • 6. "Butterfly” Nose

      8:34
    • 7. 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 a watercolor painting, of four different styles of dog noses. This class is a great starting point for those wanting to explore pet portraits. During this class, we will go over wet on wet, wet on dry, as well as, using salt to create texture.

I’ll walk you through each step, so you’ll feel confident painting each of the four styles of dog noses. In this class, we will:

Explore painting a "Dudley" Nose with Brown Spots
Explore painting a "Dudley" Nose with Black Spots
Explore painting a "Liver" Nose
Explore painting a "Butterfly” Nose

Materials are listed in the "Projects & Resources" area of the class. There are several PDF resources available to download. These include a PDF of the Line Drawing, the Reference Photo, and the Supplies Used.

If you have any questions, please comment in the discussions area. Once you completed painting the noses, be sure to share your painting in the projects area of the class!

If you want to learn the basics of painting dogs before starting this class, you could check out the first dog nose or the class dedicated to painting dog eyes. These two classes are listed below. Happy painting!

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 Dog Noses Vol. 2!: All right. Hi and welcome back to another Skillshare class. My name is Mary Evelyn, and in today's class I thought we could go over several different variations of diagnosis. I do have a Domino's class available already. However, it's just simply a black nose. So I wanted to go over several different variations, including the Dudley knows which are the top two noses where it's, there's no pigmentation. Apart from the speckles, we have a liver knows which is represented with a red nose and then a butterfly with the two colors on either side. I'm going to walk you through all the steps you need to complete this painting. I tried to keep it very simple, fairly short. It could be one knows, you could do all four noses. Hopefully I can help you learn a few different techniques to incorporate into your style of painting. If you aren't already, please be sure to hit the Follow button so that way you get an e-mail just as soon as I dropped a new class, you're in the know you're the first one to know when things are happening. So with that said, make sure to give yourself grace, give yourself grace to grow. And in this glass for once, it's okay to be nosy. Let's get started. 2. Supplies: Okay, I want to quickly review the supplies we're going to be using in this class. We're going to start with our graphite paper. I've got the printout of our outlines for the noses that we're going to be painting. I've got them outlined, are ready. I've got some masking tape here to tape down our 140 pound paper that we're going to be using. I've got some salt here. I've got our colors laid out and went ahead and shared my cards with you so that you can see the pigments in the tubes of paint that might be helpful for mixing. We've got our handy-dandy unit ball pin that we enjoy using for these classes. To add some highlights, I've got my pin, which we're going to use to transfer the image to the paper. I've got a number for round, one of our favorite brands that we use here and these classes. So it's a great intro brush. It's one of my favorites. I've got my palette, got my paints, have some paper towels, and I have my water set off to the side. So with all that, Let's bring your sense of adventure. Make sure you've got that and make sure you've got a sense of wanting to learn something or maybe just have a different way to approach this type of painting. So with that said, let's jump right in. 3. "Dudley" Nose with Brown Spots: Okay, we are going to start with the first news, which I'm going to give you a little lesson that I've learned with noses, with going into this class, I've discovered we've got the term knows leather. So now you know, to call a dog's nose newsletter when you go to paint it. So this first one is technically called a deadly. So it's when the nose has no pigmentation except for the speckles, basically. So there's first two are technically deadly type noses where they have the all pink with the speckles on and this one's going to have brown spots, this one's going to have black. And then we've got what we call the liver knows which is red. And then we have one that is called the butterfly because it has the speckles on each of the nostrils. So just kinda fun little, little fact. Now that you know that information, we can just kinda jump right in. All right, I want to start this one with a light wash and then we'll go into the deep tones. This one we're gonna do the deep tones and then do the light wash on top because I thought this class would be a good opportunity to show you how to go about doing those both ways. Now, feel free to use whatever tones you have. If you've got more of a bubblegum pink, feel free to use that. I'm kind of using a little bit more warmer tones. And then what the picture is showing. But I do like this, potters pink. It's a really pretty pink get kind of granular. It's a little bit, so I'm just going to mix a little bit of this apricots with this potters pink, and it is going to become a little bit milky, which is fine, That's what I want. And then I'm just going to take we're just going to jump right in. I guess there's no no pretense for what we're about to do. We're just going to jump right in. I'm going to cover the whole knows. And we are doing a wet on dry. I did not get this nose wet before I started just right into it. Nothing like just diving straight into a painting. You can just kinda take some a wet brush here and just keep pulling that pigment out and around. And if you'll notice, we've already got some separation here in the coloring. We're just going to continue on over here. So we've got this nice and covered. Okay, I'm going to let this just kind of settle in to the paper. This side is already got a nice set into the paper. So what we can do with that, I'm not going to fuss too much with the nostrils. However, I do want to go ahead and start placing the dark spots so I'm gonna get some of the sepia and you can warm up the sepia with the orange. So I was kinda the idea is I picked some minimal colors but enough to be able to mix to gain some of those tones that we want. And I'm just going to dot, dot, dot and a debit and it's going to spread. So give yourself a little bit of wiggle room. And because the apricots has white in the pigment is going to, this is going to become a little bit milky. We can just kinda deepen the edges. Now that you can use wiper brush off because they don't really want the edges to get away too much. You can always take a damp paper towel as well and kind of follow the edges so that you could tear off a little piece of paper towel here. And just kinda like get it really anybody small? I'm gonna get a little bit wet in my water. And I'm just gonna kinda go around the edges here. Just pull up some of that pigment. So it's got some rough edges. No pun intended. Kinda just picks up that pigment and nicely, some papers don't really allow for the pigments and be picked up that well. But this one does. And then I can kinda go back in and just dot, dot, dot. And that's how you keep it from spreading all over the place and going crazy. We don't want our speckles to be too crazy because if you've got speckles like on this knows where there's multiple. You by the time it starts to settle it, they'll cover the entire nose and then you'll go, Wait, where did it my speckles go. And with any project you're working on, you might have a dog that has obviously different speckles placement on their nose. So just follow just either trace out what the dog's nose looks like or follow along with photo best you can. And yeah, just go from there. So what I'm doing is I'm just kinda taking the side of my brush and I'm just pushing the paint. That's kind of how I'm getting those little edges, almost like little pixels. That's kinda of what nose leather reminds me of, reminds me of little pixels. So now that we've got that there, while this is still a little bit damp, I'm going to take a little bit. Orange and this perylene. I just wanna kinda go along the edge here just to create a little bit of that 3D shape. Just so that we start with, start getting the shape now over here, because I started with this side. It's already dry. It's all dry. It's still damp, but it's not, as you can see clearly from one side to the other. So only going to do is just get my brush damp and I'm just going to take the side and just pull the color into the nose. Not getting super specific about it. Just enough to give a little bit of that shape. Again back here, kinda up the middle, kind of around the bottom here. And then again, taking, taking a clean brush, just kind of pushing the pigment around so it's not a solid line. That's how I blend a lot of things when I'm doing commissioned, even my houses and things that I, where I need a gradient shade. That is how I work with that. We are going to let that dry. And then we're gonna go in to the nostril and I'll show you how to do that. Otherwise, we're going to have we're going to make mud if we just do it without that. Okay, Now that this is dry, we're going to go in here. We're going to be a little more bold with her tones. I'm going to warm up this CPI just a bit. I'm just gonna go over these little areas real quick. You can kinda, just, kinda just tap it a little bit just to create that variegation. And you can just continue on. You can deepen this as much as you want. Not a big deal. I am going to take that sepia and go into the nostril here. This little section here is going to be our deepest areas. So I'm just going to take that what onto dry. I'll show you how to blend out that line right there. I'm just going to follow here and go underneath that curve right there. Grab a little bit of that mix of green and orange and just sweep it right underneath because there's that little bit of a shadow because of how the nostril sits. Okay. I'm just going to pull that payment down so it's not a hard line. Same thing here. You can go up and here we've got a little bit of that shadow. If you have a scrubbing brush, that would also work for this just as well. And a little bit more of that there. And then you're just constantly glancing at the reference photo to determine if you've gotten it deep enough as far as the tone is concerned. And they did provide a black and white reference for use that you can look at value as far as I could when I say tone, I'm thinking of value. Basically. I'm, when I'm thinking of Hughes, I think of colors just in my, in my perspective, how I see things when it comes to painting. Okay, so I'm gonna take a little bit more of the African and orange. And I couldn't make some perylene just to get it a little more on the pink side if I want. But really again, you're going with what colors maybe that you're trying to paint, depending on what project you're working on. In the middle. I notice when it comes to Domino's, is that that middle section that kind of fold and goes down and back up. So you've got a little bit of a darker section while the middle stays lighter. I'm always visualizing a 3D object when I'm doing these types of things and I've thought about making, making a clay reference just so that you can see how the light hits it, how it's different. And the type of paper that I'm using lends itself really well for me to blend out these colors. So it's not just stuck on the paper with a really hard edge. I can kind of blend them out a bit. And we did that Maslow. We're going to jump over to the other side here. Again, really heavy pigment, wet on dry. And then take that little curve, come down and then sweep it underneath that little edge there. And grab some of that perylene. And we're going to come underneath and Austral here. And then we're going to come and bring it underneath there and go ahead and Dab, dab, dab. So it blends because we have that shadow, that depth. And then here we can kinda start to blend it out. Then it need a rural hard edge there. And then we just kind of feather it out here. And there is a little bit of a curve, a sweep that goes up as far as that is concerned, as far as the the nose goes. So you could just gently take a brush and go and sweep in that motion where you just tap, tap, tap out. Where you're going out and sweeping up. Okay. So now that we've got that, you can always go back over this with a brighter pink. You can add depth to it with black. I actually feel really good about the depth and the nostrils here, so I'm not going to worry too much about adding black into it. I am going to take that white pen and go over the tops of the brown to create that nice texture. You can always take a pencil, a watercolor pencil as well. And what I like to do when it comes to these like little patches or they just like to fill it in with just a little bit of space in between. And up here, obviously it's going to be a little bit bigger. Can I get some buildup there on that pin so you can take it and wipe it off. Just not really a rhyme or reason to it and not necessarily circle. They can be circles. That's almost like imagining. Like the desert when the ground starts to crack. That's kind of the idea when it comes to these little speckles here. And again, I just want a few here, but I'm going to wash over this here in just a bit. And then I am going to create some bigger, some bigger highlights on top of that pink. Around the bottom of Here. Little bit here. Up here again, I'm seeing the areas that are highlighted and it looks like the light's coming from either the top or towards this direction here. So we've got some big highlights that can go underneath here. And if you've taken some of my classes before, you know that I like whitewash. If you have that on hand, that works really handy for big highlights on noses. So just keep that in mind if that's kind of the idea. So with this class, we're just going to go through repetition just to help build those skills with the nose. So you can always take a brush, a little bit of that pigment. This is what I like about this pin. If you go too heavy with pushing it around, it'll fade a lot. Which is okay, that's kinda what I want. And then I'm going to take a little sepia and do this again. Can just take a wash and just go straight over it if you don't want that bright, bright white to be kinda looking at you saying, hey, how you doing. It's not really the goal when I'm painting here. So as you can see, we've got depth, we've got some highlights, we've got some texture. That's how I would approach, that knows. And now we're gonna move on to nose number two. 4. "Dudley" Nose with Black Spots: Okay, let's move on to our second Dudley nose. On this one, I'm going to do the nostrils first, I'm gonna do my deep values first and then work our way up to the lighter values. So I'm going to start with some black. This noise is a little more of that bubblegum pink, and I don't quite have that paint. So we're just gonna kinda work with what I've got picked out. And that's really just to show you. You can you can do a lot with not a lot. That makes sense. I'm just going to come in here. We're going to do wet on dry. Typically how I started a nose, I like to put in the deep parts first. And so I'm just kind of looking at that photo, seeing where the really deep areas are of the nostril. And then you want to just kind of fan that up, sweep it down and then up. And what we're gonna do is we're going to get that area down here at the base, probably the darkest. And then I'm going to fade in some of this pink or some perylene violet care. Just sort of a nice deep pretty tone. So we're just going to bring it here and see that curve right there. We're just going to kind of stop right there. It is going to feather out, but we don't want to go too crazy, otherwise we're going to lose our shape. So same for underneath. Right now I'm working on value, so I'm not caught up on all of the speckles. We are going to add those at a later time. So right now I just really want that depth. So you kind of hold on. Now this is going to blend into here. Depending on your paper, you may or may not see an issue with that. Can take my little paper towel here and just kinda dab to keep that round sharp edge. Let that dry and then go back over that with a little bit of pink. So we want to maintain that shape. We can go over to the other side, do the same thing. Now as far as your reference picture that you're looking at, you're going to notice the light's coming from here down. So the color tone is a little bit brighter. So you just kind of coming here with a, a light wash. Again, kind of following the shape here and then we're going to go up. So our deepest value is up against the edge here. And then we can add in some of that pinky tone up and around here. And again, I'm kinda constantly monitoring how much pigment I have in my brush. And k The site is a little tricky just again, because of the lighting. I'm just going to kind of come down and over. And what I can do with this is when it's dry, I can go back in and add. You can always kinda keep punching down into watercolor, or at least that's how I view it almost like a sculpture. The more you take out, the deeper you make a little scoop out the clay, you're gonna get a shadow. And that's kinda of a lot how I look at watercolor, where you can just keep glazing and adding. Okay, we're going to let that, let that dry just a little bit. And I go up the middle here, a little bit of that perylene up until this little edge here and around. That's my typical go-to is sweeping up the edges. Because typically with a nose it's kinda curve. And so those edges are going to be a bit darker than the front section. Depending on the angle of the nose, of course, kinda have to keep that in mind. That's why I gave us a sighting or knows. But we know if we get into pet portraits, you may have a nose that is tipped down and you'll have to pay at the top of it and an angle. So maybe I'll do in advance knows class some time with all different angles. Okay, so we're just kinda of continuing around adding a little base. I'm taking that damp brush and just kind of on its side going in there and feathering out a bit of that texture. So now that we've got that we're letting or kind of letting the nostrils dry a bit. We can go ahead and cover the rest with the tone. And I'm just going to use this pink violet tone. And just take like a really light wash and coach the nose. The bottom being a bit. Darker than the top. Being mindful not to go too crazy close to the nostril as it's still damp laying down the base. But really what it comes down to with the speckles is you're really just wanting to maintain value when it comes to a spot. So like we did with the highlights on this nose, you don't want just a solid black on top of the nose. That makes sense to do that. But you want, if the top of the nose has a highlight, you're then going to want to add a highlight on top, that black spot. So just something to be mindful about. Okay, now I can kinda start to add a little bit of the depth here. Again, kinda, the bottom of the nose is typically going to have a little bit of a deeper shade to it. And we can always animal sepia or you can do black with the perylene to get a deeper tone. We can kinda come underneath that and Austral here since that area is damp, I mean, just kinda tap in a little bit of shading. And there is actually some shading up in here. And this is what I'm talking about coming in and adding some depth, whether it be the black or the sepia. And just gently turning that shape. I know these shapes are just so odd sometimes when it comes to dogs noses and where the lighting is coming from because a lot of them there's going to be solid black. The nostrils will just be black just because the light's not filtering into them. But sometimes they're not, they show. And so it's going to be a matter of trying to capture that shape. Again, just kinda of pulling that color up. And the way blending that in and under. And I could go ahead and start laying in some of my darks. So around the bottom here, you're going to tap in some of that black again, not going all the way to the edge of the shape because it's kinda keep feathering out. Depending on your pain. I should rephrase that. Depending on the taint you have, it could be a black wash. That's a really good one just because it'll stay put. It won't travel. Very much, might travel a little bit depending on how wet your paper is. It's always something to think about. I think it's pretty dry up here. So that's one kind of angling, my brush here. And again, depending on the dog, you could have speckles up and over. You could have you could have them down. You could take the brush and like if it's got lots of speckles, you could flick the paint down onto it. And again, I don't want these edges to be perfectly smooth. I want them to almost have that like pixelated look. I'm going to sound like a broken record in this class. Most Jiang don't probably know it record are I'm not sure you do or no. Yes. I'm just going to keep repeating myself because the more we remind ourselves of these steps, the easier it's going to get to go from pet portrait de pet portrait to pet portrait. And that's what's happened with what I'm doing, Is just the more I do, the easier it gets. Okay. So again, I just kinda whooped a little bit of that dark tone right there. Just to give us some depth, I'm still you still don't see a lot of depth on this left side. So I'm going to run a little bit of black on the inside there. And then I'm gonna take a little bit of perylene CPS and take it along side here and down underneath. And I think we're getting there with that shape. Almost there with that shape. Let's take a little bit underneath here. And then even this side comes out a little bit more. And I just kind of dried my brush off. That's what I was doing. Just trying to get the moisture off so I can pull that color and then we're going to let that dry for just a moment. And then we can come in. And start to add a little bit of detail with this. Okay, so this is dry, so we're gonna, just gonna continue to add to this. I'm going to go over a few of these specs here on the bottom because they're darker than the ones on the top. And again, that's what I was talking about with value. You want to know where your shape is going. Hand. You want to imagine the shape of the nose and how it curves. So if it's kind of curve down here, the bottom, you're going to have it a little deeper in tone. Then up here at the top. I think I just kinda have fun with it. Feel around for what you want and where you want to place things. I do recommend side of the brush is great for getting the pigment down without just making a nice blob. Okay, I'm going to bring a little bit of the CBN, the paralleling. And I'm going to try to kind of add a little bit more shape to this area here. And I probably would recommend using a little bit of a different pink to maintain the brightness on that nostril compared to what I'm painting. And I could always add a tad of the orange just to add some warmth to it. And then just kinda curving, curving it up like we did on that first one a little bit. And I notice we've got a little bit of a darker shadow on this side. So I'm just going to roughly take some of the apricots and the orange. So what the side of my brush just kind of add that in. You can always just kinda take the depths here. And here. Again, trying to picture like an interesting shape triangle on the bottom parts of the news. Typically you're going to be a little darker than under the nostril and above. At least that's been my experience from when I'm especially when I'm looking at now. Okay. So just again, depending I'm not trying to be super perfectionist about where the speckles are. This is really just an exercise to show you how I would approach a piece like this. I'm going to have to add some white back into the edge there to create that nice hard edge. But other than that, you can take this as far as you want with the detail. You could go in and make those little hexagons with the nose leather or right? You know, I am just going to highlight a little bit around the edge. Some of these pins, if they're a little newer, the dots will be bigger because of the ink flow. So you just kinda, some of them you can just kinda dot, dot, dot, dot, but you have to make circles with, and again, if you've got some quash, quash is a great way to get some highlights on the nose or if you've got some bleed proof and gets the dot martin bleed proof white, that was a good one to use. And again, we can go over the black a little bit because we can just take our brush. Go straight over that. Okay, we're just kinda cruising along here. You can always take a little bit to create that line that goes in to the nostril there. And even a little bit highlight here. So we're going to continue on finishing some dots there. And then we take our brush and just kind of gently run over the white. Careful not to smudge your black too much. Just realized that could be an issue. Maintain that highlight. And also thinking about, typically we work on pet portraits. The nose is going to be about quarter of the, of this size. So you're not going have as much to fill, you're just going to have a little section. So that is how we go about that second nose. Let's move on to our liver knows which is the red one. 5. "Liver" Nose: Okay, we're gonna get going on our nose numbers 3, which is the liver knows, which is the red hue, knows what I want to do on this one. And I'm going to lay down the black first. Most noses that I do have the really deep black nostril. And then there's also something I was reading about. Most diagnosis have to deep pigmentation, which actually helps them from getting sunburned. These noses right here are prone to sunburn. Did you know that with your dog? How crazy? I didn't I didn't know. I have never had a dog with the Dudley style knows. So I was unaware of that. So I'm just kind of blocking in both nostrils going up underneath the edges. I'm going to go ahead and bring a line down the middle and then follow along the bottom. And with the way I'm doing this, I'm my goals to blend this into this red brown we're going to lay down. All right. Now I'm gonna take the sepia and go on the top part. Sepia because we've got light coming from the top. We can have the sepia go on top. And we're even going to go ahead and follow along the bottom here, fall along the bottom here. And part of what we're doing is we're letting that black set up a little bit. So that's not gonna go too crazy in when we go to do the whole knows in color. And then again, I'm just going to filling in some of those shadows. Some of them value there. We've got a little bit that's going to kind of poke out from the corner almost like a decrease in a way. And then with nose dogs, a lot of them, they kinda curve down just like that underneath the nostril. For this color. Mix. A little bit of the orange with the PI role and then our perylene. And then I'm going to use the app on top of that and you will see what that will do. Okay, so I'm just going to take some of this. And again, depending on what paper you have and the pigments, it, it will either set or it's not. This paper allows me to blend pretty easily. The top area, this nose is pretty light in color, so that's where I'm going to add the apricots as well as some buff titanium. And that's going to add a milky tone to this nose. Okay, that black is holding up pretty good. And the nostrils because I don't really want that to go anywhere too quickly. Okay. The rest of it, it's kind of starting to fade. So are we got some highlights here? I'm going to take a little bit of the African. And then I'm gonna take some of that buff titanium and run it around. But this is kinda my favorite to do with noses. Once I have kind of a deep base, I like to take these lighter colors and start to pull back in what I took out. I know that's probably redundant. It's just something I enjoy doing. So our brightest point here is on top of the nose. And I even like some of this texture that's part of what I love about watercolor, is some of the texture. Now on this one, I'm actually going to use a little bit of salt across the top there, just to give us a little texture. And then I'm going to add in a little bit more sepia here at the bottom, since that knows has the dark brown areas. See this. Notice can be as simple or as complex as you want to make them. Well, I'm pretty happy with that and I think the salt should start to do its thing. And we should have a cute reddish brown nose. Marty, seeing that salt take effect, more, just going to let it dry. And then we will add a few highlights. Okay, now that that's dry, I can take a little bit of this tone and add it back in. I lost a little bit of that color as it dried down, a little bit of that back in. It's kind of almost like a glaze. And again, try not to go too much over that top area. Per year. The highlights where the highlights need to be preserved. And I'm pretty happy with the depth of things. You can always continue to add more like if you feel like the line in the middle got a little bit lost, you can just take your brush and just kinda bring that down. Same thing with down underneath here. And from the edge of the nostril there. Again, just following where you see shadows. That's really what news is come down to. Okay. And then we can take this white pin. We can add in some bright white where the light is shining. And then underneath here, I'm noticing some highlights. Maybe a little bit over here. And maybe just even just a tad there. Anywhere where I feel like I need a little extra brightness brought back into it. And then I can just take my paintbrush and kind of mix that back down into the pigment so it's not so hey, how you doing? And be mindful of your pigment on your brush. So when you start to mix over, you're not picking up on colors. Like I wouldn't want to come here, blend that in and then jump to the top, because otherwise it's going to put a really dark mark up there. Okay. Hey, I'm pretty pleased with that one that went along really quickly because there's not any we're not fussing with any speckles or anything like that. I just wanted to show you how I approached a little bit of a lighter color nose than the black. So let's move on to the butterfly knows. 6. "Butterfly” Nose: Okay, We're going to jump into this butterfly knows that this should go pretty quickly. Just depending on if in my mind what I'm thinking is going to work. So you can mix the two if you want. You can go straight in with the black. I just have a habit of kind of mixing colors. But we're just going to fill in the nostril first. Again, this is probably how I do 97% of my commissioned work is I just add in the dark first, underneath the nostril, up over the top. You want to go into a lighter wash there. You can just kind of edging the nose because you got to think about the shape. Come over here and add a little extra line That's not quite as dark as what we started with. And I'll take a little bit of that deep mixture and I'm going to go underneath the edge here are kinda have that funky little triangle shape here. And then we're going to sweep it and go up. And that's where a little bit of the pink is going to come out. So I'm not too worried about the brown there. And then again, like we did with the other nodes, you can kind of bring down some of those little shapes. And then we can go ahead and outline a little bit of this. And I think this is more just habit for me as far as lining things. If you want that middle line to be a little bit deeper because we're going to cover the whole thing with that brown minus the little pink areas. And then we can take a sweep underneath here. Just a little bit. We've already pretty much got that there. We could add a little bit of depth. We can go in with some black right along the edge there and then up into this nostril. Okay? Now with this, because it's pink, it's got the pink edges and we've got the rest of it brown. You can go ahead and lay in your pink if you want. And I'm just going to mix a little bit of that. And some parents, I know my colors got a little crazy over here. So we've got some pink here. And again, be mindful of touching. I just ended up touching those two. So your brown might fade into that a little bit. We've got a little bit of a deeper. We go mama, use a little bit of this purlin here to create a little bit of that shadow. And as well as over here just a little bit. So a little bit of a shadow still trying to let the nostrils set up a bit so that we can keep going with that pink. So I think there's a little bit of pink here. And on edge of this side of the nose. And then this whole little area here is pink, sorrow or a little peak areas. And then we will fill in with the brown once this has dried. Okay, we're going to add some of that brown all the way across this knows. We're just going to sweep down. You can go over what you've already line because it's kind of create a little bit of depth. And with the pink part, you can try to just go around each little area. Kind of the reverse of what we did on the first two noses. So that's a good thing. It's a good thing to practice. Because you can go about these things several different ways. All have to be done in the same way. Big believer in that when it comes to watercolor. Okay, I'm just going to fill in the rest of this and gray. And then you can add in a little bit more depth where you need to add depth. And then we're going to add some of that Buff Titanium honor them, pop. A little bit of those highlights here. Kinda appear on this top area of the nose and around the bottom there. And you could certainly use a little bit of salt on this one if you like, or just leave the texture as it is. And now some diagnosis, the little crease goes all the way up and over and you can try to just manipulate the paint as you see fit. Do not have to do it a certain way. I am going to extend this shadow right here just a little bit. And so this pink, just to kinda get a nice little gradient here. A little bit pink. One I'm liking the way that is turning out. We're going to add a little bit of salt to that. It can be swept over that just a little bit. And notice that's a little darker than what we originally doing. And if you feel like some of your colors are as they're drying or getting a little bit faded. You can always bring up a bit here into your basically wet and wet, wet into wet. Just add a little bit of extra. It's kind of fun to work wet into wet because you don't know sometimes the textures you're going to achieve. All right, we're going to let that dry and then we'll add a little bit of highlights and then we will be done. Okay? And then if you feel like you need to add anything extra, just take a little bit of wet paint, take that brush, angle it to the side so you can blend in the edges. I want to remind you that that's an option. And then we can take this handy dandy pen and add a little bit of highlights where we feel like they should go. And you can make these dots as big or as small as you want. You can take your time really creating some awesome nose texture across by really just making those circles and filling in the sides there. And then I'm seeing like or there's like a little bit of highlight on this side of the nostril. So I'm just taking the pen and just making some, some dots there. And then here. And here. Again, I want to keep this particular tutorial simple. So you can feel accomplished. You can practice as much as you want. You can change the shapes on the noses to practice different colors, different different things. So that is that and you have completed all four noses. Congratulations. I would love to see you share this in the class projects, please do if you have any questions, just message on the discussion and we will chat about notice. Thank you. 7. Share Your Project: Congratulations, you have completed this Skillshare class. I hope that you learned a few things. Might have discovered something different you can use in your style of watercolor painting. Whether you did one knows or all four noses. Congratulations. Give yourself a pat on the back. Give yourself a little, little raid layer. You did so great. I hope you give yourself grace. Please share your project. We all want to see how everyone's doing. Post that in the projects gallery. If you have any questions, feel free to put those in the discussion and I will get back with you as soon as I can. Thank you.