Watercolor Workbook: Explore 6 Art Styles Painting Flamingos | Yana Shvets | Skillshare

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Watercolor Workbook: Explore 6 Art Styles Painting Flamingos

teacher avatar Yana Shvets, Paint.Travel.Take a risk

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

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

8 Lessons (1h 12m)
    • 1. Ready to explore art styles you can paint in? Let's dive in!

    • 2. Materials you need for each style

    • 3. Realistic style: learn and paint

    • 4. Illustration style: what's the difference?

    • 5. Impressionistic style: how to let go?

    • 6. Alla Prima: wait, what?

    • 7. Mixed style: everything in one place

    • 8. Grissaile: art of one color

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About This Class

This class is an Exploration! Here you will discover 6 styles you can paint watercolor in, and try every one of them on example of cute pink flamingo. It's a fun and actionable course where you learn theory (foundations of each style) and apply it in practice! 

Have never painted in watercolor before? Perfect! This class requires no skills to begin with. Every step will be demonstrated and explained. And I guarantee you will paint awesome flamingos in the end!


Styles we explore in this class:

- realistic (how to achieve realistic result but not overdo it; what tools to use)

- impressionistic (how to let go & paint loose)

- alla-prima (what is it and how it is different from impressionistic style)

- illustration (what makes illustration stand out)

- mixed (how mix different tools in one artwork & keep a natural look of it)

- grissaile (understand the foundations of this style and its role in art)


- Welcome video gives you a glimpse of the styles we explore and flamingos we paint

- Materials overview explains the importance of using right art materials for each style. It makes a huge (!) difference. Wrong choice of a tool will make it harder for you to paint in a chosen style.That's why we dive into preparing materials upfront where I explain what style requires which tools.

- Each lesson is devoted to one style. I explain the features of this style and tricks you can do specifically in watercolor to be able to paint in this style

- Each lesson has a slide in the end with key features of a particular style written down. It will wrap up the theory you've learned in the lesson 

- And of course we will paint flamingo in each style ;)


You will learn in this course:

- the difference between realistic, impressionistic, mixed, illustration, alla-prima, grissaile style.

- main features of each style and what makes it stand out

- specifically watercolor techniques you need to use to create in a particular style (you can't use the same techniques if you paint, for example, in oil)

- color mixing rules

- main watercolor techniques: wet-on-wet, wet-on-dry, glazing and more

I hope after finishing this course and actually painting in all those styles you will discover your most favorite style which you will establish you artistic path in. 

Are you ready? Let's dive in!

Meet Your Teacher

Teacher Profile Image

Yana Shvets

Paint.Travel.Take a risk


Born in Ukraine, raised in travel. 
I am a professional watercolor artist, full-time traveler and a salsa lover ;)
After a burnout in the office, I hit the road without any plan and since 2014 I've been travelling around the globe, visiting different countries & settling down for a few months (sometimes years) in different cities. My watercolors are inspired by places I've visited and people I've met.

You can follow my travel-inspired adventures on Instagram.


My original paintings and prints of those are available for sale if you appreciate art on your walls ;) 
I am open for commissions and happy to create an artwork that will inspire you, have an impact on your family or become a gift for beloved ones. Just hit me a message.

... See full profile

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1. Ready to explore art styles you can paint in? Let's dive in!: Hey, guys, in this cast, you're going to learn six different styles. You can paint watercolor in. You'll discover the differences between each style, for example, how to let go in impressionistic style. Or what's the difference between really stick style and illustration? What is grizzle? How to apply alla prima style and what technique you need for it. So all these things will be discovered and demonstrated in our because, and you will try to apply old of knowledge in practice by painting cute pink flamingos. This course is, um, easy and simple and meant to be for beginners so you can practice your watercolor skills, apply them in practice and figure out what's thou you prefer the most. So maybe this is gonna be your future style you will use mostly in your heart. So let's live in and figure out what materials he will need for the scores, because each style requires different materials 2. Materials you need for each style: Hey, guys, welcome to my watercolor class. And today we're going to explore different political er styles now painted with the different watercolor styles. Requires knowledge on the specifics off each style. And please don't worry, because every paint and we're gonna do today I will explain what it is. How to use this technique was the basics of the technique. And then we will painted together. And to make it simple for you, um, I decided to paint one bird are cute hot pink flamingo in different styles. So no matter what style you're using, if it's going to be realistic like this flower, where is gonna be mixed style, where you will have, like, a focus on one thing and then some blurry elements that you don't want people to like the attention to, or maybe some additional strokes with your pan old days. We will discuss and figure out where and how to fly it, or we will not even or and we will create impressionistic painting where we'll use some different technique and make the painting look nice in theory. But before we start, it's important to talk about materials and did I am going to paint on a big piece of paper for big sheet. It's amount. Well, Kansan brand here. Maybe you can see the watermark in the bottom. Um, it's 200 you some papers, so it's pretty sturdy, and it's good press. So there is some picture, but not their noticeable. And it is it to the loose paper to the newspaper means that it doesn't absorb that much water. And I am going to use this paper to work on Ah, realistic a style registration grease on mixed. So everything that doesn't need too much water that the paper doesn't have to absorb water will be painted on this one, and I will just locate the birds in different places to make it nice and fun. You can also use tape Teoh attach your paper to the table or Tom, but I'm not going to use it because I have pretty big paper, and I'm not planning to use water much, so I'm sure that the paper will stay straight so I don't have to worry about like going wavy or the pair player paper bull. But go up and I will use, um, cotton paper like this. It's rough technique Oh, sorry. Rough texture. That means that the picture is pretty noticeable, which will also affect our results. And it will make our painting look even more different than the other paintings and make the style more pronounced. Also, this is a block, meaning that the paper is attached to the book s. So I don't need Teoh. Um, strap it or, you know, with the tape. But if you use a paper shade like this one, I would recommend you to use the tape to attach your cousin paper to tumble, because we will use a lot off water. And this will be impressionistic bird and Allah Prima. All right, so here I have a few bridges and different size and different material. So this one's are neutral and here I have both squeals, but big size and small size. These ones are synthetic for smaller details, some fine lines and to dedicate strokes. Theme difference is that the natural brush absorbs a lot of water and release a lot of water. So we will use it for our impressionistic painting and synthetic wants have allow you to have more control over the paint and the pigment and the water, so use it for more detailed work when it will paint realistic bird. Also, I have some additional elements over here. Like just spend some black and white to some to do some details there. Pen, um, Ben will be used for illustration. I think I didn't decide yet. And the pencil is just to do the sketch before we start painting over here. I have my collect that I created that myself. So it squeezed the different pigments that I prefer to work with before and those of different brands. Half of them are Rosa and the other ones are seven year Winter Newton and other other Baines. And of course, you will need some, uh, dishes. Do you have somewhere by your side a cup of water and, well, a razor, just in case. All right, let's just get to work 3. Realistic style: learn and paint: Alright, guys. So our first paint and will be realistic Flamingo. So I will make a really quick sketch. And, um, just to make a, you know, easier to work with in this costs it doesn't really matter how, um, how much she tried to copy the reference. In many times, I'm like, I'm not even going to use a reference. It's really up to you. You can play with this, you know, the picture and make it fun and playful. And now, at some elements and just, uh, let her go because, uh, because the purpose off this class is to discover the differences off each technique instead of just trying Teoh, you know, make a perfect will be off the subject you're working with. So here I'm just quickly outlining, um, the bird. So it's easier for me to work with what? The colors, since it's, ah, you know, realistic. Really sick bird here. I want to make it look recognisable. All right, so I don't stress much about the details over here. It's just are outlined it pretty quick. No, De does no specific alarm. Other man's just rough rough sketch, all right? And I will take um, synthetic brush. Get some dishes ready. And first elbow mix. I don't think for this painting. And I could go to clean my Let's so sorry for you guys. Just gonna get some space over here and here ago. I have some think I want to make it a little warmer, so I would add a little bit off. Um, red. So pink and red is like now I have a middle tone in here ago. I will try to and, um, different tones just to make this paint and more interesting. So it's not only ah, bank or red, but I also add a little bit off yellow, but just a little so that the collar gets an interest in tone. But I don't want you to see, like, a yellow color anywhere separately. So as you can see here, I didn't apply water first on the paper. I started to paint right away. When it makes a little bit off orange here for the highlights, then even more yellow here at the back and keep going. Paper is cellos, so it gets trying pretty fast. You don't wanna waste time thinking what to to do. Okay, here's the leg of the bird, so I'm not going to paint. Just go around it. Here we go. So pretty simple. First layer. I also go lift some of the tones, and meanwhile, I will prepare slightly darker tone off, I think, to pain the shadows. Oh, - so based on realistic, you need Teoh. Think off failures. That means you. I need the thing off where the light and the shadow is. It's important more than knowing the colors and having like a wide color palette, because this is essentially what makes your paint and realistic the volumes. If it's, ah, if this object is, ah true dimensional or two dimensional and boring. So technically, you can make this painting just with one color, which will do its gold result. Uh, and the marital still look realistic and recognizable just because you, uh, placed the tones and shadows correctly. So I'm cleaning up some areas so that I don't have the, um it can noticeable outline or place where the pigment dried out and left some marks and a moving told words. The feathers. Yeah, here I will just point out the shadows between the feathers and this is what will make it look realistic. And yet I don't want to leave it just like this because it doesn't look nice. So I am blurring some of the lines so that they blend more organically into the painting. No, - do some shadows and we're almost done here. So we need to let this layer get dry. But we can use the time Teoh paint different, and the feet will be something simple between brown, like our sienna are very light, even makes when the pain cut was using and some shadows or the front feet. I will make a little doctor, so I take calm down, take a darker brown tone at some blue to make it even darker. And I will allow some blue and think show through just to make it more interesting. So it's not just one line off one brown color. You know what I mean. It's some interesting game off different tones that transition. They change from one to another. It's like a very nice transition of colors. Somewhere here is water way. Don't forget about this part and oh yeah, the beak. So just a little bit of flu, Not too much. There is a noticeable bright spot over here, and I will let a dry because I don't want to add to dark black actually, um, tone in the edge of the big because it's gonna oh, bleed into each other and I want to keep the color clean. Meanwhile, add a little bit darker tone here on the feet, mark in the shadows and also getting in our Kitona off, I think to go ahead and mark the shadow once again, I want you to pay attention to where the shadow is. So first it's in the bottom under the eye. But then it's switch Teoh to being on the back, not on the front of the neck. So here, as you can see now, I switch the shadow to be on the back, and the front of the neck has more of a highlight rather than Shero. - And here we go. It's pretty much a done just a few details. Maybe you want to make the neck little lighter. Diduck. Here we go, and some of the feathers just mark t outline of them and boom! We almost have overheard. Just have to finish the big the dry black pigment and then I all right, so once again painted realistic in realistic style. What's important is to grasp the shadows and the lights to be able to reproduce this game off again, light and shadow. Because this is exactly what makes the object the bird legalistic in nature, covered in it, just as a coloring book would not make it look realistic, it would make it look are flat. And two, they mentioned. Now Ahlberg has the shadows, and it looks pretty realistic to me. All right, so let's move to administration style. 4. Illustration style: what's the difference?: the next player go into pain is going to be a illustration in the difference with me in the illustration and realistic painting is that illustration can be very realistic, like photographic, but also, um, more like fun in cartoonish and all right can have, like, a pain. All nine. Um, it can leave some, like white space, some gaps. So you can play and do whatever you think. It's fun. So I will not do a pencil sketch. I will draw right with them. Pan. I will locate my bird somewhere here. Yeah, so here, you don't need to worry about your sketch. Lucane. We air don't disproportionate or whatever you can worry about, because the purpose here is to make it fun. So the picture the drawing doesn't have to repeat a photograph. Your your reference. If you're painting with the reference a tal, it can be completely fantastic and out of proportion. So don't worry about it. Just girlfriend, and you will see what I mean. It's pretty fun. You can also take the time and uh huh take a pencil, Did the pencil sketch first and then when it's perfect at some pain alkaline. But I think this way is more relaxing and definitely more fun. E And here we go. Defeat. Ah, let's let's make another feet over here. No. Yeah, And here we go. How about this? Feet will be, like a super long. Yeah, but this focus, I like it right again. Don't stress about your sketch. This outline doesn't have to be perfect. Doesn't have to be If realistic has to be nice and easy and light. You even take on nature and brush. So we'll have some water, more water and see, I go outside of the frame inside of the line that I just created. Maybe we'll keep it more on one side and less on the other. That's some shadows. I am here are moving more towards the yellow color. And here, Abu, leave some spots on colored. So just white paper. You know, this will give some, um, light and spaciousness to my sketch. Since I already started lifting the pain toe. Just don't make it more smooth on this side. I am here. We go with some. I also prefer to leave some blank Are white space. How about we make the feet? I think as well Let's be fun. So as you can see, I don't really bother with shadows and lies and house Oh, um, located. I'm more interested in, um feedings impressions and more off like collar game, the brightness of colors So it doesn't necessarily have Teoh to look three dimensional, but you still can see it's a burden. It's killed him. It's fun. Can be as an illustration in some magazine. So here you don't have to worry about keeping the proportions. You can make some part more loan and or shorter. You can play with colors, you can make it. I don't know Blue s so you can see the difference between this realistically Mingo and this funny and light administration. And now we are going to move to impressionistic style. 5. Impressionistic style: how to let go?: All right. So for impressionistic style, I changed the paper and you and I took cutting paper so we can work with lots of water and went on about technique. And I will start with pretty much the same thing as we did in the beginning. And I will sketch pretty quick. Um, another from Englebert. It can be the same. Or you can change something slightly and you know it's your experiment. It's your discovery here. You need to learn the difference between styles and how to paint paint them so impressionistic style. It's very interesting and has, ah long history off development aren't gonna go into like a history quasi over here. But ah, few thinks that I would like to point out here is that Impressionism is not about details. It's about our well impression. Eso This is what you feel, how you feel when you look at the painting. This is what an artist was feeling at that particular moment. Like what you feel during the sunrise or sunset. This is your vision off the things that you see with your own eyes. So it doesn't mean that other people have to understand what what do you see or what you feel. This is absolutely your personal interpretation, but it still stays recognizable. So Ah, here you can see a lot of wide strokes, but of water, some splashes, something that gives you a hint off water painting an impression of what you're painting. But it doesn't necessarily copy the subject. So now we're gonna paint on Flamingo, and I want us to use big brush to be generous with water and like us, splash some paint and just stop boring about control. So here we learned as well. How did that go? And I will start with and in some water. I know what bird take some pink color mixed with religious, as we already did, And I will start applying first layers. Rough texture is also allowing me Teoh, achieve interesting textures, so you can see how. Yeah, sorry. I got distracted. You can see how the pain is flowing and changing. And also you can notice that, um, the pain lose its intensity. So the first layer reapply is probably gonna be very bright. And then after it gets dry, it will lose the intensity. So don't worry. That's absolutely normal. What we need to do here is to wait until it gets dry and, um, add new layers if needed. All right, Um ho. Touch some licks. Same thing, some brown tones here. The same as with realistic painting. It is important to know to know where the sun is coming from to know where is the light words that shadow, for example. We're here. I want to lift some pigment to make space or here and with some doctor tone. Oh, I will add some details here. For example, some shadow over here and here we go. We have our impressionistic bird. Okay. Already. Um, you also can wait until the painting gets completely dry and add some details, some elements, or you can just leave it as it is. I prefer to leave it. I like it. So I'm gonna move. Do Isla Pena. 6. Alla Prima: wait, what?: all right. So you might be curious was the difference between Alabama and Impression the $6 because Alabama means that she paint in one layer, one approach. So in our impressionistic flamingo, we painted technically in one there because it didn't even get the chance to get dry, and I was already done. But it doesn't mean that there's always the case, because sometimes when you paint complicated artworks, you do need to time for the painting to get completely dry before you at new details like for example, over here, I had to wait to add some shadow some, um, feathers, some very specific lines. If I would do it all in in wet in wet layer, the I would go blurry, the feet will be all glory. And over here I would never achieve like this food texture. So most of the time you do need Teoh Wait and take the time to add the new layer So it will be glazing on glazing technique to create some depth. Uh, with this flamingo, I decided not to do it, but it doesn't mean that you don't have to, but we're still going to paint in other primo and for this I'm not going to use to sketch. So we will make it more interesting. And, um, I will make the bird more creamy. So make some orange by myself because I don't have any orange my Plet. And first, I will apply some water. OK, Where should I place it? Somewhere here. But it should be clean water. So I'm applying some water first and then I'll go with one approach one there. So this one looks much more watery than my impressionistic one. Kind of like that. They go on top of each other. So here is the task to finish the painting before your layers. Good drive. That means you need to create all the shadows. If you have hopes. Belief you have shadows up front. So I'm mixing it now and I will pick up some off the paint that I don't like to keep the neck more arrogant. Some more shadows and I'm changing the brush. It is some feet looks blue out of nowhere. And here we go, my papers still wet. But I'm already down. Very curious. What's thou You prefer the most? Which one waas more difficult to paint and which one was the easiest for you to paint? So please go ahead, Teoh Discussion section and share your experience because right, for example, for me, I really struggled with paint and loose before. I really liked to make a perfect copy off the photograph. Have to reference that I was using so I could spend hours just like detail in everything and go winning to every single feather and trying to make it look as as much perfect as it is. It is on the photograph. So it took me a while to actually, you know, two on relax and paint more lose and easy and fun. And I do think that this is more difficult than realistic for me, because here you need to think fast. You need to act fast. You need to, you know, figure out if something went wrong. How defict said what would to fix what to change, what to end, to make it work for you. Um and I wasn't used for used to it because I was always trying to copy a photograph to make it perfect. So I was controlling everything. But, you know, this is more challenging, but also much more fun. Eso I'm really curious to know which do you prefer And, ah which tell you enjoyed the most. And while you are thinking about it, I am moving to our next style. 7. Mixed style: everything in one place: and we're almost in the end off our styles exploration. And now it's time to paint in a mixed style. Well, kind of self explanatory. It means that we will mix different styles that we know to create a painting. So basically no restrictions are on the materials that you're going to use. You can use some Ben, um maybe pencils, maybe colored pencils, maybe Gua shi, if you want. You can make some, like administration style with realistic and some Impressionist X pleasures. This totally up to you. But that means that you need to know difference between styles. As we were talking today to be able to apply it in a smart way to know where it looks good , where it will not work on where it will benefit the whole painting and where it's better to stick to one style. All right, so let's say the birth will be somewhere here and okay, this is the body. How about before Mingo will drink something? Drink some water. - Here's some water. I will clean up my sketch so it doesn't bother me during the painting. I'm back to tell us paper, by the way, so I'm not pointing to use super but techniques in here. It doesn't mean you cannot, though, if you want to go for it. The task is to mix the techniques we just export into one painting. So let's say this bird had, um you know what to do that I just decided. Let's make the wing go cop something like this. I don't know. I'm not going to precise it with the pencil because I'm gonna paint with the watercolors right away. Right. Okay, cool. So, what I want to do here, I want to mix, um, then fun sketch. Onda. Um, maybe, uh, point on I in the beak. Yeah, something like that. But I did not want to paint to outline the whole bird because I don't want toe. I don't want it to look way too cartoony. Sure way too much as, ah illustration. So I will keep outlined on the big just to point out the shape of it and the feet here. I'm trying to be a little more careful with with my shock. So they're not super. Not too much free taking away pencil Since I already outlined it with the pen. I'm I want to take away the pencil sketch. Be careful if you use Ben and then Eraser Eraser can actually make your Ben line muddy. Because over here you have, like, a little spot off. Think, And when you raise it, you can smart it. So just make sure you you're careful with this. You don't want to ruin your painting before you started. All right, Cool. So I want to start with the wing and make it impressionistic a little by and now we need to blend and mix the way the paint once so total freedom. But then here I will take control and switch the brush. Teoh actually said that one. So I have more control over my paint and finish it up as ah, traditional realistic. What a guard beating. - And here I follow the same rules. I work on our shadows. Do you make the paint in more realistic and less cartoonish? Also, we lift a little bit off paint to free the space for some highlights and one up. We have the first layer off our bird here. I might lift some paint with with the addition, or this works better with the matron brush. And while the body off the bird eyes. Getting Dr I will paint some feet water on their beak, traditionally some blue just to give it some. You know, Oldham's and let's wait a little for until their first there is completely dry so we can move Teoh, um, other layers to make the paint in deeper and we'll use Google is a technique for that. So now that their first there is dry, I can be confident and move off forward. Live detailing. Um, this painting and well, first, I would like to go over some shadows, maybe at Cem, most of the shadow here in the place where the knack is attached to the rest of the body, applying one layer on top off another when the 1st 1 is already dries called glazing. And it allows us to achieve nice depth because what color is transparent? And, um, the fact that we can add in the new layer on top of the 1st 1 allows us to make two allows us to show the first layer so the first layer will still shine through the 2nd 1 and that's the beauty off watercolor. But I still tried Teoh and those shadows are carefully so they don't They don't leave a hard traits like, for example, here we have a very you sharp outline off the paint. And it's totally fine because of this style that were painted with it looks, you know, fun and entertaining. And, uh, you know, we understand that this painting doesn't try to to look realistic or anything like that. Excellent. The purpose. But this one, I would like Teoh still be on the released Exide. Um, with some additional elements that will just help me achieve my my goal here. The neck is bending and that's why there must be a little bit more shadow every time I apply. And you layer, I smoothed out the outline so we don't see this sharp line. I was just talking about okay, since the paint dry and lost the intensity quite a bit. Um, I'm ed and more color just to make it bright. More bright. - Okay , I think that would be enough. Just need to finish the peak over here with the super dry black pigment. Okay. Okay. So what do you think about this thief? Final thing that I would add would be some strokes off white men. Just a show. Three. The shiny parts of the bird, Some highlights from the feathers writ for that would be it. And now we're moving to our final style called Grizzle, and you will find out how to paint it just intimate. 8. Grissaile: art of one color: Christiane is, Ah, wonderful technique to train your eye to see light and shadow a cement earlier. It's very important. Teoh be able to recognize and separate concentrated color in dark Cheryl. So if you take, for example, pink and take the thickest pink color that you can possibly find and make a stroke, it's not going to be dark. It's going to be concentrated and bright but not dark. To make a dark you need to add some green or blue are even black to make and dark tone of it. So that's the most important mistake that big interest artists do because they often confused color with the shadow. And when they want to make something darker, they just add thicker paint. And that's the wrong approach. What they need to do, they need to mix with their complementary color to make a darker tone. So in order to train the eye, what you need to do is Teoh paint in one color so you're not distracted into old this colorful, you know, like beings and yellows and reds in just stick to one usually artist, choose black, stick to one color and, uh, work on NAM scene Where is the shadow? Where's the light? Where's the darkest spot? Where is the lightest spot? So I will try to fit a my last bird somewhere here, that's that. And here is important to do not just turn like, uh, if he is the reference, do not turn the reference into black and white and put the shop because this is going to be cheating. What you need to do. You need to train your eye, Teoh. Recognize shadow and light by yourself without additional help. So I will use black. And I will paint this flamingo just in one black color. But I need to think off what areas will be the lightest. Where will be the meat? Oh, so more like great will be the highlight, which is literally white and will be the where will be the darkest part. The darkest own so completely black because the easiest that you can choose any other color , you can go with the pink again. Um, but I think, um, this, uh, using black is, ah more efficient in terms of practice. So I did like a more or less, um, neutral grave. And now I will lift some of the pigment in the places that I want to be the lightest. And now I picked darker Doctor Black. If you can say that more concentrated, black, less diluted and painting the rest of the body. Of course not going to leave just in black line. I will dilute it. Teoh, achieve a nice and smooth transition from darkest Big meant Teoh. Some sort of a meat down. Okay, since the neck, um, has a tendency to rotate, the shadows also change. So here will be the lightest part off the neck and front will be the darkest looks. A little bit like a dines over. Now, now, here we need to choose what is what part is mostly initially in a shadow, the darkest part and which one has a meeting room. So now I'm trying to achieve a nice and smooth transition from very dark. Don't to something in the middle and pretty much white light defeat will be also no, just one plain black. There is light. There is shadow Till here The joint who had a darker tone here The place where the feet are it touched to the body. Also some darker tone. Okay, Here we go, some feathers, me and, of course, the peak. And it's the same thing. I don't want Teoh. Some think over there. First I upon just gray, very light, and they never reply the darkest color. And here ago, because we train ourselves Teoh, see and analyze the source of flight. If it's coming from here than the top of the bird will be in in light, the top off the head will be who have more light, and the bottom on the other side will be darker and in a shadow. Um, the same for the next neck is kind of rotating. So the light is changing as well. And this is how you can show it using, um, just, uh, tone Midtown and highlights or shadow meat on highlights. Um, this is very important as an exercise, because I know in this you can easily apply this knowledge when you paint, for example, realistic bird or mixed technique, but already with the bright color, because it's much harder to see how dark is the tone because it also has a color in it, and color is distracting. All right, so this is the end of our practice, and I hope you really enjoyed it. And because I did. And I hope you will show me your results. There is, ah, other birds from our costs. And, uh, your project will be to paint birds in all this different styles. Explore those styles, and please do share with me all the different stylistic tried and which one was the easiest one and which one was the most challenging one I'm very curious to know. And, uh, well, see you in the project section.