Whimsical Acrylic Painting: Fox | Beatrice Ajayi | Skillshare

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Whimsical Acrylic Painting: Fox

teacher avatar Beatrice Ajayi, Founder of HyssopArts

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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

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

    • 2. Part One

    • 3. Part Two

    • 4. Part Three

    • 5. Part Four

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About This Class

Whimsical Acrylic Painting: Fox

With Artist Beatrice Ajayi

Welcome to this class on Whimsical Acrylic Painting: Fox. We focus on Painting within this selected area of artistic stylised  study today. 

I encourage you to try this class as it is set and then attempt it in a style you would normally approach painting with acrylic too. If you haven’t done that before it will be great if you experiment with other animals too. ..

Now there is no one way in this or a ‘hidden formula’. This focus of mine starts off on an old painting and changes quiet dramatically to the final new piece. I am painting on thick primed card-stock, you can pInt with whatever substrate you would like. 

You just begin.


1) paints, ultramarine, burnt umber,mars orange, yellow ochre, Carmine red, cerulean blue, titanium white,Payne’s grey, Prussian green, Red  Rose, magenta 

2) Three brushes, old rustic brush medium size, flat Bush size 6, round detail brush size zero, 

3) Hand-tissue or towels for cleaning and drying brushes. 

4) Water spritzer, for keeping paint moist on substrate or palette. 

Meet Your Teacher

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Beatrice Ajayi

Founder of HyssopArts


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1. Introduction : Hi, everyone. And welcome to today's class. This class is gonna be based on an acrylic painting off folks, as you can see in the top right hand corner. So you'll see me starting off from the beginning of creating the peace on an old substrate . And we just continue the class and I'll just explain myself as to what I'm doing, what I'm thinking about as I'm working and, uh, yeah, we'll just have a relaxed time thinking about the process and the techniques involved. So please, come along and let's enjoy our time creating this cute folks, um, in acrylics, so I'll see you in the class. 2. Part One: Hi, everyone. And welcome to today's heart class here on skill share with me, Beatrice A. J. In this class, we're going to be painting really cute acrylic folks. And what you can see here as me start enough reusing older canvas I had You can obviously do this with Brian, You plain white background and you can have a go at sketch in the template folks that I'll provide in the class. So here you can't see clearly, but basically, I'm joined the folks, and I encourage you to draw your folks on your substrate, whether his thick card or paper that you've just sold, that will be fine. So first we draw in the folks I'm also used in, Ah, buyer a pen or any black egg. Right and panel. Do, um, I like to use this just because I love the result of the way that I can sketch with it. But you could use a pencil if you feel more comfortable so you can rub out. Basically, what happens is that you'll be painting over it so it doesn't matter if it's a pencil repent. But, um, you might leave slightly mole ears dependent on, uh what you use pencil or graphite can, sometimes much. So just bear that in mind. But we're gonna be working on this for us player soon with acrylic. But here, as you can see em drawing out my little character, I do this quite a look where I've painted a lot of art pieces in the past and from my younger days Then I will end up painting over the peace again. Eso I can see what it is that I'm drawing here, and you can't see it very well. And I do apologize for that. But at some point you will start to see the details when I put the background in. So I will have a list off the different colors that I am using in the class, Um, in the description and so you can find them there if you haven't already seen them. But also, um, I love painting these little characters. Uh, this one. I actually just sat down and I thought, What could I paint today and I want to paint it quite quickly. I don't want to have to think too much. I know what color is the creature has, and I'm just going to go with what I've done before, which is usually I will give the characters really dark background and then build the layers from their working from the darkest color to the lightest. So that's what I did in this piece. So you'll be seeing that process in a minute. But here I'm just making sure that I have the areas I'm gonna be painting and that it's clear enough for me to see the form off this little folks that I like the composition of him. And then I'll start Adan, uh, my colors. So here I am, using Payne's gray, and I'm just doing the tips of his ears, his eyes, his nose, the darker areas to help me kind of, um, kind of hook myself into the piece of artwork to anchor myself down. So I'm putting all the areas I know gonna be very dark on this, folks, I am put in in, um, with this Payne's gray like areas. I think there might be shadow because usually also with my pieces, intend to kind of decide which way the light is supposed to be coming. But at the same time, I think I still fight against that sometimes Because I think certain colors just go better . Um oh, yeah. Or the textures just go better. So I'm still not sure if I'm following the rules properly on this my pieces of artwork, Because I just tend to put the light areas wherever I want them. So now I'm Adan, um Deep red, which have a listed in this, uh, in the collection of colors I'm using. I think it's something like a carmine red. And so I'm adding this in and trying to make sure that I can do the outline of this little folks. Then I'll be able to see him a bit better. Once I'm trying to put the background in and I will paint over all my drawing. I've just done to, um, highlight where he is. Soon it is going along, and I'm put in this red in areas that will first of all, outline my little fox. But we'll also, um, help me to know roughly what What kind of shades I should put Where Nell Amusing the burn number to color in the background. Sometimes I'll use Ultra Marine for this, but, um, I decided to go with the warm color here. Andi, I'm just gonna fill this in, and then I will. Eso the upper part will be the dark, a part of the painting, and you're gonna have some foliage, some grasses of the bottom. So also with this, um, well, I like to do what I'm throwing on the first colors is use a brush that's not very pressure's. So this brush is kind of like an old, um, Children's paintbrush. And I'm just filling in the background. Um, it's not the ones with the really wiry uh um kind of brush. It's kind of one of the smoother ones, but it's still no as important as the one I'm gonna use after I put this first layer down. So I'll be using a flat brush. I think the one I used in this video is, um, a size six flat brush. Um, and I love the texture that the way the pain goes on, as you see once I start using it. So I'm just gonna go along and fill in all this background with this brush. Um, in the past, I probably would have used a bigger brush to fill in everything but I really like the textures that it's making with this smaller brush, and I do work fast. If not, it should slow you down using a small of rush, because yet you're gonna be taken longer. But the texture is that it gives kind of remind me off sketching. And so I really like but wait. But it looks so just put in the brown, the burn number around the folks, Um, and around some of the areas, I think you're gonna be dark at the bottom here, Very tempted to fill in the hole. Ah, image with the brown. But I managed to hold back so that I can add some other colors. Now I'm just spritz in it a little bit because I wanted to keep the colors moist with acrylics. If you want to keep them still able to blend together and things like that, it's good to keep them moist. So I like to use my sprays for that. Here I'm added another red, um, a brighter red, and I'm just starting to built in those colors. Now I leave the the bits that I've gone, the eyebrows really bright like that because one thing I've been trying to learn recently is too really be able to see my colors. I shouldn't blend them in too much because then they kind of all just looked very. Say me all over the character. Now what I'm trying to do is tow. Have different segments, have different kinds of reds on the folks, just a kind of imitate the idea of reflection and the light and shadow. So I'm kind of sticking to the actual original reds up to a point and then trying to mix as close as possible, Um, in other areas. But I don't want to lose all of the colors. I really like the fresh colors, straight outs of the tube. So I worked quite, um, quite saturated colors into my pieces. So some areas I'm blended and quite a bit other areas. I'm leaving very sharp. So, um, here I'm trying to brighten the white in the eyes of it. Um, the area that's above the eyebrow there, the white circle. I am planning to put one of my stylized birds in there with my characters. I tend to give them little symbiotic friends that live with them. So this piece, um, this folks is one of my Siris of animals that I call equal animals, so they tend to have creatures live in in the more on them for safety. Um, so there's always a bird. I love the idea of a bird having a nest. I'm feeling safe to actually have a nest in an animal that usually otherwise would have eaten them. But, um, just to show that there's an understanding within my characters so they can live together in the more harmonic way. So that's just part of the thinking behind the way I do my work. Um, first things for my artwork. I usually like them to be very cute. But then also, the other aspect is that I do love animals quite a lot on, um, I really would love them to be more protected. And so I'm always having that information in my mind as well, when I'm working with them. So here I am, spread in the red from my brush around. I like to get the colors to be overall in the whole environment. So any leftovers of my brush or and the other colors I get, I like to just put it somewhere else on the peace that will help unified the actual work. So, um, I love working with acrylics. They drive quite quickly. Usually I can get them to be as moist as I want. Or I can leave areas and work in other areas and absence um, moments when I come back, those areas will be mostly dry. So I just love working with acrylics because I am a fast worker as well. So here, Matt and some green because, um, I think it's a Parisian green, a Parisian green. I I'm trying to start to build the backgrounds off the grasses in this piece. So I'm working with darker greens right now, and I will put the light of greens over them. So I'm just being very free, and some areas are getting covered somewhere, not on. I'm fine with that because I'm intending to put quite a few layers over different areas and to build up this piece. So, as you can see now, I've just added some ultra marine blue and sometimes in some paintings, though at that inn burst with maybe some of the burnt number and some Payne's gray to get a really dark background but I'm at in this afterwards. That's going to be another layer again over the burnt number, and then I will just keep on build them from them. So it's really awesome to be watchin and seeing my own process. Actually, as I'm doing the voiceover for this because sometimes when you're painting, you get carried away and you don't pay attention to what you're doing. So, um, is just awesome to see that I seem to have a thought as to what I'm doing or some kind of a process. Um, yeah. So once I've put the blue in all the areas, I think I should like the background. Now that's quite dark, and I will probably add it in other areas of the pieces Well, just to carry the color around to blend some areas and to leave some areas. So this read this green is now becoming a lot darker because I've added some more blue to it. So it's just getting very, very dark in that background. So as I'm going along and I'm add in, um, some of the ultra marine blue I'm trying to think of where I could, um, add some Lord death and I'm mix in a in a little bit more going around and just rent and see what tells to do with the acrylic. Just be free in this class because, um, I know I was just being free and it just didn't want to think about too many rules. I just wanted to paint and enjoy painting and not thinking about what anybody was thinking about. And, you know, if they see this and not knowing the final result but having an image in my head that until I was happy with it, it wasn't going to get up from my chair. So I'm now adding some more off the ultra Marine blue down here on the side of the folks. But this is all kind of just assured that I'm showing that there are darker areas of the ball, Tim, and there's some darker areas of the top. And then you have the green foliage in the middle with the burn number behind that, and you could just see all the different colors peeking through. And I just love it. I just love it so much because, um is just also when you see the final result after putting all these different colors down . So I'm really enjoying myself. I would say I'm becoming a lot freer in the way that I am, uh, created my pieces because for some years now, I have been working digitally on, and I would say that that experience and using color has helped me a lot to experiment. And now, even when I'm doing a real painting with acrylic, real acrylic and real brushes, I'm still able to feel comfortable created with the colors I see in front of me. Um, with the tools I have and just getting whatever effect, um, that I can with your brushes when you're looking at your brushes, it's really good to be able to used them to the max. Now, what do I mean by this? What I mean is, if you, for example, like I have here, have a flat brush and you experiment on a piece of paper how this brush works, you start to understand the dynamics and how you can create to peace with the tool in your hand. So, um, you see me here using different techniques with the same brush I actually end up using that bank is three brushes only, which is the original one for putting the background on. Then I'm using this flat brush now, which is a size six. Then I go on to use in a size zero in the detailed round round brush. So, um, those are the three brushes that I use, Um, and then also the by the panting to draw with. And then I was just a paint and just picked him. So I've added the blue here, too. Um, the eyes to the whole, above the head where the bird's gonna be peeking through to the ears, Um, on background. And now I'm mixing some of the ultra marine blue with the white titanium white that I have , and I'm pulling some of the shadow back the bird there. 3. Part Two: and some of the ears. And I'm just always carrying colors around so that I can unify the whole piece. It can look like a deliberate action it can create, really interested in dynamics. In effect, on it is just very stylized. So the here, I'm thinking, right. Maybe I can put some lighter areas immediately beside my folks. So I'm going around trying to use up the white titanium on my brush and mixing a end with some of the green have already used before. Um, on enough. I actually took a while, um, off the screen, off the camera, short trying to mix colors, um, to use on this folks. But I cut a lot of those time spans out because it would take too long to record this video and to edit it. And so here I am, adding a lot brighter Orange Ridge. It's another color that I imagine folks might have. So it's like working, as I said, from the darkest to the front, which is the lightest and just using a variety of different, um, paints. So this is, uh, um, orange. A zit Mars are in. Jim, think amusing. Here. I keep going back and forth and mixing it with, like the different reds I have. So I'm trying to be very careful not to go over and over again. Other colors ever really put down. Add in simple white here, so is becoming very sharp Now the human eye isn't usually this bright, but I like them to be bright with my characters because in their eyes, because I end up actually using a variety of colors in their eyes and those air enough distractions, Um, for the peace that you don't really look too much, I don't think at the white. So I'm just going around trying to see where else I could use the white in this have you some in his ears. So I'm trying to be careful not to make it to the light or to muddy it or just to use white for white seek. So here I think I've mixed some of the white with some other like yellows, and I've got a kind of supreme color, and I really love this cream, and I'm also trying not to overdo this piece. So some of the colors that I'm doing I'm thinking in my hand that I shouldn't overdo it. So I'm trying to put the colors where they will be useful. So I really love this little folks. It was so cute. And, um, yeah, I just keep on highlights in this, and you just keep on painting. And if you have any questions whatsoever, please ask me. Um I'm giving students asking me some questions, and I'm really happy to help, um, the results, some of the questions that they might have because I really don't think there's a point in watching a class and not being able to fully understand what it is that you've just watched . So this little guy looks quite cheeky. Chap, Um, I'm really, really interested in knowing what it is that he is looking at. And that's one thing I like about my characters because, um, you don't really know what's going on in their mind, But you know that something is and you can wonder as well. Are they actually capable of handling what it is they're looking at? I mean, they seem so laid back or are they the actual perpetrator of themselves? I mean, you just never know because they just look so cute and um there's no way that you could blame them for remembers about the happen or has happened. But anyway, here I'm hadn't some more highlights. And, um, I was trying to think of where to where it would work. And, um, sometimes I'll put something in like him doing with the Mars orange. And I'm not sure if I like the way it looks or go over again, but, um, trying, as I said, not to cover everything. So I'm very hesitant to keep going. Even though I go quite high with to cover the other red, I still want some of it peeking through. Um, And then also, whatever I'm adding m trying, I'm hoping that it will enhance the peace and not detract from it. So I will be open to do a lot more of these classes. Um, and really take my time to answer any questions you might have. Um, this is quite a stylized class, but you can refer this to whatever you have a swell to draw. I was even asking my kids what I could draw next. Andi, uh, I think my daughter said a wolf, So a finger wolf might be my next class? Um, a painting of a wolf, Um, with purple highlights and things like that. That's what she's kind of requested. So I will see how that works out. So here I've put some white into the mixture that was on my brush, which was the Mars orange on and put more white and there. And I'm basically trying to use this color around other areas, as well as the eyes and love using whatever colors I'm using around in the eyes of the character because it just brings everything together. It just shows the reflection in the characters eyes, and, um, I just love doing that. So I'm using some of that same a cream beige color now to paint the landscape around the folks, starting to build in some of the grass layers sometimes and issues in the rustic kind of ah , texture of the brush. And then, uh, other times I'm mixing the color with a little bit more water and getting as close to a smooth texture as possible before trying to paint with it. So here I'm going back and forth, trying to decide how the mouth should be, um, as well. Aziz, the nose and then added some more grass. So I'm really trying Teoh get a similar result on each side. But I have found. But when I am filming, I find it quite awkward to get to the further suicide because usually the cameras there and , um, I'm trying not to bump it. So this is where I start building my character. I'm adding that cream to the years to the bird, to the neck of the folks started to add some of the whites that is gonna be on the folks and now going back and working on the grass around the folks. It's amazing because each of these, uh characters that I have created recently and work tone I've really enjoyed them. Andi, I've tried not to think too hard while creating them, and I was have that idea that everything will work out. So I'm not too bothered about what the end result will be. So as you can see him using the thin a part of my brush to get the strokes off the blades of grass, you could use a smaller brush. But is the flat angle the single brushes that I even gave to my daughter just the other day to use or a drawing detail, she wasn't necessarily able to get these kind of a result from it. So there's something about the square shape of a flat brush that really helps you to focus in on what you're creating and to be able to adapt and use the lines as well. So really love that. So this little folks have started to get sharper and sharper. There's still some way to go, because I'm gonna add the grass is in the background as well as the full ground. So I'm just going along and I'm adding lighter and lighter colors to the grass. Um, built in the layers at in the same colors, the greens into the eyes to tie it. And I didn't see the sharp, citrusy green beard white to the Persian green that had some of the yellow in it before. A swell trying to equally put the same colors on both sides. But it's very hard to do. It just started to get some longer grass plains there. So, um, and my older paintings I have done how the most recent paintings have done. They are not done today, so they're older. I did put a design of grass behind the characters, and so that's why I'm gonna be doing here. But I'm not going to be making it as detailed as the other ones. I'm gonna put just a bare minimum grass, uh, for this little character so that we could still just appreciate mainly the character. But I do put quite a number of grass, um, around because it's kind of like being a shielded as well asses being free to move through the grass. So even put in some green than the years. Something that changes a little bit later. Wrong. But, um, as I said, the light to carry the color through and really kick out that whole idea of stiffening up on not being free in my creativity. So here on this added more layers to the grass and amusing, um, the Parisian green. Still, that has been mixed in with some why, and I was trying a bad. It's nice. Bright green to the grass on the ground. Here. You can see the debt because I used the ultramarine blue. Um, I've used some burnt amber, So the layers behind the dystopian changing as he add more, more. And even though some of the brush marks are not a sharp, um, the mole airs, I put on top, those will be pushed to the back so it's gonna can inform death. I would be quite nice and look quite natural. That is a little bit more off the yellow. Think I used yellow ochre And, uh, I have mixed that in with the green just to get a much lighter green that now having and my brushes quite dry sometimes so that I can get the textures of the background through. But when I wanted to really good grass believe, um, I make sure that is quite moist off my brush so that I could get at least a smooth line and the initial brushstroke you can use. You can use images to get this kind of background if you want as an to inspire you so you could use copyrighted images that, um, you sometimes get on some online sites where you're able to use them for inspiration. Um, I tend to just, uh, make things up as I go along. I really wanted some extra information from a specific plant. Had probably research. At first I will just love experiment, and I think that something happened Images we can work from as a resource. It does inspire you, but it can also, if you're not careful stepping you up and you'd be afraid to experiment, So it's kind of like you for using the resource is of images. Once you've had a look of any research done, you should put them aside. And I think just try and replicate what you've seen by yourself. So that's one good way of being able to be free in your artwork, at least the way I'm doing it. If you ah, realistic, you know, into realism, then obviously all those resource is air for you. But when you are looking at the kind of whimsy co narrative where you can tell a story, um, with your character very quickly and and an impressionistic away have been, you probably need to get used to being able to put down marks quite quickly to give a feel What is that you're trying to say? So, um, I love to just be able to just express myself on my artwork quite quickly. Here, I'm blades of grass but these are kind of the the seat parts that are bringing out. You know, when it's time for them to pollinate into great more grass, which is what we dislike. That's the seeds for the grass. Um, that we and the harvest in and eaten it was that kind of half Chevron strokes quick marks to create this detail. 4. Part Three: and I've made it lighter. I'm trying to think of how to fill in the background beside the folks without taking away too much off, uh, darker, deeper color behind it, because he still kind of need that to show the difference against the graph. I just work in a more detail. As I said, making it lighter building on the layers behind and add in those colors of the eyes was always was well, and other areas like the bird, this area of the front of the folks I was trying to get the impression of some of GREss is being between its legs. This you can see it's lighter again, layers of green. So I really like the way that it's turning up. So far, I'm just gonna keep on adding more and more details once you also picking area is good, too. Focus on that for a while cause you'll have that paint on your brush. You can work with more. You can work with model one brush if you want to apply the color so you don't have to keep washing in between. But, um, I mean, I would advise probably using well being very camp about your brunch doesn't dry out. So you might want to use, uh, kind of mediums that would help to sustain the moisture on your brush. Still, I'm just going along still have been into areas, but I think I could have some of this grass, But I don't want to overcrowd the background because I really like the dark background. Uh, so I will stop at in some of these soon, So I'm just adding another green into the eyes. Come on. It's just as I said, the reflection of the grass. That's what I'm trying to add There just also to give the idea of some of the areas are shiny on this folks, you know, the eyes have got liquid and loving, quite reflective, have been its nose as well will be quite wear shiny. So I'm just carrying that kind of turquoise green. Think of added some civilian blue to that just a little bit and trying to add some more of these half chevron wheat designs to have a contrast against the color had already put there . So I'm gonna put quite a few of these. I like to try working old numbers, so I don't like to make it symmetrical on a piece, because then it gives a more natural feel. You could take your time on this. I'm working quite fast because I have an idea of what I wanted to in my head. And also, I'm looking at my time, so I don't want to drag this out too long. I usually try a schedule in film in in between. When the kids were at school, um, and then usually I'd be able to do a voice over a swell, but, um, I've only been able to record this as I have now and then putting the voiceover afterwards . But ideally, it would be good to do it all in 17 some adding some of that green again into the bottom area just on the floor that this would be kind of considered like a woodland scene. Um, so in the background, the recess, which where it's much dark, I would make the assumption that there are trees in the distance and this little books. This may be sitting on the peripheral where the field is beginning to maybe just to the writer office, off the shots you would be with disease of some white picket fence or some kind of farm wire fence or, um, different ideas. And I just thought, also from the other aspect of where one of the stereotypes for boxes is of, you know, going into the chicken coop and and going after farmers chickens. And the fact that this little character as a bird, as I said before, is so contradictory to the usual, um, characters off the animals. And that's where my animals, I would say, specifically different because I always look to happen them as peaceful creatures. Um, how the survive and treat and have their livelihood and sustain themselves is basically none of my business. The story is just up from being friendly and of having a Karen relationship with everything around them have added more of this off. The blue Civilian blew into this, and I've just made this a bit dark, huh? So this is old is part of building the layers, going back in now with the Paynes grey and really trying to bring up the eyes a lot more. Um, just to bring the focus back and make it sharper. There's so many colors I would have used in this A swell, um, I looking back at it, I could abused um, Brooke cno rosiana, um, as well. Different brown's above the eyes. So this different color tones that I like to use, really I, like Teoh have mainly warm colors in my pieces for the animals, but obviously depends on the animal is well, so like I'm saying I would like to to, uh oh, well, at some point for one of my glasses because my daughter suggested that and the wolf would probably have quite alot graze in it and and maybe some purples. So I will endeavour to create one of those classes as well. That would be fun. Some disease in the pains agree to bring go Some of the areas had put in before that were darker at the bottom off. Peace seeing the oppression add symbol of the color of pains. Greece somewhere else. Um, I still have some of this really in blue in my brush. So I think that's mixing in a little bit as well and trying to get colors that our dark but also our that's slightly different just to just give interest on the piece. I'm trying not to cover up too much of the Brent number in the background. So I'm just going over all the darker bits I could see. Um, I like to make the folks tips of this year's quite dark, but because the background is already very dark here, you can't really see it very well. I will do some more highlights on it, too. Emphasize but years. So I'm just still add into the background with some of that pain spree and blue on my brush . And sometimes when I get it to light, I'll go back over it with some of the pains. Great again. Now another side of this is being careful angle. You're painting your art fees from because the angle I'm doing it from for me, it felt excuse me, but I had make that a lot darker. But looking at it while I'm now doing the voice over and I can still see the great quite a little. It's fine because it's adding texture, and I'm just starting to put some more of the shadows. But the the folks been trying to outline it's both a love it more against the floor in off the grass just enjoy yourself doing this because the more practice you get and you will just start to know what your brush does, and you be more and more comfortable so you could do detailed research on, um, the Floren around fields. But I always get this impression when I look at the garden and I'm watching the rabbits plane up in the garden off kind of a mishmash off of grass, um, going in different directions and depending on if you could see the soil beneath or if there's rocks. So it depends on what kind of environment you want to put the character. So I kind of put some lighter colors before, but I'm going back to using some of the Mars orange over the peace again. And then now I'm thinking I should stop Brighton in this little character up a bit more, so I'm starting to add some lighter highlights. So I've gone in and I've mixed the color that was on my brush with some white. So this is kind of a cream color so resuming here, you can see this kind of a cream It, um what? And I'm trying to put in some of the details on this head here on the forehead. So any point these can change. So I'm always very flexible with that. Trying to think that, you know, I'm free to repaint something if I don't like the way it looks thinking of the areas where the bangle light might catch on his little piece and do this process. I don't want to share too much of the self critique in that I can have in my head, which makes me to a certain marks that I'm doing on the piece because I usually will end up loving What is? I may, um, as long as I am enjoying the process and I am just not thinking about any rules or how people might do things. I'm just thinking here. I just want to create a piece of artwork that I enjoy, and I like on just have a conversation with this little character by myself. So about it, e added some more, um, white, and I'm still going around on just putting the highlights on this little cuties face. Now I'm at into his ears. As I said before, I would highlight the years a little more against the dark background. So I'm building on the layers and test. And as far as I can go with this wife, um, I could also use maybe some yellow car a bit lover tan color on this base here and thinking the bit more of the lighter orange. But it's fine the way it is. Now. I'm I'm adding two more white into the eyes again. I've been more highlights. So really fluffy baby folks, he's just a little guy. So, um, just going along and still trying to see where I can enhance this a little bit more thinking also over right here of my brush strokes. Um, trying to be too stiff on showing for writing in color. So I keep doing those I keep. I didn't highlights of the forehead and covering it up must just be something in my brain is telling me to do that because you would think all the details I did would be, um it would be something I'd want to see at the end. But for some reason, I keep on, But in that color back on, I'm trying to show with my brush some of the bristles you get, you know, her folks as far is not necessarily going to be all pristine. So it was kind of trying to show some about ruggedness. Add in some of the Mars orange in the eyes, looking for where else? To use this color without actually ruining what I've created. So I'm going back in at in a darker a lot on the full head, fishing back some of the lighter bits again because that is one way you can actually add color. Sometimes you can light in an area because you want to put a different color on top, and it would show up more once you write in that area. So I think that's what I was doing there. And then I'm adding some of that orange to the GREss to this warm up a little. It was just tying the colors. And every point is about tying the colors in, so that when you look at the overall picture, you know that it's clear he served minutes together, and this hints of color there are maybe in the background a little bit. But then you can see those colors, um, in the main character. Um, remember when artists that I also, uh, listen to his work on YouTube. David Castle. Then he mentioned, um, a phrase, which was that No, not all part of a painting are equal. So the folks you can see in the middle is a bright orange and is very prominent. And then this around in areas are slightly purse back, but they helping hands a character. So I hear gently puts in the reflection on the eyes that I like to do it, really just bring the little character to life. I just added some more wines. These fears titanium white into was there. It's very awkward because of this is still wet. I'm going to be very gentle. You could obviously which wait a little bit on, have a break. Um 5. Part Four: and have a great um, until it's dry enough to do all these extra details. So I was in the mid here to this. Use a smaller brush, which is around size zero to start, as in gestures to the base. I think some of the birth details now as well I usually make the birds look in the same direction as the lead character, the main character. So both of these can, um, animals basically contemplate in the same thing, even though they're not speaking to each other, they're aware of the same conversation. I don't I always add these little flickers on the folks his face. Um, you're over emphasising the cheeks. But I do know that folks is have whiskers as well, which have no added in here. You could have always add whiskers. I just added some more color to the tail. Just highlights really like the ears looking that business. So much more details I could have added, um, you know, you could have some. We're coming out of his ears as well, but I would have had to use it in a rush. I think to do that, or you could use, um, acrylic pens, the very fine tipped. And once everything is dry, you could draw that over out to the ears or the whiskers. Yeah, but then brush would do the same. You could get line of brushes which are very thin, and you would mix a very fluid mixture of acrylic paint to paint the whiskers and or acrylic ink to do that as well. To this, a variety of ways to do this. Um, I could have done actually. So it's really coming along from where we started and I decided I'm gonna add vice new signature of flour Sprinkles, which is just a kind of add interest on to add color as well, because I like to add a lot of come these paintings for me. Um, it's my latest paintings are really adjourned up at the end of a long journey because I've been working visit to leave for so long, trying to replicate the same level off detail and expression. But I've been doing in the digital work has been scary, but I am trying to figure out a way of being able to create similar pieces. Using acrylic, I would love to layer no oil paint over acrylic as well. That is one thing I want to try and do, and I have not done it as much as I would like to. Still, I am going to have to organize myself for that. At some point, it was just adding some of the blue from the flowers. Come to the eyes there and then on to the bird. I think it's too much. So I started to rub some of that out to try and blend it in. Add in some about blue into the nose social reflection again here. I'm thinking just now as well that I could have added some of the blue into the for on its chest. So it's really interested in what I'm seeing. Looking back on this piece I love in the way is, but it's just the extras I'm thinking and add in some of the blue greens into the ear, given the ears a bit more character. So they're a bit more carved, some of the blue into the sticking that spiky bits. I'm just trying to add that food detail around different areas, everything something is too much, and I just want to push it back I usually get smudge it with my finger. You could always wet your brush and go over and then dab it off with a tissue. I'm just still trying to add some more of these Sprinkles of flowers you could go into detail on actually paint new bells or snowdrops for different little flowers that just show from a spattering off, um, DE to know too much and trying to keep it organic as well. You know, different levels. So I really love her way that's come out. Sometimes I'll actually use the ends of my brushes and them into the color and then just stopped, um, onto the artwork as well. But I decided to use a brush for this one. Now I'm going to add some rose colored red rules cover on to the cheeks. Uh, now I'm coming towards finalising the peace, and I don't know at the cheeks, um and I'm gonna use this cover around different areas of this little character. I would usually put this color in areas where I think, um, it's like they're quite sensitive, so light, but bruising or but, um, also just feeling along and say where you think it would actually go a swell. I got this kind of a pink him around this face. It doesn't always seem obvious when he put the colors the impact that they're having. But, um, the some of the colors as well translucent, they're know as pain. So they really help to kind of glaze over wherever color was before and make them deeper. Add in some of those colors in the grass here always trying to use up my paint. I'm gonna be using it that pink. Um, also in some of the spring Quinn flowers will mix it with some other color on, um on the floor in part as well. So I was trying to add a pink there, but I wasn't sure if it was too bright. So I'm pushing it back a little bit. I'm gonna add some to the cheeks is to Canada show a blush manana blush. So just building on the layers I love it looks so cute in the highlight in areas again, um so just keep him building and making this little character, putting in the final touches and trying to decide where to and color. Some added some of the pink of the Bolton here, and then I'll add some grass coming out of that pink. It's helps to draw the eye to the hole. Our work, when you've got different areas that a similar and just carries through the whole piece is , Well, this is really good that way. So I'm just gonna keep on Adan these final touches and details to brighten up this paint in . So I hope that you, um actually being able to, um achieved something similar to this. But take your time and I really, really enjoy yourself and use the template that I've got there for you to use. Come to sketch a little character and to have different attempts at painted in this character over and over again. Um, if you can and you can time yourself is well, you can do quick sessions or you can take a little bit longer. You can use different substrates. As I said before, it could be on paper on canvas. Um on would forever is that you feel comfortable using and using acrylics. And as I said, it was basically just three brushes I've used in this, as he can see, which also, you know, it's not any big brushes. So you go. You take your time, you pace yourself. Um, I, um the very, uh, comfortable going over old artwork and creating new artwork. But no, everybody is happy doing things like that because initially you couldn't see the detail of my drawing. But I knew I had this little character in my head and I knew I was gonna look like So, um, you could see where you can get something that looks like it's impossible and something else can come out of that. So it's just to keep on pushing through and trying and getting to a stage where you're not fazed by what is in front of you. If somebody asked you, you know, to just draw on anything that they gave you a substrate, Even if it was a wall, wherever it was, you would be able to be comfortable to create something, um, that you would love for the end of it. So I'm just adding some of the pink, I think here pink speckles of flowers. Oh, Sprinkles. So basically, just enjoy yourself a swell as creating your little character. Andi, have a story for your character. What is up to what could be trying to do. Who are his friends? Where does it live? Make a scenario that can help you carry yourself through the piece. Um, a lot of my characters I wish I knew were they You know where they lived. I really want want to be able to interact with them. The only way that I can do that is through creating the peace and having their environment because that's the world that they're in. And in order to have access to them, you have to create them. So it's just experiment. And to understand that when you're working in layers, you work with the dark colors first, and you build on that, and sometimes you let the colors dry before you put the next layer on. If not, you're gonna have, um, a muddy effect, and the colors won't actually sit on top of each other. So you have to be careful of that. Um, if you want the colors to be quite thick, that's well, if you want to call us to be quite opaque and not to, um, to be to translucent, you don't add as much water. You have the thicker paint, probably straight from the tube. Um, if you want to make a translucent color more a peak, you add either the titanium white. If you wanted to be a lighter color Oh, you can add black to kind of get it to be not as a peak, I'm know as translucent. So just added the pink down here and a little bit of detail, um, using it to make some kind of pink grasses of the Bolton, which also could have the feel of rocks as well. So and I could about it. Maybe more graze in here. But I didn't want to go on for too long because there's a lot you could do with a piece of artwork. You have to decide when you think it's finished when it's ready. So, um, because we could work on a piece of artwork forever. So this is the final piece, and I love him. He's awesome. Um, on bond. I'm just really, really glad that I pushed through from the original drawing to this stage. And also, if you've done the same Congratulations to you. Um, thank you for taking the class, and I have more classes and you see some more of my work on Beatrice Ajai dot com So I will see you in the next class and thank you for taking this one. And I hope you've enjoyed it, so I'll season go.