Winter Penguins. A Free-Flow Watercolour Master Class with Jane Davies | Jane Davies | Skillshare

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Winter Penguins. A Free-Flow Watercolour Master Class with Jane Davies

teacher avatar Jane Davies, Professional Artist and Teacher

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

12 Lessons (1h 21m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out

    • 4. Beak and Eyes

    • 5. First Layer Wings

    • 6. First Penguin Head and Wing

    • 7. Second Penguin Head and Wing

    • 8. First Penguin Body and Feet

    • 9. Second Penguin Body and Feet

    • 10. Snow

    • 11. Finishing Off

    • 12. Final Thoughts

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About This Class

Have you always wanted to create beautiful, loose, quick flowing art in watercolour with the simplest of touches, then let me show you how! 

In this class I will show you how create these cute penguins in the snow without any brushstrokes, but merely placing paint onto wet paper, along with some interesting watercolour techniques that will add light, interest and texture 

As with all my other classes we paint wet on wet, it’s such a liberating technique, and will certainly put a big smile on your face 

If you’re just starting your watercolour journey and haven’t done my three beginner classes, I’d suggest taking a look at those first, they will break you in gently to my style :)

If you’re feeling confident and are already familiar with some of my techniques then this will be a great class for you!


I will show you:

  • How to create this pair of penguins using simple, easy to follow watercolour techniques with no brush stokes
  • How to section areas off, and when and how to use layers 
  • How to use the water to create softness
  • How to use strength of paint and not be afraid 
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting these penguins and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"There is only one word to describe Jane Davies' classes - MAGICAL!”

“My favourite tutorial to date on Skillshare. Jane Davies is amazing--thank you for teaching me how to create something I love”

"Highly recommend this class. Jane has a different way of painting in watercolour, straight from the tube. For me, this resulted in the best watercolour painting I have ever done. She gives clear instructions, step by step, and works at a pace that is not overwhelming. I cannot wait to try another one of her classes"

“Jane is an excellent teacher, and her clear instructions mean anyone, even complete beginners, can have a go and produce a piece of work that they will be very pleased with. Highly recommended.”

“This is a great video class by the very generous teacher Jane Davies. I really enjoyed attempting this with Jane's unusual but effective technique. Thank you Jane”

"Wonderful class. Jane is an excellent teacher, guiding you through each stage with clear instructions and demonstrations. I love her friendly, informal style”

"I already adore Jane's work and this class couldn't be different. She has magical hands to bring beautiful images to life in watercolour, and this beginner's exercise is a great way to get rid of our fear to work with this medium. I had so much joy, it was relaxing and I got confident of using paint on wet without that feeling that "I'm gonna ruin everything”

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Meet Your Teacher

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Jane Davies

Professional Artist and Teacher


Let me tell you a bit about myself...

I’m an international selling artist specialising in painting pet portraits and wildlife. I live, paint, teach and walk my lovely spaniel in the beautiful South Downs National Park, England

Over the last ten years, I’ve taught myself the watercolour techniques you see today. Not having been to art school, finding my own way has been fun and sometimes daunting but has allowed me to develop my own unique style




In 2016 I began teaching my free flow methods to small groups of beginner artists. After a move in 2018, I was fortunat... See full profile

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1. Introduction: Hello and welcome along to this intermediate watercolor class, where we're going to be painting these lovely pair of penguins in the snow. It's an interesting class using many of my quick, loose-flowing watercolor techniques, and it has the added benefit of being very cute. Though if you're feeling a little daunted by the subject and would like to try something a little easier first, have a look at my beginner classes and these can be found over all my channel. I'm Jane Davis, I live, paint, teach and walk my lovely spaniel in the beautiful South Downs National Park, England. Over the last 10 years, I've taught myself the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun, but sometime daunting. But it's allowed me to develop my own style. This has led me to teaching others either on a one to one basis or as part of a group in a wonderful studio in the heart of the South Downs. I also run a successful commission-based business, painting pet portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time, where I can guide you to keep your work loose and fresh without over-fussing. I'll be sharing lots of tips and tricks along the way too. I provided you with a beautiful reference photo and template of the penguins in the projects and resources pages. As I often say, don't feel the template is cheating, this class is all about watercolor, not drawing. I'm going to show you how to create them by simply placing the color onto wet paper and allowing the paint to be used as something beautiful and unique in a lovely, loose style. I also guide you through the process of selecting areas of that control where that beautiful paint flows to. Of course, I'll share my tips, tricks, and usings at the end to bring this cute pair to life. If you'd like to learn more about me or my work, please pop over to my website at This can be found on my profile, along with links to my Instagram and Facebook pages. I'm very active on my social media pages where I love sharing my art, especially on stories with many ideas, works in progress, and tales of studio life. I really hope you will share all your paintings on the project pages, as I love seeing your masterpieces. Don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in this liberating, wet-on-wet, loose style, so come and join me. 2. Materials: Welcome along to these snowy little penguins. They are all cute, aren't they? I'm going to run through all of the materials I'm using today. Starting with my paints, these are all Daniel Smith. In fact, all these materials can be found in the projects and resources pages. Don't feel you have to try and memorize these. I have got Ultramarine Violet, Quinacridone Burnt Orange, got a new paint to me, that they say [inaudible]. I got Sodalite Genuine, a really firm favorite Lunar Violet. Which I've been using quite a lot actually. Quite a lot in my dog portraits, it's a nice color. Kyanite Genuine, that's just for the snow on the bottom there. I've got Burnt Tiger's eye. Again another firm Favorite. Your color choices. The granulating paints do help in this. I won't try and tell you otherwise, they give you a really lovely sort of texture. Don't be put off if you haven't got granulating paints, give this a bash and I think you're still really enjoy it. Sometimes paper choices can make a difference to the texture and overall look. While I'm talking about paper, if can just flick this over for a minute. I'm using and Hahnemuler's Agave watercolor paper. I chose this because the subject is quite little, they're not particularly big. They gave me, let me flick these guys back again. It gave me some nice textures as a nice sort of watermarks. I like the way the paint behaved on this texture of paper. As I say, if you haven't got granulating paints, that again will definitely help you. Water, I'm plunking on what is, that's water. I've got paper towel, a little rubber, and my brushes are I've got a number 1, no, it's a number 2 round. I've got a Number 8 round. I've got a little [inaudible] brush, which is a really handy little brush being been well used and well-loved. It's just for taking little tidying areas up and taking color out. I won't take a lot of color out with it on this class, but I do use it a lot. We got just a pencil. Instead of white paint, I've actually got a Posca pen this time. That's just doing the tiny little white dots on the back and catchlights. Just stands out a little bit more than the white goosh. Then the hair drier is quite handy in this class. Just speeds the process up so you can sort of carry on. Again, it's not essential if you haven't got one, so don't worry. Then reference photos and paintings. There's a really lovely reference photo on the projects and resources page is all there. I will pop some of these. Got quite a few of these [LAUGHTER] painted quite a lot. We'll put a few examples of my paintings up there for years. I think that probably helps you. I think that's all you need to know for the materials. I'm looking around me thinking maybe I've missed anything, but I don't think so. I think we ought to go to start this. 3. Sketching Out: [inaudible] let's sketch them out. Obviously I've done them in advance, but again, just give you a couple of little tips that might help you when you sketch out your go to. Number one, number two. Should've been more inventive with my names, but I'm sure you'll come up with something amazing and creative. I think the tricky part for me was this little beak here on number one. It's a funny shape. It's easy to get distracted by this top section but really the orange, which is the bit that stands out, is a triangle, so really take your time to get that shaping and emulation with the eye. Now, I've slightly [inaudible] it over from the reference photo. It's sitting a little bit to the right, just so I can get the left eye in. So that's why it maybe looks a little different to the reference photo. Number two is fairly straightforward. It's not too tricky and the rest of the body is quite easy as well, but try and get the nice little curves in there. That's how they're walking so it's the movement of their bodies just pushing their body a little bit, so to try and get those curves in. Apart from that they're fairly straightforward. You don't need to worry too much about the feet, they're just a swipe with the paintbrush so don't get too carried away with trying to do details on those because [inaudible] as you painting them that'll distract that you. I think that's it, so I think we ought to get some paint on these little chaps or chapasses. 4. Beak and Eyes: Let's get some paint on these pair. It's all going to be a little brush. Pick up your small brush, get on it some wet, take out for the excess moisture. We're going to use the orange. Now, she said, simply going to paint in these beak. Just go really carefully around those shapes, and because the black surround, it's quite easy to lose your paint when we come to put in the color around the head. Just take your time, it's literally just paint them in, there's nothing tricky about it. Just wet this [NOISE] color on that already. Might actually just wet this one down and I've got a lot of paint in my brush up. We're just going to go with it like this. [LAUGHTER] It doesn't really matter whether we wet this little area first and drop color in or you paint in like I have, it really doesn't matter. It's nothing more complicated than that. While I've got this orange in my hand, I'm just simply going to paint that in. Nothing more complicated than that. But just be really careful, mindful of staying inside that eye line. Because it's very easy to get it all a little bit messy to keep really neat and tidy. I'm going to pick up my Lunar Violet. I'm going to continue staying with number two. I'm just going to drop that color on top, just dibbling it in, and hopefully that should just blend nicely. Now you could blend this together on a palette if you're feeling [inaudible] to do so. Then you could just paint that in, blend doing it that way. That's Amber. Number two eye's done pretty much. We can always tidy any bits and pieces up on the very end but that's pretty much been done. Okay, go back to number one and do the same. You just keep really careful, there's no time pressure here. Just make sure that's really lovely and tidy. I would do one eye at a time. Just so they will blend. If you let that dry, it just wont blend as well. It's just dropping the color on top. Keep it lovely and neat. Fantastic, put that down again, clean your brush, pick up the orange again, and to do the last eye. Exactly the same. This is a very tiny eye, there's not a lot of blending having to go on there, but it's worth doing the same process really. Job done. [BACKGROUND] 5. First Layer Wings: This beak's a bit more painty. This has been a little bit fiddly, isn't it? Not so exciting to do, but a bit more exciting this time to say pick up your nice big brush. Just disappearing off the camera. We're going to wet down Number 2's wigs. We're going to deal with these individually. It's okay if you wet it all down, staying neatly in your lines. We're going to pick up the ultramarine violet and that lovely orange, they are a nice combination together. We're just going to dibble some color in really, just fancy. Have a look at the reference photo. They've got some orangey bits going on over here, haven't they? Really doesn't matter. You just want something that's just going to give you a nice mixture, nice blend, something a bit unusual maybe. If you fancy another color on there, if you think maybe a bit more blue down here would be so genuine, go for it. You could try to be your own judge of you own piece. I quite like that. I think that's enough [NOISE]. Then we're going to go on to the next wing and just wet it down and do exactly the same. This orange is lovely. I've only just recently been given this one but it's nice. A bit more violet up there. That should give me something nice once that dries. Again, it might be a little bit too strong. If it's too strong, just clean your brush [NOISE], take the moisture off, and then you could just generally suck some of that color up if you think that may be a fraction too strong. Lovely. We're going to go and work on Number 1's left hand. My left and right are [inaudible]. Actually, it doesn't seem right at any point during this class, is me going off slightly away with my left and right. We're going to do is just exactly the same experiment, maybe put the two colors on your brush at the same time, drop that in and see what that looks like. As soon as you've got some you think, that looks quite nice, leave it. Again, stay within your nice lines. Actually, what I said with the sketching out is try to keep your sketch lines nice and faint. Mine are quite strong just so you can see really where I'm going, but if you've gone quite strong, it's worth just stopping for a moment and gently rubbing out some of the hard lines. The face doesn't matter too much because it's dark, but some of these areas here around the body, you don't really want to see those pencil marks once we finish the painting. Like me, these are heavy. Just stop for a minute give them a little rub out and you start again. I'm going to leave mine strong so you can see where I'm going to. Number 1's right-hand wing. Think for a minute. Obviously, Number 2, we need coined damped steel. What you want to do is wet it and leave the tiniest fiddle. Draw a line, there is a dry line just there, just to stop the paint from really running into the Number 2 wing. Just the same. I'm going to just pop a little bit solder like the bottom of this one. Don't ask me why, I just fancy it. Have a play. See how close I can get to that wig we're running it. I think that looks all right. Bear in mind it's going to be a big old stripe down the top there so don't worry too much about the talk that's going to be hidden anyways. I'm going to leave this white to the very end. We will just fill that in because it's going to be adopted. It doesn't need this color and that is that first layer on the wing done. That just needs to completely dry. Again, you can read that over. If you've got a hairdryer and you want to progress quickly, then just switch it over the head dryer quickly but just bear in mind if it's very wet, you want to just hang on and wait until it is a little bit tacky and then give it a blast with the hairdryer. Because if you do it too soon, you'll blow that pigment around and it'll all just model on the paper and look a little bit messy. It's worth hanging until it's a little bit tacky. 6. First Penguin Head and Wing: We're going to work on number 1. Let's be methodical about this [LAUGHTER]. Pick up your larger brush and we're going to just wet the head. We're going to reserve the white, so don't go into the white area at all. We're not going to paint that in at all. We're going to leave that for the white paper to shine through. Really take your time. If you take a painting as small as me, it could be a little fiddly. I'd love somebody to do a really large one because I think that would work beautifully. It'd give you a little bit more room to play with the paint and allow the paint to move around. Now, that just goes up there. Dropped a color [inaudible]. We're going to fill in the top of that beak. We're just going to pretend, I suppose, that's the part of the head. It seems to work the best. Really be careful about keeping within these lines and the bill. [NOISE] I'm going to pick up my little brush and make sure I've gone firm. I'm a little bit away from this edge per normal because of the angle of the camera. You do need to see my head poking underneath the camera. It's a bit hard for me to see, actually, where I'm putting this water but I think I'm there. That looks covered. Now I'm going to pick up my violet to start with. Actually, what I might do, let's have the Lunar Violet and so light genuine. I'm going to grab a hold of those so I can really paint straight out of the tubes. It's just nice, it's really instant, that's why I like painting out of the tubes, and I tend not to waste as much paint either. Back to the painting. Ultra real violet, we're going to pop that right on top of the head. It just gets in cutters. Only one layer. Bear in mind, this is it. Be nice and strong and bold. Just gently tap that in. You're not even painting, you're tapping almost because if that's nice and wet, it should spread. A little bit of a Lunar Violet so we know it's nice and strong. Keep your reference photo open. I'm just going to try and lean in there, put my hand there so I can stabilize my hand a bit. You can see, can't you? Yes. Be careful around because if you go into the orange by mistake, it's really hard to get out, so take your time to go around that. A bit of so light genuine. Let's pop that nice strong bit underneath. [inaudible] You can see our number on this little chap. He's got a really heavy band around here, you see that? We can just tap that in. Just going to go quiet now. Deadly concentrating, try not to get myself into that white area. Having practiced these many times, that was my big failing, was to get a little bit messy and end up trying to reserve the white around the eye, which you can do if you end up going down that road, but it's nice if you can avoid it. Work your way around that. Keep up, just keep tapping that so the light should move down on it. I'm going to cord. It's looking nice. What I might do now is just to do that little line. It goes up and over. Start to see him slowly coming to life, can't you? Let's have a little bit of tiger's eye. Let's put those one's down for a minute. They're all out of order here. Let's tap some of that in. It's a nice mixture, so just literally tap it on top. Don't be afraid. Just pop it right on top. That'd give you a really nice granulating, loose look. Just be mindful of staying in your lines. I'm going to pick up my violet. Just get a little bit of violet down the side here. As soon as you get something that looks pleasing and is covered, then do stop. If you're ahead of me and you've got this covered, then stop, don't over fiddle. A little bit of violet there and encourage them there. I want that little bit of light here. I don't want that to be too heavy, so I'm trying not to go into this area. I'm trying to encourage the strength by putting strength right underneath the chin. That should keep working its way out and then giving us a slight covering there. That will give you a nice sense of light then. Bear in mind, this is only one layer, so be nice and bold. A bit of tiger's eye here. Just some granulating. Make sure that's nice, neat lines as well. Pick up a soda light genuine again. It's going to be more color underneath there. [NOISE] What we're going to do now, I'm just working with my little brush actually. It just feels like I've got a little bit more control or say, especially as I am hovering a little way behind the back of the camera. I'm working small. I've wet this line down here and we're going to run that down the tip. I'm going to put soda light genuine. It's going to look a little bit weird to start with but bear with it. You've probably got your little white line. Now this is nice and dry. You can pact straight up to the number 2's wing. Nice bold line. By wetting this little bit, I've dragged some of this color that's in the head down to here as well. [NOISE] Make sure you've got a nice big bold line. Nice lots of paint. That's why working out of the tubes is nice [NOISE] and get a nice amount of paint on you brush. [NOISE] What we're going to do, actually I'll use my big brush now, we're going to wet this wing. I'm just squiggling around here, aren't I? Wet this wing. Then I'm just going to touch right underneath that line we've just put in and I'm just going to allow it to blend. Then you can tidy up that little, where we had that, draw a white line. You can just tidy that right up there. That's job done. I might actually put a little bit of violet underneath. If you weren't so bold with your very first layer on the wing, then you can put a little bit of color if you want to in at this stage. That's done. Well, not per se. We're going to do the tip right at the very end, so don't worry about that. [NOISE] Again, we're going to do exactly the same with this one. Let's put some of these down. [NOISE] It's actually releasing my hand. I don't need the tiger's eye. Although in the reference photo you can't see any black line, I am going to just put a line down there because it just encourage you. It pulls this paint down this little line and out here. Let's pick up that soda light genuine again. I'm going to run down. Make sure it's nice and thick. You want it really quite almost gloopy. Very technical word, gloopy. Then for this, we're then going to literally paint, a rarity for me. Paint that tip in. I'm going to actually [NOISE] pop a little bit of the Lunar Violet on top of that as well so it's a real strong mix there on top. [NOISE] Clean that brush and we're going to pick up the big brush. Again, do exactly the same as we did with the first wing. Gently touch that. That should all blend beautifully. If it's got running a bit too much for your liking, then you can very gently just soak some of that out if you think it's going too far on that wing. I think that's looking pretty good actually. What you can do, you can put a nice big water droplet in there, and that will push some of this paint back into the tip and up to the top of that wing as well and give you quite an unusual patterning as well. I'm just checking that it's actually dried up the top there. You can see the way that's reacting. I'm just going to [NOISE] little brush, just going to just re-wet that a little bit. I don't want a line. I want it just like this, just to blend. That's better. I'm just going to make sure that nice line is still nice and wet. That's just going to draw some of that color. Just tidying the ends up here. If you've gone a little bit messy, I've gone it, I think that was on the first layer. That can be tidied up at the very end, so don't worry too much. Now, this should still be damp. Mine's still damp. I'm happy with that. I've got enough color and enough depth of strength just underneath the bill or beak. I'm actually going to leave that, but if you find now, because you've dragged some of this color down into the wing, that's gone a little bit pale, long as it's still wet, you can just re-wet this area, just keep it damp. I'll show you. As long as it is damp still, you can re-wet it just so you got it to a nice, re-workable glean. You can then continue adding that bit more strength then you just tap a bit more in there if you need it. [NOISE] If you don't, then, obviously, you just leave it. What I might do, almost a little bit too. This just hasn't as dried probably at one. This has dried a little bit quicker than this area just here, so it hasn't bled as much. I'm just going to [inaudible] wake that up a little bit and let that blend. You can neaten up any markings here. I'm trying not to get my hand in the way so you can see what I'm doing. [inaudible] I'm pleased with that. That looks pretty good. I'm going to leave it there. I'm just [LAUGHTER] trying to find a way to , here as you can see. Just add a tiny, that little line there. Just a little bit. I need to follow my advice. I need to put my paint brush down, and we will continue with number 2 in a minute. But it's worth letting that dry because it's so easy when you're working on two subjects, is to forget this number 1 is still drying and come put your hand in it or you drag something across. If you ever do two subjects, it's worth letting one subject lovely and dry before you start on the other one because it's so easy to smudge. He needs to dry first. 7. Second Penguin Head and Wing: Number 1 is lovely and dry so I can get on with number 2. We can do almost exactly the same as we did with number 1 as we did with number 2, big brush. We're going to carefully wet. Really either case you're being really careful if you're working smooth like this one. Stay within those nice lines. Especially up here so really take it out. If it helps, you can always pop a tiny little bit of paint on your brush, till you can see where you've actually put water. Sometimes in the cases, I mean, as little as this, it can be helpful. Just a tiny little bit of color. Actually, what I'm going to do, I'm going to swap brushes because it's getting a little bit small. A little tight just not small. Run that down the top. I'm actually going to go a tiny little bit, and if you see on the reference photo that your tip is black or dark. I'm just going to run that round, and just again, go really carefully around the orange, because you don't want to. If you get the darker color in amongst or on top of this orange, it's really hard to adjust and retrieve the orange you see. Take your time, there's no hurry. When you're doing this, and you've been really careful, and it's been a while since you started on say this area, and it's just starting to go a little bit dry, just pick up, wet your brush nicely on water and then just tap that in, so it's just as lovely and wet again. You don't want it bubbly. You don't want water just sitting on top of the paper, but you want it really lovely and saturated, and then next that will allow the colors to run. Don't forget if it's tacky, you'll find your paint will just a little sit, but in a minute it's lovely and wet your page should run beautifully. Let me think. We're in ultramarine violet. While I've got this in my hand, we're going to do a violet top. Again just tap, I'm not actually painting, I'm just picking the paint up on the end of my brush and tapping. While on the top area, I actually going to get some Lunar violet. Also, I would lie genuine, it wouldn't really mess it. Just maybe do the sideline. Let's get that dark area of the beak in. I'm going to do beak and below. I'm going to switch between the two on sides, he must have doing the beak. I'm not sure. Get this lovely and strong again, again, it's the only one layer so you need to make sure you got all the strength in this layer. She can be quite bold. Bear in mind there's a tiny little bit alight, so if you can be clever and not put. If I tap color in here, and here, that should blend gently and leave us with a slightly in theory, a slightly lighter area on the top. But again, that can be taken out. Let's try and go very carefully round this little area here, and it might be worth it. Let's have a little mixture, and you could add two colors to your brush at the same time. Then if they're blending together, unless the paintbrush hits the paper, then they go off together, blending together. Let's try, and get that area nice and neat. Just going to go a little bit over the top there just to get that line in. I'm just aware of not going into this orange because on my cup my job is I did and the painting is pretty much all over. As we're doing this quite jelly I can see my dye. Val is beginning watch me while it big up there, it's beginning to dry, I've just re-wet that paper just so I can keep working on it. If you didn't want big bow layer, and it's going to take you a little bit of time to do it, as long as you keep applying water you can keep working on it. Working on it on an area would keep going on with one particular area you've painted. Because then that's where it ends up getting a bit muddy. But if like for instance here, we're working quite a lot on this area, and this area here has been untouched but will start to dry, you can just add more water. I hope that makes it. Let's get a bit stream so we'll go light. I've got lunar violet in my hand, I might pick up at tiger's eyes so I've to get to use it. Let's get a nice bit of stream going underneath here. Lots of paint to my brush. I'm almost scooping up is a lot of paint, and I'm just tapping. Go up the top here, and I see some paint little bit in there almost a paint. I'm using a brush stroke to, sometimes you just do a little bit, so you're like, oh yes, I can see him coming now that makes sense. Sometimes it's worth doing a little bit so I had to make you feel like you're getting some where with the painting. It's moving a little bit. That she talked over the top a little bit, doesn't it? It wasn't didn't probably wet this little area enough. I'll put more water just to keep that awake. I've finished that a little bit off, a little bit more. Neatly suitable blend in. Fabulous. Little bit more violet and satellite genuine. I know this is going to be quite so dark, these areas. The reference photo is pretty much black, isn't it? The whole way through so you have to make up your colors in your mind, and just bear in mind here, this is probably a dark area down here. Let's get a little bit of tiger's eye by curving on let's put some of that on the right-hand side. Put that on top as well. Remember you want this really nice and heavy because we drag that color down to the wings. This color from the head, you've got to some of it is going to run down to the wings as well. Just keep tapping noise, nice bit of strength. You're going to put up a little bit on the hand under the chin. This is nothing coming on. It hasn't quite spread over like it should. A little bit more lunar. Nice one. Little bit satellite. I think I've got a nice. I'm always going to use this as a little almost like a little palates actually now, because as we drag this down, hopefully you can see some of that being dragged out. This is running down into here. As you're running these, I'm going to get me satellite genuine, and I'm just going to really big, thick, heavy line over the top of that wing. Little of Lunar violet squeegee. It looks pretty thick. Very old cutlery at the moment. All these paint and the paint from here, and this paint here, is going to travel into that wing. I'm going to pick up my big brush. Wet it down just to wake it up. I want this a little damp, but I don't want to actually incorporate too much more water this state could do. This is all quite wet. If I add more water, we'll having a bit of a puddle going on to. This is just damp. But, it's making the wing wet, isn't it? I'm wetting the wing, I'm not adding lots of water. We're just going to touch the top of that. We're going to touch tip, we've just touching it, literally just on the edge of that heavy paint, and allowing it to blend. If you go into too much, it will spread a lot. Again, you can just, just push it back if it's going a little bit too much or a little bit too far, just gently pull it back and then you can shade this wing if it's going a little bit bear shape. I'm just going to tidy that up. Job done. We don't need to do much more on that really. Hopefully that's worth. We're going to get exactly the same on Number 2 2nd wing to think about that for a minute. Little wet line there, so that will encourage some of that paint to run. I'm going to run that wet a bit, and that's why you want to make sure Number 1's wing was nice and dry. Satellite genuine and on top, nice, big thick line. This is really got ugly at this stage, and a nice bit of Lunar violet on the tip. Same again, clean your brush because I don't want it sopping wet just so you can wet the wing but not add too much or too much color. It's getting nice and clean. Again, just touch the very tip. You can just say, I'm only touching the very tip of that really heavy line. Again the tip of that. Tip of the tip. Then just watch it. Sometimes it just worked, just like that I don't need probably need to do an oval lot more, or if it's gone a little bit heavy and it will be heavy and it's hiking its way across the wing too much, you can just push it back. Or we can do like we did this, with this one of these wings, you can just pop a nice droplet of water in. That again, putting water in that stage would just push this pigment back up again, because you got obviously a lot of water in here, so it's going to push the color back and leave you with some quite an interesting marks, then if you couldn't, then leave it, and that's the trick. Just looking back on this, I'm pleased with this. I think I'm done. I don't want to fiddle anymore. Put those back there. Just, these are just mine. But I can see a bit of a bubble of water could be added little bit too much at one point, where I was trying to keep it nice and wet. I'm just going to suck it up, and going to leave that to dry naturally. If I had drier, I'm just aware some of these marks are looking really nice for hairdryer over lose those. I'm just going to got to make myself a cup of tea actually, and let that dry and come back to it in the making, we can do the bodies. 8. First Penguin Body and Feet: Right then, on with the number 1's body, big brush. Nice, I've actually cleaned my water. Got a new paper towel. Actually, while I think of it as number 2 is drawing, I realize I'd lost a little bit of strength on the beak. I just added a little bit as I would like, genuine either side and let that blend just as that was still damp, I just realized that it was all violet. As we aren't doing any more layers, I just wanted to make sure that was nice and dark. Just in case you think that was a bit violet when she left that on the last chapter. Back to the body, big brush, nice lots of water, we're going to wet the whole body down and we're going to very carefully touch underneath, your wet brush is actually touching that paint. You should find some of that should just gently blend. Don't go too far in because you don't want to start then in effect doing another layer over the heads. Work your way all the down. You're going to miss out the feet at the moment. Simply if you did the Hedgehog, you're going to have a similar thing, where we joined at the hedgehog to the leaves, we're going to do the similar thing to the feet. I make sure it's lovely and wet. Inside your lines, you can again, what I was doing that bobbly head up and down and make sure you've got it all nice and wet. Again, as this one actually didn't have in the reference photo a black line here, here where we ran that down into the wing. You can get rid of that if you don't want to see it. Personally not worried with I do or don't normally so not to worry too much, lovely. Obviously reference photo, there's not a lot of contrast. I've popped up a couple of my paintings of the penguins on the reference and projects pages. Have a look at those I've added to the color there because the reference photo doesn't show a lot, you have to make a little bit of that up. I've picked up my ultramarine violet, the orange. I'm going to have a little bit tied desire as well. I'm going to start working at the bottom. Just going to couple of bits of paint on my brush really, I've dipped the ultramarine violet and the burnt cracker dime orange. I'm just going to put it on the bottom. Violet we'll see it just working it's way up there beautifully. Pick tigers eye, I would definitely tigers, I will definitely push color around. Nice bit of stream from the bottom there. Have a little bit of lunar violet as well. Really, I can get rid of some of this in a minute, it's getting a little bit too bold over some of it, but I want to make sure I've got a nice amount of color in the bottom here just to give this a bit of contrast really. Clean brush, I'm going to have to pop a little bit of violet here. Just up above here, there maybe a bit of shadowing. Sometimes you can think with reference photos and turn up the contrast, you can sometimes make some shadows and contrast of Z up here. That'll give you a little bit of help. I'm just going to push. It's run it a little bit too much, I can either then tilt it that run back. Or I can just gently add a little bit more water that will encourage it back down again. Give it some unusual fluffiness, because they're quite fluffy, aren't they? By adding that water that's going a little bit of same effect with the wing really. Adding a lot of water here will push some of that pigment in, just give you something a little bit into some interest. You know what, I'm actually quite liking that, I don't want to really add to much more color because I can get also they are white. Sometimes with white subjects, you can get a little almost too carried away, we're trying to add color in. What I will do, I'm just going to pop a little bit tiny impression of a slight line up there. Blend that out. I'm liking the way that's looking. I'm going to pop all these paints back, put those out of the way on my hand. I'm going to pick up my little brush, and we're going to flick out some of these fluff of space very gently. Just catch some of that paint in the bottom and pull out. You can add a little bit if you don't feel, mine is not actually moving very well, I've just picked up a little bit of the tiger's eye. Let me see if I can get that moving. It's almost too wet at the moment. Yes, it's very wet. When I bobbled my head down, I can see that's actually sitting in puddles. It might be worth just hanging on a minute because all I'm doing is actually pulling droplets of water out. Something I can do a bit of kitchen roll, paper towel and just suck some of that water up. Working its way up the kitchen towel. Let's have a little bit of lunar violet. Put little tiny bit of lunar violet on my brush, and see we can pull this out now. I'm going to add the feet in a minute. It'll just be a fraction drier because otherwise, there is going to be too much water going down into the feet. I'm just going to have to twiddle with someone for a minute and let that dry just a fraction. I've literally given this about a minute, maybe two minutes and it's just dried a little bit. I'm going to pick up my orange to make sure my brush is nice and clean and take the excess moisture off. I'm getting a nice amount on my brush and we're going to be really nice and bold. Nice line underneath here, that should just blend very gently. Clean my brush again so we've got a nice amount of orange on there and we're just going to pull that out. You've got resembles of foot, then stop, don't go too much, and then you can strengthen the way you think you may need it. A little bit few lines down there, as soon as you got something you're pleased with or like do stop. I like that, I like what's happened there, again, nice big strong line. Clean my brush, take the excess moisture off, and instead of sweeping movements, just like that, you don't want anymore to say don't overfill, don't try and get to try to do those little details, there's so much going on there, but it's just a really loose impression of feet moving. Hopefully some of that might blend in, some might blend down, you never quite know what you're going to get. Do not let it move around. Ideally, it's nice if some of the body color then move down to the feet and vice versa, and then we just need to let that dry. That's pretty much done. If there's any aspect, if this is still damp and there`s anything you think you need to add a little bit of strength anywhere then do so. You have to be a little bit of a guide of your own piece of work. I'm happy with that. I'm happy with the strength that has gone. Be reminded if white, don't get too carried away of adding color in this if you what I tend to do in over egg it. We're just going to do this one, but again, I like to let one dry completely before I start another one, because I just don't want to do something stupid and raise my hand over it, which is very easily done with me. I'm going to let that one dry and then we're going to do the same with number 2. 9. Second Penguin Body and Feet: You can see number 1 is nearly done. Let's get number 2's body completed as well. Exactly the same process, nothing different. You're going to wet right up to that neckline and touching the neckline but don't go too far into it. Again, you can go eradicate that little dark line there if you didn't like it or don't like it just say pretty lovely and wet. Nice lots of water. If you find your paint doesn't move, it's normally a case you haven't either, generally you haven't got the paper wet enough so put lots of that water on your paper. If it's just a little bit tacky, the paint won't move. It needs to be nice and wet and equally, your brush needs to be nice and wet as well. Normally, those two combinations will get your paint money if it's not. I'm going to do the same sweet colors. I'm going to pick up the ultramarine violet, quinacridone burnt orange, and the tigers oil. Now, again, I can put the paint on my brush too. Let's do that for all the paints on my brush at same time. Then just dibble. Not much violet. Let's put a little bit more violet in there. We're just working on the bottom. They say, if you've got your paper nice and wet and your brush nice and wet, that all should just move on its own and wiz around. Give you a nice, lovely, loose look. Just concentrate on the bottom. Now the tag is on if you can see that, that's just one of those things tiger's eyes does. That really pushed the other two paints and made that [inaudible] the page better. One of those nice things with tiger's eyes. Now I quite often use it because it does that. It just pushes the paint. Sometimes I use paint, not for the colors always, but what they actually do. That makes it. That's looking nice. I like the way that's reached up there. I'll just use some of that paint. Again, I just move some of that up a little bit further up to pop up. Just a little bit of violet up here. She says, and that's orange. Let's get rid of that. The thing with dibbling your brush in the tubes. It can get a little bit contaminated. A little bit of a line going up there. And again, just a little line down the front as well. It's still on the reference photos a little bit more obvious on number 2, isn't it? I think sometimes they just work and that one's just worked well. That is looking good. I'm just quite a big old bubble of water there. I'm just getting rid of that and that's by dipping my brush in that puddle of water. Make sure you've got it right up to those edges and got those nice shaped white as well. You can always add a little bit about the wings there. We're going to add a droplet of water in there. That should give you something a little bit different and give you a little bit of light in there. That's looking nice. Let's see if we can get this a little bit dry on the bottom so I can do those flicks straight away rather than having to wait. That's probably a bit dry. I'm just going to pop those colors down because in theory, I should be able to use the color that I've got here. It's a little brush and just little flicks. I go into the body a little bit more as is working a little better than my first one. That's how it should work. Just a little bit too wet area. Hopefully, don't go too crazy. I'm starting to go a little bit into [inaudible] Too much fluff. I think that's just about ready to put that orange as well, so thick brush, clean it off. You don't want too much water again. Pick up the burnt orange. I'm going to put that big old hefty line of orange there. Clean the brush. I'm going to do just a nice sweep. There's not much showing up on that one because I guess he's got a foot in the snow so just a just a little drug out. That will probably do. I need to do much more and again, I might even push some of it up. I don't want that to be too obvious because as most of that is covered in the snow. Then we're going to do the same with number 2's leg. Think about that one. Again, thick big orange line. Clean your brush. Take the excess water off. Again, it's a nice sweep and is also I'm going to sweep it backwards. Just any pressure and I say I really don't want to get too carried away. We do nails and things is just keeps that looseness in. I like that, I'm safe. You just have to charge your own piece. See if it's something like, catch a light. Just by doing that, that's called a [inaudible] light there, hasn't it? I'm pleased with that. I think I'm going to leave that foot and what I'm going to do, I'm going to put Tiger's eyes. It's just personally my own piece. Don't feel you have to do this on yours. Just want a little bit more strength than that. Some tiger's eyes is so soft and this is still damp. Make sure it is still damp. I just want to put a little bit more stripped down there. I think I need to stop because I will [inaudible] otherwise. Alright, clean your brush popping down. If I need to draw and then we can do this through snow on the bottom. 10. Snow: Let's put some snow on. Nice big brush and pick up the kyanite genuine, if you've got the kyanite genuine. We're going to look a little bit again, there were similarity to the hedgehog with this class so we're going to do a similar thing. I just want to wake this up, it's been sitting on my desk for a little bit now. We're going to pop a little bit down and we're going to almost close your eyes. You just want to really lose bibbly bobbly effect. Just try your very best not to think too much, you can pop a little bit of violet in if you want. Just to add a little different bit of color in there. I'm not sure if that's an improvement but you can. [LAUGHTER] [NOISE] I'm torn whether to actually bring the snow up to the foot or not actually, I know it shows in the photo but it's quite fun that it doesn't as well. Again, soon as you've got something you like, you can stop if you've got something you like as well for jumping ahead of myself. I'm just going to put a little bit of strength underneath couple of those feet. I know an idea of a little bit of shadow and strength. But it's very very easy to overfit these things. I might just stop there and you could. I'm not going to do that in this class, but you could sprinkle some salt or you could do some of that cling film wrap, we've used in several couple of classes. That might be quite fun. It would be better because it would just give a better texture probably for snow. But cling film would work quite well as well, I contemplated doing it but I went for the easy option and just did this, it's quite nice and simple. That's it. That's it for the snow, so to say, don't overdo it. Again, let that completely dry and then we can do the finishing touches. 11. Finishing Off: We are on the home straight as they say. Firstly, I'm going to just do that little tip of number one's wing before I forget about that. So we can just paint that in. We don't have to do anything posh. Nice, wet brush. Light, genuine, and just painting their shape. Nothing more complicated than that. What I will do once I've done that is I'm just going to just finish. I just saw a tiny little bit of white line. Remember, we left that in there. I'm just filling that in. I'm just going to give that a quick hair dry so that we know that's nice and dry. That should be nice and dry. Let's try and be methodical about this. Let's start on number one and we'll work our way round, so get your reference. I'm just trying to find my reference photo on my iPad. Scroll in. We need to do the little beak line. It's the little line across there, we need to try and make sense a little bit of that top of that beak. Firstly, I'm going to start with the little bird [inaudible] orange. I'm going to put the tiniest of hint of line. Just a little bit. Step away from your painting. It that looks enough, don't go too heavy on it. I think I've done enough, actually. What I might do, I've lost a tiniest fraction of, there's just that little point. I'm not sure if I'm going to be able to get it out. I'm not sure I can see. I'll try and get that close to it to see it, but if you have you can just gently, just brush that paint away. If you've used some of these paints, they come out quite easily so you can hopefully, just get a little white line which will give the indication of that bill going down there. I will properly tinker with that off camera if I'm honest so I can get a little bit closer so then you're not looking at the top of my head. But that's all you would need to do just to reclaim that. I'm going to put that down. Now, with here Lunar Violet, just want to [inaudible] your little brush in the moment, and we just want to try and get that shape, but just painting it in, we're going to take a little white line out of it in. Once that's dry, it's a bit thick. It's just like on the top, isn't it? Runs down. It's a rather strange shape. You don't have to make it too obvious. Sometimes it's best really your mind to make it up that there is a top of the bill, so don't get too carried away with it, and if you've made it a little bit stronger on top than I have, you may not even need to paint one in. Again, be a little bit of a judge. If you've got enough color on the top of your orange triangle as it were, all you need to do is maybe put a tiny little bit of light in there, which we'll do in a minute once that's dried. Then we're just going to put some little eyebrows in. I would pick up a very light color [inaudible] Burnt Tiger's Eye but I'm going to use a little bit of the Ultramarine Violet. We're just going to put, I know it's not really how we've seen on the reference photo at all, but I think it just is a bit Christmassy thing, isn't it? I want to make it look happy. Just simply paint a little line and you can soften it if it goes a little bit too line-y, if that makes sense. Then just on one of the edges, you can just wet that down and soften it and just blend it out, and then you're hopefully just left with quite a soft line then; rather than a rather stark line. Your fingers are great for this, just squidge the paint around a little bit. Looking at that, I don't think I need to do anymore, but on my practice pieces, I did end up losing quite a lot of this white around here. So you may need to reclaim that, and we can do that with that Posca pen, but I'm happy with the amount of white I've got there. Equally you may have too much white, in which case, put that one down, with [inaudible] genuine or the Lunar Violet, you could just very gently just tap in a little bit of color and just squeeze that. That will white out a bit so you can. I won't do it, because I've got that just about right I think in my mind's eye. [inaudible] have a little bit in here. Just tap a tiny bit in, but I like it. I like the overall look of it, so I'm not going to do anything to it. Put water actually, before I put that down. Could have a tiny little bit more on top of his head, a tiny little more line. I'm not sure if that's right or not. Yeah, I think that looks okay. Again, to be a little bit judgy of your own pieces. I'm always finishing off pieces are definitely looking at your own piece and adjusting where you think you need it. Let's have a look and we will rub off those pencil marks in a minute. [inaudible] brush, which is off-camera, but I'm just going to tidy my very first layer of the wing. I went a little [inaudible] went outside the lines so I'm just going to scrub that way now. Little bit of clean kitchen roll and just dab and it's gone. I'm looking over him or her, and I'm happy with that. There's nothing else I need to do. If you've got any other line that need tidy up, especially probably around the head. I know on my practice pieces, I got it a little bit messy around some of those so they can just be tidied up exactly the same way as we did that lower wing. I think we move on to number two, and again, we need to put that line along his beak. So I would go with just the orange if I were you and try and get that line in right. I mean, you can make it a little bit more if you want it to look a little more comical. Not comical, happy. Comical sounds a bit wrong, doesn't it? But yeah, obviously put a little curve in. I can just see that. Now if you don't want it too obvious, that could be a little bit too obvious there so soften that out. All these little tiny things are so subtle and keep stepping away and looking back at it. I like that, I think that's enough. Again, all these little hair is here, just like I spoke about there. They can be tidied if you need to add it in. If you've left too much white, a little bit of color can be dotted in to close that white up. But we're going to do that little eyebrow again. I'm going to go with the same color. That's the ultra marine violet. Paint on your brush helps. A little line like that and quite an obvious line, and then you can soften the outside line. You should just hopefully, kindly blend up the head? Again, you can reshape the eyes if your eyes went a little bit to [inaudible] where we needed a tiny little bit more into that corner there. Let me see if I can do that without ruining it completely, if I can see enough. He's got quite squinty eye, isn't he? I just need this little one in the reference photo. I have made them a bit bigger. Just I think it looks a little bit sweeter. I just want to get a tiny little bit of edge, so I'm just painting in. You can tidy if your eyes got a little bit shaggy. When we first painted that in, if they got a little untidy, you can just tidy them up. Just doing this. Go back to number one don't shy. You see I'm going to have order already, I can't help it, I just have to be random. Jumping back and forth. But I hope you get the idea. I can then tidy up the eye if I wanted to. I think that's done. I think that's enough, I think I won't do it anymore. We're going to do as little white dots there in a minute, but I just wanted to scan through the rest of him to see if there's anything that needs taking out. Those pencil lines would be quite good to take out. Let's do that. Just make sure if you had a little tinkling like taking this out, or tiding these edges, it's lovely and dry. Really make sure it's dry because it's so upsetting if you get you up and perhaps start wrapping and realize there's a wet patch somewhere. But I don't think I've done anything to my knowledge outside. I'll be careful to that it'll be there, and I've done my lines quite bold, so there's a good chance I won't be able to get some of these out. But I'm going to give it a go and see what you can get rid of. That's come out quite well actually, she says. I think that helps see where you're going, so to finish the painting off, doesn't mean you get this lost and found edges appear. Look down on this one, and we can see where we need to take any little bits of paint out just to gain some of these is lost and found edges. Again, just be careful around the head if you've worked around that. I'm going to be careful around that low bit of wing while I took the color out. More little bit down here, where the legs were, and the wing. Head, something's tapping as I'm doing that. [inaudible] Yeah. it's good let's get rid of those bit, push it onto the floor. I love taking the pencil marks out, I always seems to make so much difference. What I'm actually going to do now, I can see a quite like some of that light after there actually. He looks okay or she looks okay so we haven't set these again, her arms and reading sexes creatures at the moment, but yeah, I like it. I'll show you. I'll take a little bit light out here. That's just with a damp clean brush, very gently going back and forth and then taping with the kitchen roll. You've just lost that line. Again, I'm going to do with number one as well. Just add just a little section. Let's say be a judge, where you think the light would have fallen, particularly maybe on your piece or how your paints worked out. Because this is the polythene so loose you may find you've got patterns that would be better suited for light being taken out than others. Yeah, I think that looks all right. I'm not convinced about this little line up on here, but I might have a tinker and get it off. I can't quite see, I can't get near enough to it to see what I'm doing. But I can stock for little bit scenarios like that. There's quite a lot of light here on number one, but because we've only got one layer and these paints are very granulating, I know if I try to take those out, they would just lift straight out and I will be left with white paper. That's the joy of doing multi lays is you can almost lift one layer out, but leave the second layer untouched so you can lift it. Get light in a little easier. But if you've only done one layer like we've done here, it's harder to do so. I don't want to take too much paint out of any of these darker areas like the head and the wing. I'll paint it anyways, I don't feel I need to take anything out. Let me have another look. Scanning over it, I think we are all right. The foot may have gone a little large here, but I don't mind that. Think it worked to all right. There's a little edges there I can tidy up, but I won't. I'll probably bore you with doing those. I think I'll put those down, and we pick up the Posca pen. We can put these little dots in. That could have been done with masking fluid if you'd worked a lot larger, we could expect this masking fluid and that would've been quite good, but I couldn't get the masking fluid small enough to replicate those little dots. I'm going to use our posca pens. I'm going to give it a good of shake and get that going. You could have done this with a little bit of white paint, but this stands out a little bit more. It's more quiet so the [inaudible] it's just little dots. Just squint your eyes and look away from it. Don't get to try and replicate all those dots. This is actually just a little impression. I think that's almost enough. Then we can do just a minute twist of line. See if I can do this without being too thick. So far I want to do this now but now I said it. Just give a little texture light if that a bit too much just so squeegee anything good. I think that's worked okay. I know we've got to do the only important little catch light, so just one little dot comes out. Suddenly, you've got your little penguin. Having these amazing. Then on to number one, we need to try and get that tiny little dot with a little bit of light, over the top of the bill. Just a little. Hope you can see that up here, getting a bit squegee a little bit just from a distance that hopefully should work. Don't look. I'm going to say don't look too close, but it's an impression. We're not trying to paint that exact bill. It's a very complicated shape, but if you love doing detail than you could spend a quite long time doing that. But from a distance, I think that it gives enough impression. Next we're going to do a little catch lines. That one and then on that little eye there. I think moving the dot hair from number one, will not be [inaudible]. I think we are done. Just checking my notes. I haven't left it very obvious. No, I think we are done. I'm pleased with how that's come out. I really hope you've enjoyed painting these loose little penguins, and as ever, please share these. A lot of work goes into this. Both my husband who does all the editing, and just doing these I have painted many many of trolls of the these to work out all the steps for you so you can paint it. I love when you share your own pieces. One of the best bits about doing these Skillshare classes is, you're seeing your work. Thank you for joining me. 12. Final Thoughts: I hope you enjoy painting with key pair of penguins and it's got you into the seasonal spirit. How did you find painting one big bold layer over their heads? It's a little scary adding that much paint. But don't panic. You can always gently remove it by adding a little more water and sucking the paint back up the paintbrush. You have more control than you probably think. Did you enjoy painting two subjects? I find it stops me over fiddling as I have another subject to concentrate on. To do those tweaks at the end, pour your painting together. It's important to take your time, especially around the eyes, as it can make all the difference to this pair. We look forward to seeing you in the next class.