32-Day Cute Animals Challenge - Learn Watercolor Painting Basics

1. What's in This Class?: Welcome to my cute animals watercolor painting challenge. My name is Thomas, and I have a great relaxing activity for you for the following days. Initially, I just wanted to create a fun class about painting some cute animals. But after a few paintings, I've become so obsessed with these little creatures that I just couldn't stop. So I redesigned the individual painting sessions into a 32 day painting challenge. If you are a beginner, that's great. You will learn a lot about the fundamentals of watercolor painting. If you are not a beginner, but you like to paint cute animals, this chance can be a great exercise for you. But who knows? It can be a great activity together with your kid or grandchild, if you have one, and make your own unique 64th card memory game by painting each animal twice. We start with very simple forms, and I'm gradually introduce you to the different techniques of watercolor painting. You will also learn the basics of color mixing and how to make exciting cues from the three base colors, red, blue, and yellow. The individual painting sessions are relatively short. They last 15-40 minutes. Each animal figure will be a bit more difficult than the previous one. So if you are an absolute beginner in watercolor painting, I encourage you to proceed with the projects in order. In case you have some experience, you can pick the animals you like and paint only those ones. You will also have the opportunity to develop your drawing skills. Drawing is a foundation for any other visual arts, so I'll show you how to draw these cute animal figures step by step just in a few minutes before we actually paint them. We are going to proceed with the simplest watercolor painting setup possible. Here you can see the tools you need. I'd like to keep things as simple as possible. Finally, I encourage you to share your artwork with me and others. You can upload the photo of your painting under the project and resources step, clicking on the Submit Project button. I'll be happy to give you some feedback on it. Now, I hope you are excited to start painting these little creatures with me. I'll see you in the first video. 2. What Tools You Need: Let's see what tools you need for this class. If you are an absolute beginner, make sure you watch this video till the end. If you are not a beginner, just pause the video for a few sec, review the tools on the screen, and you can move on to the next video. As you can see, watercolor painting requires a bunch of materials, but don't worry, you will get familiar with these tools very quickly. First things first, we need watercolor paper. It's a special kind. I'll be using this inexpensive paper. I want to show you that this will work perfectly well for our purpose. This is a 190 GSM or gram per square meter paper made of cellulose. Its size is A four, which is very close to the US letter size. I'm going to cut it into square shaped cards. Use a ruler to make these guidelines. I've done some math, so we can utilize the entire surface by using seven by seven centimeter squares. So we will get 12 cards from a sheet of paper. This format works on a US letter size paper too. If you count in inches, seven centimeter is equal to 2.75 ". Anyway, I cut this paper into pieces with scissors. Good. Let's say that we have these square shaped cards that we are going to paint the cute animals on. Now for each animal figure, we'll be drawing a sketch with a graphite pencil. What pencil grade to use, it's up to you, hb2b, two whatever you have at hand. So we draw our figure with a pencil. Occasionally, we may need a pencil sharpener. We will need an eraser, nothing special. And once we have the pencil sketch, we are going to redraw with ink. This part is important. What kind of ink will we be using? Watercolor painting requires a certain type of ink. It has to be water resistant, at least once it has dried, because we will paint on it. What options do we have? This is a permanent marker containing alcohol. I suggest a small size as this has a relatively thin tip. As far as I know, a marker like this can be purchased in any stationary store or supermarket. Another option is this that many artists use the pigma micron archival ink. I use size four, it's thin enough. The third option is this. Now, the point is that this is a refillable pan. It has a small plastic container that I can pull off and fill in with this so called Indian ink. The label says it's made of natural substance and it's water resistant once it has dried on the paper. All right. Now, let's say we have the ink drawing. What tools do we need for the painting part? Basically, we will use the three base colors which are red, blue and yellow. Plus, we also use black and white. If you only have these five paints, you'll be able to paint wonderful colors. But you probably already have a color palette, something like this, which is not a problem, of course, but I definitely want to use the base colors to mix all kinds of other colors and get a basic understanding on how color mixing works. Also note that if you are an absolute beginner, you don't need to buy an expensive collection of paints like this. It's totally fine to have the cheapest color palette that you can purchase anywhere. The point is to have red, blue, yellow, white and black paints in it. Palette like this, we work just fine for our cute animals painting challenge. Now, as far as the brush concerns, we'll be using a size two round brush. You can see it's sized compared to my fingers. The point is that when this brush is getting wet, it will have a nice pointed tip. Let me show you. So I have my size two round brush. We will also need a water container where we will rinse our brush. If I remove the bubbles from the bristles, then I should get that pointy tip. Well, this brush seems pretty worn out. To be honest, I'm recording this video as the last one in the series. This was the brush I used in painting all the 32 cute animals, including several test paints. But let me show you another brush that is in good condition. Let's see the size one round brush. Uh huh. This is the tip you want to see for a good brush when it's wet. You can do very precise brush strokes with a brush like this. Now if you only have a bigger size of brush, try it and see if it works. We have our rains water. Optionally, it's good to have a spray battle like this. I use this for activating the dry paint. It contains clear water, so I don't need to use my brush to transfer water into the pans. So this is optional. Alternatively, you can use your brush to activate the pigments. Good. What else? We will also need a mixing palette for mixing our paints. Now, this is a ceramic mixing palette. I like this because it's big. It's easy to clean. But if you don't have this, that's okay. Color palettes usually come with a plastic mixing tray like this. It's perfectly good for the purpose. You can mix your colors on this tray with no problem. Good. Of course, I missed something the paper towel. I use it to clean my brush and mop up the excess water, if any. As an alternative, you can use a soft microfiber car towel. Now, if you have all this stuff, we can start making our first animal painting. 3. The Lamb: Sketch & Ink Drawing: Today, we are going to paint a cute lile lamp. As a first step, let's draw the rough outline of our lamp with a pencil. It's a good practice to start with the largest shape inside your subject. So starting with the main body. I position the shape inside my format. This will be the head aligned with the vertical center line of the body. Let's place the ears. Note that we don't have to be precise at this point. We are going to refine these shapes a little bit later. Our lamp will have two legs over here. Maybe I'm going a little bit upwards with the legs, so I push the main body a bit accordingly. This way, we will have some space for painting the ground. Let's illustrate some wool at the top of the head. I'm placing the eyes over here, and the mouth will be located somewhere here. Very good. Now we can start refining our forms. The outline of the head will look something like this. W The ears will look like this. They don't have to be identical or exactly symmetrical. It's enough to draw them approximately in the same size and shape. Actually, you can play with its shape to make the lamp look more interesting. Let's draw the curved outline of the top let's move on to the main body. I'm drawing kind of C shapes in a row here. The outline still doesn't have to be final because we are going to draw over with ink in a minute. Let's place the two legs somewhere here. Try to align them to the eyes vertically. Good. We can go with the inkwork now. Let's try to draw different parts with one single motion. If you accidentally miss the target, don't worry about it. Let it be as it is. We are practicing. You don't have to feel any pressure on yourself. I'm starting with the head. Like so. The eyes. Actually, you don't have to follow the existing pencil lines. If you feel like finding a better curve, draw that one with ink. A little smile. One, two, the top of the head. Very good. Let's continue with the body. You see, I don't follow the pencil lines here. I'm just following a natural rhythm now with ink and the legs. Now, let's fill in the eyes. However, I won't feel the entire shape. There will be a small white dot left in the upper left corner. Well, the circle doesn't have a corner, but you know what I'm talking about. The reason we leave these white spots in the eyes is that the eyeball usually reflects the light source to the viewer. If the light is coming from this direction, then the viewer will see this reflection in this position in the eyes. Placing these so called highlights in the eyes makes the facial expression more interesting. It's a very tiny detail, but it can add a lot to your final drawing or painting. Very good. We've got the ink drawing. Now we are waiting a minute or so to let the ink dry, especially in the eyes because I apply a little bit more ink there. But over here, we can start erasing the pencil marks. Note that if the ink is not completely dry, we may smudge the outlines so we can start drawing our lamp all over again. And you know what? It's not a big deal if some fancy and mark stay here and there. We are just practicing and playing. Now, I swipe the eraser particles down from the paper. And now we have a nice ink drawing with a little lamp. I think we are ready to start the painting process. 4. The Lamb: Painting: Let me arrange the painting tools on my desk. I'm taking the paint palette. Don't get confused by all these colors. We'll be using only the base colors like yellow, red, blue, white and black. Here comes the rings bow and the mixing palette. I'll be using a size two round brush like this with a nice pointy tip. This will ensure that we'll be able to work as precisely as we can and a piece of paper towel. As a first step, I activate my paints with a water spray like this. We'll be using cadmium yellow, red, cold Ruby, a blue, cold ultramarine, a white, and a black. You can use any similar hues. Don't worry about the naming. Different brands have their own naming convention anyway that doesn't necessarily match with other brands. To begin with, we are going to paint the face and the ears with a light pink color. Now, how do we make light pink color or pink at all? We are starting with red. I'm taking from this red. By the way, the consistency of the paint is good if it's creamy like this. You need to add the right amount of water. I'm placing the paint over here, there is no need for too much paint. We'll be using very little for our litle lamp. I clean the brush on the paper towel. Then I go to the water to rinse out. I'd like to leave as few pigments in the water as possible. We want to keep it relatively clean. This will ensure that we don't mix our colors on the paint palette. We want to keep them as clean as possible, preserving the original color. Now, if you see a water drop on the brush handle like this, you want to mop it up. Otherwise, when you keep your brush in vertical position, the water drop will trickle down to the bristles, and it may change the shade of your colour there. We don't want that. So let's keep the handle dry. I just want to turns automatically, but I don't need that as my brush is already clean. For pink color, we need to add some white to the red. But I don't mix it into right away. I'm just placing it over here. This way, I'll be able to control the amount of white I add to the red. Now we can start mixing these two colors. Let's see what happens. I'm taking a very little red. If you feel that the paint is too dense on the mixing palette, you can take a drop of water from the bowl and you can mix the two colors to get a much easier. Okay. We have a nice light pink hue already, but I'd like to take it a bit darker. I pull a little red into the mixture. It's important to know about watercolor that the paint becomes slightly lighter when it dries on the paper. We need to calculate with this change of shade. This is not easy, especially for a beginner, but the skill will come with practice. Don't worry about that. We can see a certain shade of this pink color now. But on the final painting, when it dries, it will be a bit lighter. Okay. Now, let's paint the face and the ears with this color. I'm trying to avoid the ink marks. Very nice pink color. If you accidentally go over the ink, that's okay. We can redraw that section at the end. On the ear, I'm leaving a white stripe at the top edge as if the light is running through there. On the other side here, the top casts shadow, so I paint the whole area, and I'm painting the legs too with this color. Very good. Now I don't need to rinse out my brush because I will use a little darker shade of this pink on the face to illustrate some shadow parts. As we discussed, the light is coming from this side. So on the head, which is a spherical shape, this section will be in shadow. In order to get a darker shade, I'm adding some red to the mixture and some water to make the mixing easier. Oh and we have a darker shade of pink here. I have the right amount of paint on my brush, so I can start applying the paint. Unfortunately, I need to paint over the eye now as the curve of the shadow area will go over it. But what I definitely need to make sure that the white.in the corner of the eye remains intact. I draw a curve like this and I feel this section in a little bit of shadow inside the ear. Like so. Here on the left, the shadow will be smaller as the light comes from this direction. And let's paint over the legs, too. They are probably in shadow as the main body covers them from direct light. Awesome. Now we can rinse the brush. Well, it would have been better to clean it on the paper towel first to keep the rinse water as clean as possible, but that's okay. You can always change water in your bowl. Anyway, the next step will be to create a shadow shape on the main body, too, with a light gray color. We'll be using black as a start, and as we are adding water to it, it will become gray. So I'm taking some black paint. Now, the black is the darkest color possible. So if there is something you want to avoid, is that you rinse out your brush directly with black paint in it. So I clean the brush as much as possible on the paper towel first. I'm pulling the brush like this, rotate and pull again. A very important color mixing basic in watercolor is that you can make a certain color lighter by adding clean water to it. As you can see, as I'm adding some water to this black paint, it's getting lighter, so we are getting gray color. The more water we add, the lighter gray we get. Now you can do this on your mixing palette or you can also dilute the pigments on your brush by pulling it this way in your rings bowl. Similarly, the more water you add to your brush here, the more lighter gray you get. In other words, by applying more water, you basically remove some of the pigments from your brush, lighter shade of painting you can make with it. I'm doing this mixing on the palette now so you can see what's happening. Now I'm going with this shade of gray. And I plan to create a curve like this. I'm trying to do this with one single motion. And now I can fill in this area, making sure I stay inside the contour lines. I add a little bit of extra water in order to let the pigment spread nicely. Let's also add shadow to the top of the head. Just a small one. Like this. I might go a little darker, though. Okay. Well, we can go even darker with the whole shadow area because we need to calculate with the drying process, as I mentioned. Actually, in watercolor, to make things darker is always easier than to make things lighter. So it's best to proceed with layers one after the other until you are enough confident to go with the exact final shade at first. H. I think this will be fine. Practically, we are done with our little lamb. But to make the final piece more interesting, let's paint some background elements. We are going to paint the ground over here, some grass with green colour. How do we mix green color from primary colors? We are going to mix blue and yellow. I'd rather use this bright lemon. And you will see we are going to get a nice green colour. Let's rinse out the brush. I cleaned the handle. And let's take some yellow first. I cleaned the brush. I take the ultramarine blue, but any blue will do whatever you have. We are not aiming color accuracy here. On the contrary, if you have your own special green mixture, it will be better. Now let's see what happens if these two colors blend. As you can see, the green starts to appear. The more yellow I add, the more greener the mixture becomes. If it is too dense, we can add a little water to it. I pull the mixture down over here to have more space, a little bit more yellow. Now I'm playing with it until I get a green shade I like. A little bit of extra water more yellow. I'd like to get a light green. Okay, I'm going to try this one. Here, we will have our meadow. I also leave some white space here and there. Now let's paint some plants with some darker green. Oops. I paint one over here with some leaves. And another one over here. I paint some grass. Like so. Before I paint the petals, I put some butterflies next to our litle lamp. Look, you can take the shade lighter this way. I dip the brush in the water and I push it to the edge of the bowl. Et's put another one on the other side. Note that we are not aiming any detailed or sophisticated butterfly here. We are just putting some little shapes on the paper that suggest the butterfly. But in the focus on our picture is the lamp. Everything else is less important and should be less detailed. Let's add some darker shade. Now let's paint some petals and make them pink just like the face so they can harmonize with each other. I'm taking the pink mixture I already have. I just need to add some water to reactivate it. Just a few brush strokes here and there. Something like this. We can add some darker shade. And that's it. I'm rinsing out my brush. What? Oh, yes. Remember that? We painted over the eye with the darker pink, so we need to fix that with ink. The eye is the most important facial feature on animals or human figures, so it has to look just right. I redraw the other eye too in order to have the same darkness. And I redraw the mouth, too. And we have finished. Well, I always forget something. Underneath the lamp, I wanted to show a cast shadow with dark green. So I activate paint on my mixing palette. And with some kind of dark shade of green I paint a cast shadow. Like so. I'm shifting it to the right slightly because the light is coming from the left. And our cute tiller lamp painting is complete. I hope you have made that, too. Now, please take a picture of your masterpiece and upload it on the project tab right below the video. I can't wait to see what you have painted, and I'll be happy to give you some feedback on your work. You can also share your thoughts on how you feel about it. It would be interesting to read. See you in the next video. 5. The Puppy: Today, we are going to paint a cute puppy. It's going to be a very simple form. Let's start with the pencil draft. The head will be positioned like this. The main body will form a triangular shape, something like this. There will be a little tail over here. Two ears. Feel free to choose your favorite dog's ear shape. It will have two eyes placed around here. You can play with the distance between them or they're position vertically inside the face. I'm drawing a nose, which will be a triangular shape again, pointing downwards and the small mouth. Good. Now let's refine the form. As you can see, I'm going a bit darker with my pencil. The ears are something like identical but not 100%. I don't like perfect symmetry in drawing. On the outline of the main body, I'm using a curve like this. And a little tail. Good. I think we have the simple outline of our puppy. Now it's time to draw over with ink. I start here like that. The eyes, it's okay if it's not a perfect circle. Actually, it will be more interesting with an outline like this. I leave the usual white.in the corner or as we call it, the highlight. You can leave a white dot on the other side too, like so. Et's draw the nose. I create a highlight over here as well. The line of the mouth. Very good. Let's continue with the ears. Feel free to use some curve lines here and there. It will make the form look more natural. Let's see the main body outline. Something like this. And finally, the tail curving upwards. Very good. Now, let's wait for a few sack for the ink to dry. And I start erasing the pencil marks. As we did the head earlier, let's erase there first. But be careful around the eyes because we don't want to smear the ink. That and that's it. I swipe the paper. Good. We can start painting. Simple enough, we are going to be using only two colors. Light gray for the shadow shapes. Let's assume the light is coming from this direction. As you can see, we have placed the highlights on the eyes accordingly. The shadow shapes will reside over here. I moisten my brush, or before that, I'm activating the black paint. I'm waiting for the full sack. I take some and put it on my mixing palette. And as you already know, by adding some water to it, we can make the paint lighter. So we are eventually getting light gray. Let's form the shadow shape now. On the head, it will be something like this. Maybe I take this a little bit darker. And on the body. Be something like this. What's happening here is that the light is coming from this side and because this is a curved surface, both the head and body, we can show the curvature of the phone by the shape of the shadow on the surface. And if the outline of the shadow is going like this, it will broadcast a message to the viewer's brain about what spatial form this puppy has. So on the two dimensional paper, the outline of the shadow shape is extremely important to convey the illusion of three D. I think I'm going even more darker with the shadows. Very good. Well, it would have been better to clean the brush on the paper towel first. But anyway, our next color will be some kind of brown, so it's not a big deal that our rinswaterGt some black pigments. Now, how do we make brown color from primary colors? Actually, I have plenty of brown colors in here, but I won't be using them. I'd rather be mixing one. The brown color itself is basically a darkened orange. You can make an orange hue by mixing red and yellow, which are primary colors. So let's work this out first. Let's take some red. I'm rinsing out my brush. And let's take some yellow. By mixing these two colors together, you already see we are getting an orange. Now we need to darken this orange to actually get a brown color. The darken the color, we need to add a little bit of black to the mixture. I already have black on the plate, so I'm using this one. However, I'm doing this with great care because black pigments are too dominant. Let's see what happens if we mix this together. You see that? We already have a dark brown color over here. A and if we add some water to this mixture, we can make it lighter. With more water, we can make it even more lighter. We can also add some more black pigments to it. Let's see what happens. More water to it. What happens? It starts getting a brown shade that I imagined. This is fun. We are experimenting with colors. What happens if I add a little bit of yellow? Uh huh. This is the color I like to use. Maybe some extra water. Yep, that's it. Now I paint some patches on the puppy. Let's put one over here. And another one over here. Maybe I'd like to make it a bit darker. So I add some black again. Yes, that's what I wanted. And because of the paper is still wet, it's enough just to touch the layer, and pigments will spread nicely. No need for actual brush strokes. What if I take some paint from here? Good. This is it. Let's put the shadow shape on the ground. I think I'm adding some darkness to it. Like so. Finally, let me add some extra to the year. And our cute puppy painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 6. The Chick: Today, we are going to paint a cute chick as it is breaking itself out of the egg. Let's start off by placing the chick's head in the format, somewhere around here. The lower part of the broken egg will be located here. I'm trying to form some egg shape like so. The upper part will be right above the head. Okay. Let's draw the fracture line like this. Similarly, on the upper part. Maybe I take this part a bit flatter. Let's refine the heads got line. I'm illustrating some feather here and there. Like so. Let's say that its eyes are still closed. So I draw two curves like this. A little big over here, a simple triangle shape like this. And the viewer will already know what he or she sees. And that's it. Outline is as simple as that. Actually, I would make the fracture line a bit more random. We are done with the Pansy sketch. Now let's continue with the drawing. I start with the lower section like so. Good. Now the top. And the head of the chick. Okay. Finally, let's draw over the facial features. Very simple illustration. And we are done. I'm taking the eraser now and remove the pencil marks. I swipe the paper. Well, I should have waited a little bit longer at the beak. I managed to smear the ink over here, but that's okay. I can live with that. All right. For the painting, we'll be using two different colors. We are going to fill in the check with yellow paint. And the eggshell will be some kind of light brown or orange tone. We'll see what we manage to mix. We'll be trying to use only base colors again. Let's start with the yellow part. I moisten my brush or as a first step, I'm activating the paint on the palette. Let's put some yellow on the mixing palette. To make things more interesting, I won't be using this exact shade of yellow. I'm adding some water to dilute the paint a bit. And also adding a tiny red to it. Very, very little red. You see how strong these red pigments are? Just by adding a tiny amount of red has created an orange hue like this, but that's okay. We can use this tone later for the egg shell. I go back to my yellow and add a little bit of orange to it. A little bit of water, we already have a different shade of yellow that we'll be using for the chick. U. You can paint over the beak if you want to. No problem. I plan to paint it with a darker tone. So that's okay if you paint it now with this yellow. You can always paint over a lighter layer later with a darker tone, not the other way around. It's important to remember that watercolor paint is a transparent medium. So if you apply a dark tone first, then a light tone on top of that, the darker tone will be dominant. It will show through the second layer. Good. Let me play with the mixture further because this is not the tone yet, I imagined. Note that the head of the chick won't be a flat wash. This is feather, so it's okay to have texture on it. I I'm adding some darker spots here and there, and as you can see, these orange dots spread nicely because the paper is still wet. Actually, this is the unique beauty of watercolor. No other medium is capable of behaving like this. On a wet surface, watercolor pigments can spread with such a diversity that no other type of paint can show. You just need to learn how to control this behavior, and you will create amazing paintings. Oops. Let's not forget the buddy. Actually, I take it a little bit darker as it gets less direct light from outside. And maybe I add some bright yellow to the head while it is still damp to make it more interesting. Now let's mix a color for the egg shell. I'm using this orange light brown shade by adding some extra water to it. Let's see. This will be perfect for the eggshell. I'm trying to work fast enough at this point because the paint dries quickly on this thin paper and I don't want my brush strokes to be shown at the end. Right. Also, we can only play with the pigments while the surface is still wet or damp. I think I'm trying to mix a little bit darker tone here. Okay. Let's apply it at the bottom part. The light is coming from the top. It's hitting this part of the egg. This lower section gets only ambient light so we can take this area darker. Very good. I think I want to make the head more with it, let's play with it a bit further. I'm doing this because the chick is supposed to be in focus. The egg is just the surrounding. Note that there are several tools in the hand of the artist to create a focal point on the picture. Now, we are using color intensity to drive the viewers eyes to the chick. Well, we have an issue here. I haven't waited long enough for this extra surface to dry, so the more intense paint bled over from above. This is a good opportunity to remember this. If you paint sections that are touch each other, you need to wait for the previous section to dry before you move on to the next section. The borderline has to be perfectly dry. Otherwise, you will experience this bleeding effect. Now, I could fix this. However, I should paint this entire section again. I think I leave it as it is. Let's learn from this mistake. Finally, let's paint a cast shadow on the ground surface somewhere here. And I'm mixing some dark orange for the beak. Like so. And our cute little check painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 7. The Bunny: Today, we are going to paint a cute bunny. Let's start off by drawing its outline. The shape is going to be very simple again. A circle like this will form the head. The body will be a triangle shape with curved corners. Like this. Let's draw the ears. Something like that. Our bony will have a small tail too. Let's define the outline of the head. Like so. Now on the main body, we are not going to draw legs. We are just suggesting them with some curves like this. And let's make the tail kind of fluffy. The ears will look like this. They don't have to be identical, just roughly in the same size. This time, I place the eyes over here, the nose, and a little mouth. Very good. I guess we are ready to draw over with ink. Now here, the outline of the head will not be a continuous curve, but I will break it at the ear like so. H, similarly, on the other side. And I close the shape. Let's move on to the main body. The tail the eyes a I'm leaving the usual white spot for the highlight. Let's assume the light is coming from this side. The nose, watch this. Simply drawing the mouth like this, we can illustrate a certain expression on the face. It's awesome, isn't it? The inner curve in the ear. On the other side, And we are done with the ink drawing. Let's erase the pencil marks now. I'm starting over here. I'm careful around the eyes. No need for ink smudges, right? And that's why now. Very good. We can start painting. We'll be using pink colour for the inner part of the ear. Tail and the nose. We will have the usual light gray shadow shape over here and here. We will also have a cast shadow down there and some grass illustration on the ground. Very simple. Let's start with mixing the pink, and as you already know, we'll be using red and white paints. Now, this red is extremely intensive, so I carefully clean the brush before I rinse. Especially because white paint will follow. I placed it over here a little bit more. If you need to add some extra water to your paint. Good. Now I'm trying to mix a really light pink shade, so I'm using very little red. So water just to make the mixing easier. And I'm feeling the ears. Like so and the tail. Very nice pink colour. This time, let's put the colors we use in here for reference like this. I cleaned the brush. Let's have the drying process like this. By the way, if you turn your paper towards the light in a certain angle, you can check if your paint is still wet. I'm not sure if it can be seen on the camera, but the left ear is still shining here. The right one is already okay. Now the reason is that even when I started with the left ear, the brush was having more water on it. Anyway, we have to wait for the paint to dry. Fortunately, we are working with very little water, so it won't take longer than a minute. Now, let's mix a darker shade of pink. So I pull a little bit more red into the mixture. This will work just great, I guess. Let's say the light is shining from here. I prefer this side as I'm a right handed person. But we'll be doing an example for the other side too in another video. So the light is coming from this side. Therefore, this part of the ear will be in shadow. I'm painting a curve shadow shape like this. On the other side, let's paint a shape like this. Now, they don't have to be symmetrical on the two ears as they are two different surfaces with different orientations, each getting the light from a specific angle. The shape of the shadow on a spatial form is a complex topic. The best approach for a beginner is to observe real life objects and check how they interact with light. Anyway, we don't have to follow the law physics here as we are just painting a simple illustration of a cute animal. Let's move on to the tail. Like so. Let's mark this shade too on the side. I'm rinsing my brush. Well, let's not forget the nose. Light shade. And the dark shade. Because the water has already evaporated from this mixture, it won't be a problem if I go with the second shade right away. The two shades won't mix this time. I'm rinsing my brush, and now we are done with the pink colour. Let's move on to the usual light gray. I'm activating my black paint. I take a little I'm adding some water to it, more water. Well, this black paint is more than enough. Actually, one of the best things in watercolor is that it's very economical, if I may say. The quality paints are quite expensive, but they can last forever. Et's add some more water to make it lighter. I'm starting on the head with my shadow shape. Like so. I'm taking this a little bit darker. Good. Now on the main body, I'm painting a curve like this. Maybe another one on the ear. We can go even darker. I guess this will work. And let's not forget the cast shadow over here. Something like this. Or even darker. Good. I'm placing this shade on the side too. Very good. Our bunny is finished. Now, let's mix some green shade, for some grass to illustrate. How do we make green? We mix blue and yellow. I'm activating my paints. Okay. I'm starting with yellow, the lighter one, very little paint. I'm cleaning the brush and unrinsing the brush. You'll be doing these actions automatically in a very short time. I take some blue paint. Clean rins just to start the mixing with a clean brush. I'd like to have a light shade of green. So I'll be using plenty of yellow and a little blue. A little otter. Very good. Exactly what I thought. H. I need a bit darker shade, so I'm pulling some blue into the mixture. And let's make the grass more interesting. Yep, let's not forget our color scale on the side. Maybe I go over the ground with this **** again. And some darker brush strokes. Good. I'm satisfied with the result, so I consider our cute bunny painting completed. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 8. The Cow: Sketch & Ink Drawing: Today, we are going to paint a cute cow. Let's start off by drawing the outlines. Let's place the head somewhere here. The main body will be located here inside you. The head will be in front of you as if it turns its head towards us. Let's see. First, I'm drawing the jaw illustrated by an oval shape like this. As far as the main body concerns, we can start with a rectangle like this. Pay attention to the relative sizes of these two shapes. Also, the relative position of these shapes is important. This will be the rest of the head behind the jaw. Maybe the joke can be wider. It's closer to the viewer so it can be bigger. Good. It will also have two little horns somewhere here and two ears with a shape like this. We can already see that this will definitely be a cop. I'm placing the two eyes over here. The two nostris and let's illustrate the mouth like this as it's open with tongue out. Later, we will have to be careful with the ink here, but I'll show you what I mean. Good. We still need to place the legs. Their illustration will be very minimalist. The front legs and the back legs. Draw the outline like this, the viewer can see both the front legs. But in the back, one of the legs will be covered by the main body. Let's add a curvature to the backside and a little tail pointing upwards. Very good. Now let's refine the shape of the head, something like this for the jaw oh I'm squeezing this part a bit and I'm shifting the eyeballs to the side. Like so. I'm fine with the ears. To make the final painting more interesting, let's play some patches or spots here and there. I'm trying to create some random outline. Let's place another one over here. These spots will remain paper white. Other than that, the cow will be painted with some kind of brown colour. Let's play some more spots. This time, I use the eraser before the ink drawing just to make sure I draw over the right outlines. All right. Let's go with the ink. I have a feeling that the outlines here are too regular. This line is too straight, so I plan to change this a bit adding some natural curvature. It's supposed to look like a hand drawing. Like so. The eyeballs. I pulled the horn slightly to the side as the head was getting wider. Likewise, the ears. Very good. The nostris And the tongue will look like this. Let's see the main body. I'm adding some irregularity to the line. The tail. Good. And finally, the spots. Something like that. And I fill in the eyes with ink. Let's assume the light is coming from this direction. The highlights will be placed like this. Just to remember this is where the light is reflected on the surfaces of the eyeballs. Awesome. The ink drawing is finished. Now we can start erasing the pencil marks. I'm trying to avoid the ice at this point. Maybe they are still wet. I swipe. Some graphite remained. Good. 9. The Cow: Painting: We can start painting. As usual, I'll be using my size to round brush. Note that it's perfectly normal if it looks like this in a dry state with bristles like this. I consider a brush okay. If I put it into water. I'm squeezing the air out. And it's taking a form like this with the pointed tip. This way, you can paint tiny details precisely. Now, if the bristles were tangled, you can still use that brush for other purposes. So you don't need to throw it out into the trash. Good. So I mentioned the brown shade. In the previous video, you have already learned how to mix brown color just as a reminder. We started with red. We shifted the red to the orange direction with some yellow, and if you darken that orange, which you can do by adding a little black to the mixture, you will get a certain shade of brown. Let's assume that we already have that skill, so we don't spend time with mixing brown color. I'd rather choose a brown shade from my color palette. These are the browns I have. I'll be using the so called burnt umber. Let's not forget to activate the paint first. I'm waiting for a few sac This is a kind of bright brown shade. It's a warm color, which will be perfect for our cow. Let's see the actual hue on the mixing palette. This kind of brown. I'm adding a drop of water and I'm showing you how the different shades look as I'm gradually adding more water to. Now, we will be using another technique just a step further in watercolor basics. We'll be painting the so called wet on wet technique. This means that we wet the paper first, and then we put the wet paint on it. You see how exciting this technique is. I'm rinsing out my brush. And with this wet brush, I fill in this shape, the jaw. I'm leaving the nostrils dry as well as the tongue. Now, I have some limitation regarding the amount of water I can use on this paper. Remember, this is a thin paper. If I used too much water on it, it would get bumpy in no time. But in case you use a quality watercolor paper, like a 100% cotton, 300 GSM paper, you can apply more water in this phase. If you turn your paper towards the light, you should see the glimmer. That's when your paper is ready for the paint. Now, depending on the relative humidity of your room, the paper can dry pretty quickly, so you may need to repeat this first phase. I mean, adding clean water to the paper. The point is that we have a wet paper surface now so we can start painting. I'm taking some brown shade from here and see what happens on the paper. I'm not doing any brush strokes. I'm just touching the surface here and there. You can take some darker shade. Now you can see the unique effect that you can achieve with watercolor only. The pigment spread according to their own law. And if you learn to control this behavior, you'll be able to paint amazing paintings. Here comes the concept. The light shines from the uplft. So this part remains brighter. By the way, it's a good practice to tilt the paper a bit in order to give a direction to the flow of the pigments by using gravity. Now I'm taking some darker shade, and I can draw a curve like this for the usual shadow shape. Or I can just touch the paper like this. But remember, your paper has to be wet enough at this point, otherwise, the effect won't work. Just as a reminder, this lower part doesn't get direct light, so it can be darker. By using this wet on wet technique, you can create a nice smooth gradient between the light and dark shades. I guess this looks wonderful. Now let's do something similar to the main body. Remember that these spots remain paper white. I don't clean my brush on the paper towel, as we are painting with only one single colour, so I don't need to go back to my painting palette, and it doesn't really matter if my rinse water gets some brown shade. Now let's paint the shape with clean water. However, we need to pay attention to one thing. I'm leaving a thin dry stripe over here below the jaw. You see, this is what's happening if I don't leave a gap. Pigments will infiltrate into this area. Right now, this is not a big deal as we will fill in the shape with the same color. However, if I take the shade a little darker over here and that dark shade spreads over the jaw area, that's something I want to avoid. We have two options at this point. Either we wait for the previous section to dry completely, or we leave a little gap between the two sections. This is especially important when you work with two totally different colors. Let me check the surface if it's shiny enough. It's not flooded with water. We're just making it wet, okay? Now we can apply the paint. The back will be light over here, and as we are moving to the bottom, it will be getting darker and darker. As you can see, we have a dry island there, so pigments won't travel over to the jaw. Otherwise, pigments want to spread on wet surfaces. A little darker shade. I'm going downwards. I'm leaving the patches white. As you can see, the surface is still wet. And even I used a little amount of water, the paper starts to curl. But that's okay now. The amount of water you can use is something that you need to test out on your specific type of paper. As I remember, this is the cheapest watercolor paper I could get. It's a 190 GSM cell loads. It's a very low quality aquarl paper, but as you can see, it's perfect for the purpose. We can practice watercolor painting in an economical manner. By the way, GSM stands for gram per square meter, just for you to know. Basically, the higher the number, the thicker the paper is. For this kind of exercises, you don't need an expensive paper like $1 per sheet or more. I'm moving forward step by step. I'm taking the shade darker. As the paper is still damp, pigments spread nicely. The head casts a shadow over here, so it will be darker. In the meantime, the paint on the jaw has dried, so I can fill in the gap. I If you feel like pigments stop spreading, you can add some extra water to the layer. More dark over here. It's up to you how far you go with the dark shades. Note that our paper is tilted slightly, so gravity pulls pigments down, which is exactly what we need now. Lex, will be the darkest. And I think I'm adding more dark below the jaw line. You can spend plenty of time refining the shades, but I find it a very relaxing activity. Now, let's do something with the forehead. It'll be a similar process. I'm rinsing the brush a little. Well, it seems there is no more pigments left in it, so I take some. I will paint this section a bit darker than the jaw. Actually, you don't have to follow the law of physics all the time. It's good to know them, but you can always use the so called artistic freedom and do something else that's not logical. The point is to get a result that you are satisfied with. I'm taking a very little water to create some smoother gradients over here. I think we are good. Now here, you can see what I already mentioned in a previous video that if the paint dries, it will become a bit lighter. I think that the lower part could be a bit darker compared to the shades of the main body. Actually, we can make corrections accordingly. I'm rinsing out my brush completely. I moisten this part again. In case you have available and shades of brown throughout the entire body, then it's best not to touch it. Now I'm adding some darker shade. Oops. That's too much. Let's rearrange the pigments there by pulling them away like this. And with a clean and kind of dry brush, I can also remove some pigment from the paper. No. A little bit of further adjustment. And that's it. I call it done. Or let's bring a bit of visual interest to the mouth. Let's fill in the tongue with a pink colour. Red. Plus white. Mix them. And painted cap. M. Very good. One thing has left the usual case shadow on the ground. We'd like a colour. A bit darker, I guess. Making sure the cas shadow touches the subject. And our cute cow painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 10. The Penguin: Today, we are going to paint a cute penguin. As usual, let's start off by drawing a sketch with a pencil. This time, we'll be building our subject from simple shapes. I'm drawing two ovals, kind of circles, positioned this way. Look how I hold the pencil with three fingers like this. And my palm provides support at the end of the pencil. This pencil grip is ideal if you are struggling with drawing oval shapes. The key here is that your wrist joint doesn't move, just your elbow and shoulder do the work. This way, it's much easier to draw a decent circle, for example. By the way, this grip is called the overhand grip, just a little drawing basic. Now I switch back to the traditional or so called tripod grip, and I start drawing the outline of our baby penguin. It will look something like this. Here at the bottom, the shape will be kind of flat. Let's say that our baby penguin will be sitting in front of us, so this body part is basically squeezed a little. Let's draw two feet facing towards us. Like so. We have the rough off line. Maybe we can take it a bit wider. I'm drawing the eyeline. And the two eyeballs. Let's draw the beak. Like so. Inside our shape, I'll be drawing a curve that is so typical of a pinging. It's like a hard shape, but we don't finish it at the bottom. Instead, I continue the curve like this. This gap is getting thinner as we move downwards. Similarly, on the other side. Let's draw two flippers pointing inwards. Something like this. Et me refine the curves. These two are supposed to be symmetrical. You know what? Let's finalize it with ink. I'm starting with this curve. Now the lower part. 1 ft. The other foot. I'm trying to draw the curve on this side. That's kind of symmetrical with the left side. I'm drawing the flippers. They won't touch the outline. Like so. The eyes kind of circles with the same size. The big And let's go with these inner curves. Making sure we don't cross the flippers. I think we are okay. This time, just to practice some fine work. We'll be filling in the ice with black paint, not with ink. I guess the ink is already dry, so we can start erasing the pencil marks. I swap it down. And we can start painting. In watercolor, you always have to have a plan in advance. So what's the plan? In watercolor, you leave the darkest color to the end. And as the eyes will be black, painting them will be the last step. We'll be painting this outer kind of stripe with bluish gray color, rather gray than blue, but we will see. We'll leave the inner shape paper white. The flippers will be bluish gray as well. Down here, we'll be painting a shadow shape with a very light gray. The beak will be orange and the feet will be painted lemon yellow. We'll see how it will look. Let's start with the lemon yellow as it's pretty light colour. Remember, in watercolor, we proceed from light to dark as far as the paint is concerned. Well, the shadow area will be the lightest, but our yellow paint will be dry by the time we go with the light gray, so it will be just fine. As a first step, I'm activating my yellow paint, and I also activate this orange. In the previous video, you have already learned how to mix orange. We were mixing red and yellow, so make things simpler. I'll be using this orange paint directly from my palette. In case you don't have one, you mix red and yellow and you'll get an orange hue. I moisten my brush. Well, a very little yellow paint will be enough. A little water. And let's see. Too much water on the brush. This is done. We can continue with the beak using the orange. Now you can see that there is a difference between paint and paint out of the box in terms of density. Even it's the same brand, this orange is not so creamy as the lemon yellow. So you need to get to know your paints and you add more or less water to them accordingly. I'm painting the beak. I'm rinsing my brush. Well, let's paint our value scale, too, just to remember what hues we have used. Let's continue with the light gray shadow area over here. I'm activating the black. I put some paint on my mixing palette. I clean my brush, a little water to it. I clean the brush and I choose a dark blue colour. Well, I'll go with my ultramarine blue, or I could also choose my cobble blue. Very little paint. I clean rinse and I start mixing them. I plan to create a more light gray than blue colour. M. Some more water. Let's pull the shadow curve like this. I fell in the shape. Good. Now, if you want to, you can also illustrate the shadow of the flipper, but it's not mandatory. I'm taking some extra water because my paper is already dry here. I'm going over the whole shape again just to get a consistent layer. I'm not sure why I got this borderline here. I'm trying to reactivate the paint with water. Maybe this is too dark. So I moisten my brush. And take away some pigments like this. So the paper is somewhat damp, my brush is somewhat dry. This way, you can remove some pigments from the paper. Very good. I guess this is going to dry quickly. As I plan to paint the outer section with a darker paint, I definitely want to avoid the darker shade is bleeding in. So this intersection has to completely dry before we move on. You can check if the layer is still damp by turning it towards the light. I think it's dry enough. We can move on with the darker shade. Let's see. I think we can go even darker, a little bit more black paint, and we feel in this section. You can leave some white area here and there. That's okay. I ran over the outline a bit. It doesn't matter. Finally, the flipper. And now you can decide if you like your shade or you would go even darker. I think mine is just fine. I mark this color on my color scale. And the lighter one was something like this. All right. Now we can fill in the eyes with this very dark hue. Well, we don't like to have water on our brush handle, so I mop it up. And let's paint the eyes. I leave the usual white spot over here. And feel free to leave a white spot down there, too. I think I'll be taking black paint directly from my color palette because this was kind of pale. I want very dark eyes. We have to do this very precisely. By the way, when you need precision, hold the brush like this in a vertical position, your palm is touching the table, providing support. And this way, you can make very fine movements with your brush. I think the eyes are just fine. I mark this black color. And the reason I left this place empty is because we are going to paint a little shadow on the flippers over here. So I put some black into this gray mixture, a little water. Something like this. And I pull a short curve like this. Similarly, on the other side. Shadows are supposed to convey the feeling of three D. Finally, let's paint a cast shadow on the ground plane with the lighter shade. Like so. And that cute baby penguin painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 11. The Bee: Today, we are going to paint a cute B. As usual, let's start off by drawing the shape of the B with a pencil. I'm starting with the head with an oval like this. The main body, it will be facing us. It's an egg shape. Two wings on the sides. It's okay to draw several curves. This way, you can find the proper one. This time, let's try to aim some kind of symmetry. I think I should take the wings a bit smaller. I don't want them to dominate the whole shape. Along with that, I'm taking the head a bit bigger. Let's refine the shape of the main body. So we can place the little sting at the bottom. Let's draw two arms with little circles at the end, representing the hands. To make the beam more interesting, let's put a bucket in one of its hands to hold some honey. I'm drawing two tentacles at the top of the head. And let's add the facial features. Something like this. It'll be a happy bee. I'm drawing stripes on the main body. Which will be painted black very soon. The sting will also be black. The rest of the body will be painted lemon yellow. And the wings will find out. Good. Now let's redraw our little B with ink by starting with the head like so. The eyes. The mouth. It's kind of interesting how easy to express emotions on the face with some simple curves. Let's draw the tentacles. The main body elongated towards the sting. The arm. The bucket. The other arm. Let's draw the stripes. Try to follow the lower curve of the head. Very good. Let's do not fill in these stripes with ink. It'll be easier with the brush. Let's draw the two, not so big wings. Well, it would have been better to start on the left side, as I'm a right handed person, so I can see the other side. But anyway, I'm trying to form a similar curve on the left. I'm okay with this. Our ink drawing seems to be finished. Let's erase the pencil marks. Of course, it's best to wait for a few sac. By drawing our shape with a pencil first, is helpful for finding the final outlines without any pressure. You'll see if something is not right and you can easily fix it. You can feel more confident with the ink drawing. And as you develop your drawing skills by having more and more shapes behind you, you'll be ready to go directly with ink. Good. Et's take our size two round brush. What shall we start with? We are going to paint the most parts with yellow. These stripes will be black, plus the sting. The honey over here will be some light yellow. The bucket will be kind of brown. And as far as the wing concerns, it will be kind of a light grayish blue color. In reality, it's a transparent material. So let's allow the blue sky shines through the wings. Actually, we can start painting this part first. We'll be using more like dry brush strokes. So we won't fill in the entire section with wet paint as we usually do, but we put dried brush strokes there to create some texture. Let's mix the colour then. Now I have some paints on my mixing palette from the previous painting session, I intentionally left them there. Basically, we'll be using the same colors. It's not necessary to clean your palette each time. I like to save as much paints as I can. Anyway, with clean water, let's activate the bluish gray paint over here. Okay. I think we can add some more blue to the mixture. So I clean the brush. I'm activating my ultramarine blue. I put some over here and let's see what happens if we mix them. Good. Let's add some water to it as we want a very light shade. More water. More water. Now, as I mentioned, I won't go with this wet brush directly to the paper, but I'm mopping up a bit on the paper towel and I'm making brush strokes like this. Similarly on the other side. I guess this will do. Let's put this shade on our color scale. What's next? Let's continue with yellow. I'll be using this cadmium lemon. Oops, I have already had some on my mixing palette. Never mind. It's up to you what shade you mix for your bee. I'm adding some water to make it lighter. More water, more lighter shade. And as I have some orange over here, let me add some to the mixture. Just not to use the exact shade that I have on my color palette. Let me test it. I'm leaving the mouth paper white. Also the stripes that will be black soon. I guess it can take a bit more orange. Like so just to get a more interesting outcome. I'm cleaning the brush. Now let's paint a tiny surface of the honey And with some kind of brown, we are painting the bucket. Oops, my brown has just bled into the orange. No problem at all. I'm quickly making my brush as dry as possible and I'm taking those pigments back like this. We'll put some orange a little bit later when this area is already dry. Very good. Let's use the same brown color for the tentacles. And for the hands. Now, this yellow orange section hasn't dried completely, so I speed up the process like this. And if I'm careful enough, I can paint the black parts. A. Well, I'd rather wait some more. I don't want the black paint to flow through. That would be a disaster. I start from the bottom as it seems dry enough. We need the dark is dark, so I take the black paint directly from my paint palette. Okay Let's see. I mop up the water drops from my brush handle. The sting. I'm holding my brush vertically like this. Remember, this is the way to go if you need precision. I'm providing support with the lower part of my palm. This is a good exercise to develop control for your hand muscles. It's not so trivial to make the brush strokes as we imagined. That's perfectly normal. You have to develop this kind of control with practice. Very good. I don't have black paint bleeding into the yellow section. Vertical brush. I'm watching from the side what I'm doing. Like so. Don't be frustrated if you don't succeed in following the curve perfectly. That's okay. I forgot to mark the colors down there, so let me do that now. We have a black I clean. I rinse lemon yellow. With some orange and some brown. And we illustrated the honey with some orange that we removed. So let's put it back. I'm sure the brown is already dry below that section. Very good. H. There is one thing I forget with brown. I'm painting the mouth. Like so. B painting is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 12. The Frog: Today, we are going to paint a cute frog. As usual, let's start off by drawing the outline of the frog with a pencil. This will be the head oval like this, a flattened oval. The main body will look like a U letter placed upside down or an arch, if you like, shaped like this. And let's refine the shape of the head. Our frogs eyes will stick out like this. I'm basically throwing sea curves positioned this way. The rest of the face will look something like this. Let's draw the eyeballs. Big eyeballs. This time, I place the highlights over here at the top right. Let's see the rest of the body. A frog will have two front legs, placed like this. Here at the belly, I'm drawing a curve like this. We'll be using two different colors on this area. The back legs will be illustrated this way. The frog has very strong back legs, so it can jump big. I'm trying to draw them somewhat symmetrical. A simple curve will represent the mouth and two dots for the nose. Finally, let's add the crown to the head. Let's say we have an enchanted queen. Like so. Now we can redraw with ink. Very good. The eyes. The highlights. This time, we'll be painting the eyes. The crown Like this. Front legs. We are following a curve upwards. Good. The bottom part. And the back legs. Like so. Let's not forget the mouth. And the nose. Now, let's erase the pencil marks. I swipe it down. And we are ready to paint. As usual, I'm taking my size to round brush. What colours will we be using? Our frog will have a green base color, a light green. That we will be mixing, just to practice color mixing. We'll be using lemon yellow for this part and the crown. And we will fill in the ice with black, of course. It sounds like a good plan. Let's begin with, let's say, the difficult part, the color mixing, but it won't be that difficult. How do we mix a green? I'll be using my ultramarine blue and lemon yellow hues. But of course, any blue or yellow shade will do. Feel free to use whatever you have. Pigments are activating and let's put some yellow on the mixing palette. I'm cleaning my brush. I'm rinsing the brush. Let's stave the blue. Now I don't rinse my brush, but take a little water and let's see what green we can get. I like to have a light green colour shifted more like in the yellow direction on the color wheel, so I'm taking some more yellow into the mixture. This seems nice. I just need to add some water to it to make it lighter. More water And this shade will work, I guess. Let's start filling the head shape. Maybe I'm adding more water. Like so. I'm leaving paper, white patches here and there at the top. The main body, the legs. This section will stay paperred for now. Very good. Now I'm adding some darker shade here and there just to make the frog skin look more variegated. The paint is still wet on the paper, so the different shades are blending nicely. The beauty of watercolor. Here, it can be darker as the head cast shadow. And we can make the lower parts darker as well. Good. We have a nice green base color. Let's not forget our color scale. And now we wait for the first layer of paint to dry. I'm rinsing out my brush and I put it down. In the meantime, I turn the paper towards the light in a 45 degree angle to see its current state. If the paper glimmers, it is still wet. This is a tough part for a watercolor artist. I mean, waiting for a wet or damp layer to try. So I will carefully start painting the yellow sections, the crown, and the belly, making sure that there is a gap remaining between the two colors. Basically we have yellow over here, so we just need to activate it with a little water. Or better said I dilute. I don't want a too saturated yellow. Let's see. This will work, I think. Good. Now, the belly, paying attention to the gap to avoid one color bleeding into the other. Here, I already had some green, so I try to mix it into my yellow. Now obviously, the yellow cannot cover the green, but the moisture can activate the green pigments and they can mix with the yellow. Fortunately, these two colors are next to each other on the color wheel, so we cannot mess it up too much. Very good. We have the yellow hue as well. Let's put it on our color scale. I'm rinsing my brush. Let me check how the green layer is doing. It's almost dry, that's good. So with the dark green shade, we'll be painting some shadow areas. Let's put some close to the ground plane here and there. I also put some below the mouth. And right below the head. Like so. I think that's it. My paper behaves strangely over here. Maybe it got some grease from my skin as I had. Anyway, I'm rinsing out my brush. Now, let's put the cassette over here. We need a little black. Water, more water. Good. And nothing else left than filling in the eyeballs. Let's see. With the darkest black I have. The paper has dried completely around the shape, so it won't bleed into the grain. More paint on the brush. A little water. So I actually paint with my brush. I'm adding some more paints to make it darker. Remember, in watercolor, you have to calculate with the drying process that makes paints a bit lighter. By adding an extra layer of paint, you can increase the pigment density, so the surface will become darker. I think we are almost done. I clean my brush. I rinse my brush. I think I'm going to draw over the crown because the yellow paint faded the ink a bit. Like so. And as I'm looking at the painting now, the yellow can be a bit more intense. It has also faded a bit as it dried. So I'm adding an extra layer of yellow paint. Very good. Our cute little frog painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 13. The Whale: Today, we are going to paint a cute h. As usual, let's start off by drawing a sketch with a pencil. It will look something like this. There will be a head somewhere here, and the rest of the body will cur like this. So starting with a circle, a basic shape. The line of the spine will run like this, a slight curve positioned this way. The outline will follow the spine direction. The fin at the back will be again a slight C curve. If you look at some reference photos, the fin of the ve looks like this. Good. Let's refine the outline now. Like so. The body gets thinner at the end. The side fin will be located somewhere here. On the other side, let's say we see only a small portion of that. Where do we put the eyes? This is the eyeline in three D. The vertical center line of the head will be here, and this crossing will help us to place the eyes in perspective. The one that closer to us looks a bit bigger. This way, we illustrate spatiality nicely. Let's also put the mouse to the face. Finally, I'm drawing some water drops as they are sprinkled out from our veil. Maybe they can be located a bit lower. Never mind. We will take them down with ink. Let's redraw with ink then. I may change the form here and there. The body thins like so. The left part of the fin is a bit smaller just to follow the rules of perspective. Good. The side fins. The eyes. The smile on the face. And I bring these water drops a bit lower or something like that. This time, I'm filling in the eyeballs with like so. Very good. We can take our eraser. Let's be careful at the ice. That's right. What's there? I don't know. It doesn't matter. We can start painting with our size two round brush. The plan is as follows. Here at the bottom, there will be a light and almost paper white, but blue stripe. It will run through till the back fin. The upper section will be a darker blue. But we'll leave a thin white stripe over here for a highlight. You'll see when we get there. Let's go with the light blue then. This time, I'll be using my cobot blue from the palate. I moisten my brush. I'm pushing the brush to the bottom of the bowl in order to queeze the air bubbles out from between the bristles. Good. Let's take some blue paint. You see, this is a slightly different shade of blue than the ultramarine. On the color wheel, this cupboard blue is located rather on the cold side while ultramarine is a warmer shade. In watercolor, we usually start with the lighter shade. I'm adding some water to my mixing palette. I need to make a very light shade of blue here. This will be almost like water transparent. Something like this. Now I don't have to pay attention to the form of this lighter shape, as we'll be using a darker shade at the top. We will form the curve of the borderline between the two shades with the darker blue later. I was thinking of something like this. It's almost paper white, but it's not. Good. Let's also paint the water drops with the sly blue. I marked the shade on our color scale, which will be quite simple this time as it will contain only two colors. Now we can go with the dark blue. Well, before moving forward, it's important to wait for the first layer to dry because I'd like to have a clear crisp contour line over here. It will be run through somewhere here. Let's speed up the drying process a bit. This is the time when you need patients in watercolor. You just gone and paint, but we definitely need a dry surface if we want a somewhat sharp borderline. It is still damp. By the way, interestingly, this surface on your finger is very sensitive to temperature. So you can use this feature to check if the paper surface is still damp. If you feel difference in temperature between the two surfaces, then it is still damp. Where it is damp, there is evaporation there. A little physics here, evaporation removes heat, so this surface gets colder. When evaporation is ended, temperatures even out. So you won't feel difference with your finger. Just a little trick for checking your papers moisture condition. I'm still feeling a little temperature difference. All right. I guess I can move on with the darker blue color. Let's see a little water to it, and I'm taking some more paint. I'm adding more water just to have a wetter mixture. The reason I need this because this way I will have more time to paint the surface. It remains wet longer, so brush strokes can blend together. I'd like to get a homogeneous layer of blue paint here. As I mentioned, there will be a thin white stripe over here, illustrating a highlight. So I'm painting it. Like so. That's it. We can fill in the rest of the body. More paint. Only while it's wet, brush strokes can blend, so I have to be quick. Oh Or I need to add some more water to keep the surface moisture level. Now, by adding more water, it's getting lighter here, but that's okay. We'll be adding more paint to that soon. I just like to form that curve over here so we have the final shape for this dark blue colour. The fin will also be dark blue. Something like this. Well, over here, the white part could have been thicker, but now I leave it as it is. Anyway, I'm taking some more blue paint. And let's take this shape a bit darker. My paper is still wet, so brush strokes can disappear. We can also tear the paper to have the pigments moving. If your pigments don't want to spread, add a little water to the surface. I mark this dark blue shade on my color scale. Very simple illustration. Or cute veil painting is complete. Or is it not? I miss the other fin. And maybe I'm adding some dark to the water drops too. Like so. Now it's done. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 14. The Bat: Today, we are going to paint a cute bet. This will be a bit more complex form, but you will cope with it, I'm sure. As usual, we start off by drawing the pencil sketch. This will be its head, a little oval like that. The main body will be placed over here, a kind of egg shape. It will be facing us with the wings extended. Initially, I'm drawing two curves like so. We are going to form the wing shape step by step. The bat has a very typical wing form. But first, I'm drawing two ears. It has a relatively long pointed ear as I saw on some reference photos. Well, there are lots of different bat species, but what I saw looked like this. Good. We are going to refine its shape later. Two eyes, relatively big eyes, and we are just suggesting the nose and the mouth like this. And two little legs over here. Now, let's get back to the wing shape. Its lower curve will look like this. On the top curve, there will be a tipping point over here. Now, the wing starts to look like a bat wing. By the way, it has a claw over here so it can cling on. Its wing has sections, that we can illustrate with curves at the bottom like this. Let's draw something similar to the other side. Something like that. I managed to place the bed somewhere in the middle of my format, which is good. I guess we can move on to the ink drawing. Let's form the final outlines. I'm starting with the head, some kind of C curve. The ear a little bit of extra curve over here just to support the three D look. Again, it would have been better to start with the left side so I can see what I drew. But anyway, I'm trying to form a similar ear shape over here. Good. The top of the head. The eyes with the same size. Let's fill in. And the nose. Good. Not the main body with the legs. And we can move on to the wings. Like so. Here at the bottom, there will be two separate curves, a bigger one, and a smaller one. The divisions over here. Good. Let's draw something similar on the other side. I think our sketch is done. I'll let the ink dry a bit. And let's erase carefully at the ice. And swipe down. Painting can begin. The base color will be gray this time. There will be a lighter gray section over here at the top, and as we are moving onto the shadow areas, it will be getting darker and darker. Of course, the inner part of the ears will also be darker as it gets less light. And let's create a highlight on the outer rim of the ear. Let's assume the light is coming from this side, so we leave this section paper white. All right. Let's activate our black paint quickly. Size to round brush as usual. I moisten my brush. By the way, you can remove air bubbles from the bristles like this. I put a little black paint on my mixing palette. We need just a little black. Sometimes I wonder how great things can be made with a very little paint in watercolor. Water, more water. You see, each time I dip my brush into the water, I get a slightly lighter shade of gray. Now we can pick the one that we want to move on with. As a beginner, it's a good practice to start with a lighter shade and adding an extra layer later if needed. Let's start here and leave a thin white stripe at the top. We don't need to go all the way down to the bottom, as we will have a darker shade there. Same thing on the right side. The main body. The head leaving some paper white here and there. Like so. We can paint the inner parts of the. The outer rim here remains paper white. This one on the left can be painted. Very good. Now, we need to wait for the first layer of paint to dry. Let's have the drying process a bit. I'm checking if there is any glimmer left. Actually, we don't have to wait for a perfectly dry surface this time as I did in plan with gradual transitions between different shades. So I'm moving on to a darker shade. I may be going with this one. Where will we have darker surfaces. As I mentioned, the inner side of the ears over here, On the other side, too. Maybe I want an even darker shade. You see, we have a wet paper surface, so it's enough just to touch the paper with the brush, and pigments start to spread. Awesome. There will be a shadow over here cast by the head. The main body itself will cast a shadow over here. Legs will definitely being shadow on the wings. Let's create shadow shapes like so. And similarly on the other side. Pay attention to the curves of the outline of the shadow shapes. The orientation of curves are important. That tells the viewer what three D form he or she sees. We can paint the clo as well. I'm going over a second time just to make the shadow darker. H. Our final shadow shape would be something like this. Let's make the e even darker. Now we are at a decision point. Are we fine with this figure or we would add some more details to it. For example, over here, we could go over again with a slightly darker shade. But this time with a somewhat dry brush just to create some texture on the surface of the wings like this. Now I intentionally want to show the brush strokes on the paper. Like so. I would take the shadow at the bottom even darker. We need to stay inside our existing shadow shape. Yeah. This is a good practice to develop your dexterity. It's a useful skill if you can paint with precision in case you need it. Maybe one or two extra dark brush strokes here and there. These are the parts that get the less light. Finally, let's make the shades that we were using. Some final touches. And our cute bed painting is complete. I hope you have made that, too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 15. The Caterpillar: Today, we are going to paint a cute little caterpillar. The drawing part will be a bit challenging. But remember, this is how you can develop your skills facing harder and harder challenges step by step. Let's start off by drawing the spine for caterpillar. I imagine something like this. Its head will be located over here and its body line will curve like this. It gets thinner and thinner towards the end, or we can also say with the distance because this will definitely be a three D shape. You see it in a minute. The body of a caterpillar consists of spherical sections. I'm trying to place them along the spine line. I'm drawing ellipses. They are slightly touching each other, and they gradually get smaller and smaller. In here, they are transformed into more circle shapes connecting together like chain links. Don't forget the curvature of the spine line, something like that. We can go over again to refine these shapes. First, ellipsis Then circles, linked together. Very good. We are over one of the difficulties. It was to create this structure. Hopefully, you have made that too. Now we can start refining the form. Let's form the shape of the head. Imagine a triangle shape upside down with rounded corners. Something like this. I'm drawing two big eyeballs that thick out from the head. Let's also illustrate two tenticles Like so. Our caterpillar, we look to the right, upright. This section will be black, and this part will remain paper white. A little smile in here. Very good. Now, here comes the second changing part. We are going to draw the outlines of these sections. Keep in mind that these body parts partially cover each other. So we have to be careful about which section of these curves will be seen by the viewer. I'm showing you. This body part covers the one behind it. So drawing this curve to make things more interesting. Let's draw some legs too, like this. Now the next body part is partially in cover. So this curve will be hidden, so I start drawing from here. Like so. The leg in here, this section will be in cover, so we won't redraw this short section with ink as the leg itself covers that curve. I hope that makes sense. This one will be more like a circle. But at the bottom, it will be flattened as it touches the ground plane. The leg circles are getting smaller as they are further away from us, and also the body gets thinner. Like so, there is no need for perfect circles here. We are drawing an organic form. Let's draw the rest. And we have our pencil sketch ready. Awesome. Now let's take the ink. I'm starting with the eyes. It's looking this direction. The highlights will be placed over here and we can fill in the eyes with ink. Good. Let's finalize the head shape. Like so. And the additional features. Now on the rest of the body, pay special attention to what I'm drawing. First, I'm drawing the shapes that are closer to the viewer, like this leg. It will make me remember that I cannot cross it. The curve stops here and it continues from here. We will have a super three dimensional drawing one. Again, the leg first, And so the curve stops here, the leg, and the rest of the curve. Let's say the leg on the other side is in cover, so we can't see that. Let's show the rest of the body the same way. H Awesome. We have a nice three d drawing of our caterpillar. It seems difficult to draw something like this, but it actually isn't that difficult if you know what steps to follow. I hope you also managed to draw a form that you are satisfied with. While the ink is drying, let's discuss the plan. Our caterpillar will have a light green base color. And with a darker shade, we'll be illustrating shadows wherever it's necessary. Furthermore, some types of caterpillars have dots on the back. I plan to paint them with this lemon yellow. I think it's time to erase the pencil and marks. Careful by the eyes. I swipe down. Now, let's start painting. In a previous painting session, you have already learned how to mix green colour. Just as a reminder, you can mix green from blue and yellow base colors. Now you can mix a green if you want, or if you have a green on your colour palette that you like, you can use that one. I'll be using this apple green shade. Officially, it's called May green by this specific manufacturer. It's a beautiful, vivid, yellowish green color, perfect for our caterpillar. I'm activating the pigments. As for the dark green shade concerns, I'll be using the so called sap green right next to it. As you already know, in watercolor, it's best to start with the lightest shade. I'm taking some light green from here. Look what a magnificent color. I'm adding a little water to it to make it a bit lighter and for easier to handle. So this will be the base color of my caterpillar. The eyes stay out on the head. The tentacles. The body Now in here on the backside, let's not forget to leave some paper white for the spots I mentioned. Let's move on. I'm leaving that white spot. Good. I'm cleaning my brush. I'm rinsing the brush. Let's take some dark green. As I'm adding some water to it, it's getting lighter. This is also a nice green shade. It's a very popular one among watercolor artists. You can find it with this name sap green at Many manufacturer. I like to move on with a completely dry paper surface as I plan to have crisp shadow shaped contour lines. It seems it has dried quickly, so I can take my dog green shade. To create believable shadow shapes on an organic form like this, it's good to know how light and shadow work on a spherical surface. That's kind of a basic drawing skill, but in case you don't know, don't worry, follow along. The outline of the shadow shape will follow a curve like this. Now, of course, the orientation of this curve depends on the light direction. Below the eyes, I'm painting some cast shadows as well. I already see that I want to use darker green for the shadows, so I take some. I'd like to have some contrast on the final painting. Like so. We'll see. I might make it even darker later. Paint a curve like this, assuming the light is coming from here. We have a cast shadow over here, cast by the head. This section is probably in shadow. O. On this one, let's make it like this. Now the reason I don't explain the why behind these shadow shapes is because it's a very complex topic and it's way out of the scope of this entertaining painting session. I hope you are okay with that. On the other hand, usually the goal is not to paint perfect shadows. You just need to paint believable shadows. Anyway, I think this one looks believable, and we can take it even darker. The surface is still damp, so I just need to touch the paper. Two things to note here. It's good to have the skill to be able to work fast with watercolor, so you can utilize the moisture on the paper. Of course, this is a challenge for a beginner. You are thinking too much about what to do. You are making more brush strokes than needed. You are not sure what shade to use, and so on. But you don't need to rush this. The skill will develop over time. The second thing to mention is that you can overcome this let's say insufficiency by using a more expensive watercrl paper that is thicker or even more better if it's 100% cotton. The quality paper can hold more water without curling, and it can also keep moisture for a longer period of time. So you have more time to work on your actual layer of paint. Now, of course, it also takes longer to dry, but you can live with that with some preliminary planning. Anyway, I still want to make it darker. As I increase the contrast, or in other words, as the distance is getting longer between the light and dark shades, the painting is getting more attractive. This is not true in every case, but now we can safely say that it is. Of course, there is always a balanced boundary. This is something that you have to fill. You look at it and you are saying, That looks nice. I think I have reached that point with this one, so I stop. I'm thinking about those spots on the back I mentioned, do I go with the lemon yellow or something else? Let's test it. I'm starting with a clean brush. Let's activate the paint. Actually, I can test it on my mixing palette if it works, how it looks right next to the light green. Well, I'm not convinced. How about on the paper? Mm hmm. This won't work. These two shades are too close together. They are almost the same. So I let go of this idea. Instead, I will go with the darker green. Um, Oops. I missed this small section. Let's fix it. And on the legs too. What if I make some brush strokes here with this dark shade? It looks better. Actually, we are not tied to two shades only. If you feel like you got an idea, try it. Okay. Good. It's time to stop painting this caterpillar. I'm rinsing out my brush. And finally, let's paint the case shade over here with gray. But before doing that, let's mark the green shades that we used. Three different green shades. Good. Let's make some gray shade. I we'll be just suggesting the shadow. Just a few brush strokes here and there. That's it. I'm raising my brush. I put this one there. But And our cued caterpillar painting is complete. Not that I was using an inexpensive 190 GSM watercolor paper, and as you can see, it worked perfectly for the purpose. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 16. The Snake: Today, we are going to paint a cute little snake. I'll be utilizing the green colors on my mixing palette left from the previous painting session. The phone will be a bit challenging again, but I'm going to show you step by step how to make it real, it shouldn't be an issue for you. The head will be placed somewhere here. The rest of the snake's body will be curled up something like this. This lower part will be challenging, but we are going to build it gradually. As a first step, let's form the head. Something like this with big eyeballs on the top. This time, I'm adding eyelids to the eyes. Okay. Mouth. It straw its tongue a kind of a curve. Now, let's see the challenging twisting part over here. Let's start with an as curve like this. That turns back here to its neck. On this side, it's also an as curve, but less curly. Let's refine the outline of the head, so the shape of our snake starts forming. This time, our cute animal will look to the left. Two nostris. Let's say we have the initial level over here. We are going to build two other levels. One will look like this. A kind of sea curve lay down. And if you look at this distance, and let's take this distance by using a bit longer one, I'm drawing the base level like so. As a whole, we are targeting a dome like shape with these three levels. Something like this. Maybe I shifted a bit lower. The curve doesn't have to be perfect. Remember, we are drawing organic forms. Let's refine these outlines. D. Play with the float until you get something you are okay with. I'm adding a tear section somewhere here. Like so. Good. For me, this is an acceptable sketch, so I start redrawing with ink, starting with the head. The eyes like so. The eyelids. And I'm filling in the ice with ink. The nostris, the mouth, and the tongue. Good. I'm starting at the bottom. The second level. Good. The neck. Like so. Let's not forget the tail. Now, let the in try. Here is only if there is no smudging. As usual, I'm careful by the eyes. A co Sometimes it's good to clean the eraser itself just to maintain its original functionality. I think I'm satisfied with my ink drawing. I hope you have the same feeling about yours. Let's move on to the painting part. What's the plan. Again, just as we did with the caterpillar, there will be a light green shade, but this time we'll be doing it a bit differently. I'll be adding some yellow to the mixture, and there will be places where we keep the paper white for illustrating some highlights. Let's assume a light direction like this where the surface is in a certain angle, light will be reflected towards the viewer. We are going to illustrate this with paper white. Somewhere here, here, maybe here as well. By applying these highlights, we are slowly getting to know the tools of realistic illustration. Let's start off by painting the lightest shade then. I moisten my brush. I'm activating the already dry paint over here. And I'm adding a bit lemon yellow to the mixture. A little water to it. A little green. And keeping the previously discussed plan in our head, we are leaving some areas paper white here and there. Another white stripe over here. I'm not sure if it can be seen on the camera as I'm applying a very light paint now, but hopefully the idea is clear. Another paper white curve over here. Something like this. I'm taking more paint, and let's paint the base level with the same logic. Very good. Now, depending on your taste, you can take the layer a bit darker. Like so. It's going to look awesome. Hopefully, now you can better see where I left it paper white. All right. Perfect. We have the paste. Let's not forget our color scale. Now, let's activate our dark shade of green. But before we move on, let's wait for a few sac. Yep, it's still damp. Let me test the moisture to see if the two shades plant. It seems okay. There is no bleeding in. I can paint with this dark green. Now let's think. The light is coming from this direction. So on the left, only a small portion will be in shadow. As we are moving to the right, the shadow area will form a shape like this. Over here where two level meet, there will be a shadow. Like so. More paint, and the second level follows the same logic. Here, the head and the neck will cast a shadow. Let's paint the same stripe over here. And the backside. What else? We are going to have some shadows on the lower part of the head. On the neck as well. Which will follow a curve like this. For me, this seems to be quite realistic. Let's not forget this side of the head. It looks pretty good. The challenging part is done. If you feel like you can take the shadow area even darker. Let's test it here at the back. Uh huh. I'm adding some extra water to it. Something like that. Let's paint over the shadow shapes. The less brush strokes, the better. Awesome. Let's mark this shade too. Finally, I'm activating my gray paint and taking the light direction into consideration. Let's place the cast shadow somewhere here. It's not an issue at all if there are some green pigments in this case shadow area. Because if you look at it, in reality, the colors of the surroundings are always affected by the colors of the objects that filling that space. Well, I guess our cute snake painting is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 17. The Octopus: Sketch & Ink Drawing: Today, we are going to paint a cute sea creature an octopus. As usual, let's draw our pencil sketch. I'm drawing the head in the middle of my paper. Something like this. An octopus has eight arms, but because its head covers some of them, let's draw six arms over here. Let's place them inside this area. Basically, we are going to draw S curves diversely as far as possible. I'm drawing the center lines of the arms first, and we'll be drawing the arms in a minute. Like so. It seems it's too early for me to draw, but no problem. I'm going to define these curves in a minute. Now, let's actually draw the arms. The one that is further away from us seems shorter. Some variety. I'm defining the head shape. I flattened it a bit. Good. We have the rough outline. Let's draw the s. On this curve. I and a little mouth. Now the first challenge was to draw these eskers for the arms. But let's say we have done that. What I'd like to step further with in this painting session is that we are going to pay a bit more attention to illustrating light and shadow, especially on these arms. First, let's make a decision on where the light is coming from. It will be shining from the top right. So there will be a highlight here. And based on this slide direction, we are going to think through where to put the shadows. The highlights in the eyes will be located here. Very good. Let's redraw with ink. I'm trying to make this curve with one single move. Like so. It doesn't have to be symmetrical. Let's draw the arms. I think I'm changing the curve of this arm. No. Now let's move on. Pay attention to which curve overlaps the other. The tool for showing depth is commonly referred as a T overlap. It clearly shows to the viewer which part is closer in the three D space. Look, there is another T overlap over here. The overlap again, just upside down. Good. I guess considering it seems quite organic. Let me it Sarmta belly shahmnonaKife has a shank. He, you guess 'cause I'm equally fetish, Barolo sat, Kiser yotta unocHs shed bent, Kisha Alotko. Finally, let's draw the eyes. And the mouth. Let's not forget the highlights. And we are done with the drawing. We are going to fill in the ice at the end with black paint. Let's erase the pencil marks. I swipe down. Good. We can start painting. 18. The Octopus: Painting: I mentioned, you will make a significant progress in this painting session. We already have a relatively complex shape. We will put more emphasis on shadows on the curved surfaces. Furthermore, you are going to learn how to mix purple from base colors. Just as a reminder, the base colors are yellow, red, blue, also called the primary colors on the color wheel. We are going to need two of them for mixing purple. We start from blue. If we take the color wheel, let's place the blue here, the red here, and the yellow at the top. So we start from blue, and by adding a little red to it, we shift the blue into this purple area. Let's activate the pigments. I'll be using ultramarine blue and this intense red that is called ruby at this specific manufacturer. Let's wait for a few sack for the paints to dissolve. And I'm taking some blue paint. As usual, I'll be using my size to run brush. Now, I was taking blue with a dry brush. But it's good to wet the brush first. Also to remove air bubbles from the bristles. I need some more water here. I have the blue here on my mixing palette. I'm cleaning the brush. As we don't want to move any blue pigments into the red, I'm rinsing the brush as much as possible, and I'm taking a little red. We'll see. By the way, we'll be working with only purple color so we can use the whole mixing palette. We'll be playing with the shades in here. I'm cleaning the brush so I can take some water. And let's see what happens if I add red to the blue. You see, the purple starts to appear. Beautiful. I'm taking some water to make it lighter. Yep, this is the color we need, and by adding more water to it, we can make it even lighter. For the base layer, we are going to use a nice light purple. More water. Very good. Let's not forget where the light is coming from. So we are going to leave a white stripe over here. And we can start painting the base layer with a very light purple and with a relatively wet brush, but in the meantime, making sure that the paper doesn't get wet too much as it's quite thin. So I'm leaving that area paper white. Maybe this is too light, so I'm adding some more pigments to the mixture. It's already getting darker. But I'm adding some more dark. That's it. Over here, we start to think of the light direction. Let's say there is another light reflection over here. Maybe a little highlight over here. And this section is probably in shadow. Maybe on this end, a bit of highlight again. Good. Now you can decide if you like this specific shade. If you want to, you can play with it by adding some red to it and see what happens. As the paper is somewhat wet, pigments spread beautifully. We are getting nice gradations. I'm taking a bit darker shade. We can also tear to the paper in order to give some direction to the pigment flow. As the light is coming from this side, on a spherical shape, we are getting a shadow curve like this. Over here where these two arms meet, it will be darker. Surfaces facing downwards will be darker as well. Very good. As you can see, I ran through the outline of the eye over here, but it doesn't matter because we'll be painting this area with a much darker color with black. That will completely cover this purple shade. Awesome. Let's mark the shade on our color scale. What's next? Maybe I'm still playing with some darker shades here and there, while the surface is still damp. Good. Now, we definitely need to wait for this layer to dry. I'm rinsing my brush. I'm helping the drying process like this. And soon we'll be changing this mixture a bit for the shadow parts. Also, we'll be putting some spots here and there, illustrating some texture for our octopus. I'm checking the paper by turning it into a 45 degree angle toward my light source. I'm touching it, checking the current moisture level. It feels like I can move on. The paper is quite dry. Let's mix a darker shade of purple then. If your mixture contains more pigments, it will be a darker shade. Rather blue will dominate the shadow area than red. Now, let's remind ourselves to the light direction and think through how much light a certain surface gets. The arms are curved surfaces, which makes our job a bit difficult. But let's see what we can achieve. I Here I'm painting a shadow shape like this. I need a bit darker shade. Maybe there is too much water here. That's why this shade is lighter than I imagined. I'm adding a little red. Let's see. Okay, this is better. Well, I was inaccurate over here, but I leave it as it is for now. Now here, we could say that this side of the arm is facing the light, but there is the head in the path of the light. So probably the head casts a shadow over here. I paint a bit thicker shadow shape here. Over here, it's a question what will happen. I'm going with a thin shadow shape. This surface is not facing the light, so we can paint a thicker shadow shape. A bit darker. Similarly on this arm, and a little shadow over here. Good. I consider the shadows on the arm somewhat realistic. Now, let's deal with the head. Let's place a shadow curve over here, taking the light direction into account. A something like that. It's getting thinner towards the top. If your brush is wet, it's quite hard to paint a thin line. So I touch my paper towel for a moment. Good. Now keep in mind that this is still a simplified shadow illustration. But for a cute animal like this, we don't really need more. Now let's add some texture to the skin as I mentioned. Kind of deformed circle shapes. Something like this. Very good. Let's not forget to put the shade on our color scale. A And I think we are done with the purple. If we want to, we can paint some cast shadows for the arms with a very light gray. Let's clean the brush first. I'm activating my black. Very little paint what we need. I'm adding water to it. Let's assume the sea bottom is a somewhat flat surface. For this arm, there is a bit distance from the ground, so let's place the shadow over here. Maybe a bit darker shade. Now, this arm seems to touch the ground plane, but there is also a curl in it. So its shadow will look something like this. Based on the light direction, we won't see too much shadow over here. A bit darker shade. Oh. For this arm, I'm painting a shadow like this. And another for this one. Good. I'm taking the cast shadows even darker. I don't know. Maybe the case shadow is too dominant now. So I'm taking some pigments back with a dry brush, the surface is still damp, so I can remove some pigments like this. As you can see, I relocate the pigments from the paper to the paper towel. If your paper is already dry, add a little moisture to it, so pigments can activate and can be removed. Good. I think I'm fine with this exact shade of gray. We can also work on the color balance by taking the shades darker on our subject. My mixture is still wet enough on my mixing palette, so I'm making the shadows darker on our octopus. Like so. And the texture. Note that over here, the dark shade indicates shadow, while here, it indicates texture. Okay. What's left? I don't know. Maybe I'm adding some shadow over here. Okay, now I stop. Let's fill in the ice with black. No worries. The purple around is surely dry. It has to. Otherwise, the black paint will ruin our painting. Actually, it's better to have my paper on a flat surface now. And our cute octopus painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 19. The Dolphin: Today, we are going to paint another sea creature, a cute dolphin. In this painting session, we are going to paint our animal with a different watercolor painting technique. But first, let's draw our pencil sketch real quick. Our dolphin's spine line will curve like this. Is head will be located here. So the spine The head, the nose, and the mouth. The outline of the body will curve like this. And something like this at the bottom. Feel free to check some reference photos about how a dolphin shape looks like. I'm refining the form step by step. Yep, I didn't plan the composition well. There is not enough room left for the tail fluke. Anyway, I'm trying to adjust it to the space I have. It looks something like this. It's quite similar to the one that a whale has. Of course, it's much smaller in size. I'm placing the so called dorsofin over here. And let's place the flipper somewhere here. On the other side, we can see just a little portion of that. I'm trying to finalize the curves. Like so. Let's place the eye over here. Maybe you can see the other one, too, maybe not. We'll see. Okay. Let's go back to the tail fluke. If you want to draw this somewhat realistic, you need to follow the rules of perspective. The part that is closer to the viewer looks bigger. And the one in the back is a bit smaller. Something like that, just to create the sense of three D. Good. Now, let's redraw with ink. I'm starting over here. The eye the highlight in the eye. This time, I fill it in with ink. Let's assume the viewer won't see the other eye, the line of the mouth. Let's continue the back from here. The fin. The tail The lower curve runs like this. This curve might have been narrower, but that's okay. The flipper By the way, over here, we will have a separation between two colors. The lower part is planned as white. The upper part will be a light blue shade. The flipper on the other side, I guess the ink drawing is ready. As soon as it has dried, we can start erasing the pencil marks. I skip the I. And I swipe down. This may be a bit more complex form, but one of the goal of this cute animal painting series is that you faced with harder and harder challenges from animal to animal. This way, your drawing and painting skills will develop gradually. I'm not fascinated with this curve, but maybe we can identify this shape as a dolphin. I mentioned that we are going to paint with a different technique. Our size two round brush remains, but this time, we'll be painting with a somewhat dry brush on a dry paper. This technique is called the dry on dry technique. What you will learn is how to achieve a certain paint density on the bristles in order to create the intended effect on the paper. What color shall we use for our dolphin? I'm activating all my blue paints and a black too because I might want a grayish blue shade as a result. Well, I think this time I'll be using the cubbod blue. Wet brush. I'm taking some paint. And I'm adding a very little black to the mixture. So I'm cleaning my brush. A little water on the brush. Oops, that's more than enough. I'm cleaning the brush. I'm rinsing the brush, and let's mix with a tiny black. I want to decrease the intensity of mycobl blue, and I can do that by adding a tiny black paint to the mixture. I'm adding a little water to dilute. Good. We have a grayish blue color. Now, let's see the so called dry on dry technique. By using this technique, you can create a certain texture on the paper. Let's take another paper where I'll be testing the actual state of the paint on my brush. As you can see, by default, it's wet. Now this is something we need. My brush is almost dry. Perfect. Yep, I need more paint. Now on a small and narrow brush like this, it's not an easy task, but we are trying to achieve the intended effect. As I mentioned, over here, there will be a boundary line, a curve, something like this. I'm testing my brush. And this is the kind of effect that we should target. So there is very little moisture on my brush. With the direction of your brush strokes, it's a good practice to follow the orientation of the body with the direction of your brush strokes. Good. Let's not forget the flipper with the same texture. We can darken the shade a bit by adding a little black to the mixture. And I'm taking this section a bit darker. Basically, I'm creating some kind of shadow effect. The flipper on the other side. And that's it. The goal of this painting exercise was to show you how you can create a texture like this on your subject. You can refine the shadows if you want to by using more dark. The challenge in this on dry technique is to control the moisture level on your brush. So you can get the desired effect on the paper. Very good. Finally, I'm rinsing my brush. And I'm placing the shades on my color scale. Roughly, these are the two shades we used. And our cue dolphin painting is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 20. The Hedgehog: Today, we are going to paint a cute hedgehog. Let's draw our sketch quickly. I'm drawing an ellipse representing the whole body. It will be facing this side. This will be its head. With two simple curves like this, we can already show what animal this will be. We are going to fill in this area with spines, flattened lower part, two little legs. At least what the viewer can see inside view. The tip of the nose, it's big eyes somewhere here, and a little smile. Now let's refine the curves. Obviously, we won't be drawing the spines one by one. Instead, we illustrate them with zig zags for now. Inside the shape, I'm drawing short straight lines in radial direction like this, placing them randomly. Good. We have the pancy sketch. As you can see, you can easily make a sketch like this in about 2 minutes. Let's redraw with ink. Try to make the individual curds with one definite and energetic motion. So your final drawing will reflect that energy. Like so. The mouth, the eye, with the highlight. Let's fill in. The same with the tip of the nose. The base the tiny legs, and the spines with a quick motion like this. That's fill in the main body shape, spreading these lines randomly, diversifying in placement, length, even in line weight. Y. Something like that. The ink drawing is finished. You can start erasing the pencil marks if you feel like the ink has dried. I'm trying to stay away from the nose and the eye just to avoid smudging. And I swipe down. Very good. We'll be using two different painting techniques. The face will be painted with pink and we'll be using the so called wet on wet technique, meaning that we moisture the paper with clean water first, then we add the pink paint to it, creating a gradation between dark and light shades. We will let the watercolor paint do its job. The second technique will be what you already learned in the previous painting session with the dolphin, the try try technique, which will be ideal for illustrating our hedgehogs body texture. This is a relatively complex red surface with do spines, reflecting the light in many different directions, so it will be interesting to illustrate this. Here at the bottom, we may mix two different painting techniques. Good. Let's begin with the pink color on the face. What base colors do we need for mixing pink? We need red and white. I'm wetting my brush. I'm taking a very little red as we are going to paint a very small area. I'm cleaning the brush. I'm rinsing the brush. You want to go into the white paint with the cleanest preserves possible. We are going to need more white than red as I plan with a very light pink shade. I'm taking a little red from here. This will be the color of our hedgehog skin tone. Feel free to create a shade you like according to your taste. As a first step, I moisten my brush like this. I'm taking a test paper to see what brush strokes I will make. Good. My brush contains a well diluted pink shade. So I start painting an initial wet layer. It's more like water than paint. I'm trying to stay away the ink marks. Like so. Its legs will also be pink. Now, if you look at the paper from a certain angle, it's supposed to glimmer. I start adding the pink to the face. Let's start at the lower part and see how light or dark the paint is on my brush. You can take the paper in your hand, so by changing the tilt angle, you can control the flow of the paint to a certain degree. I'm adding more paint to the surface. The upper part will be very light, Let's assume light direction like this. As sunlight usually comes from above, and I'm driving the pigments like this. As the face is a curved organic surface, the transition between the light and dark areas will be smooth and we can perfectly illustrate this with the wet on wet watercolor technique. I'm making a bit darker shade of pink. And I'm gently adding this to the lower part of the face. Maybe there is too much paint on my brush. Try to follow a curve like this as far as the transition concerns between light and dark. I can make it even darker at the bottom. This looks pretty good, I think. If you don't find your transition smooth enough, rinse your brush. And with a slightly moistened brush, you can reactivate the pigments on the paper. This way, you can alter the look of your transition. You can drive the pigments with gentle touches like this. Oops, I got a water drop on my handle. We don't like that. You can add some more paints if you feel like I Play with it, so you can experience how water and paint mixture behaves on the paper. At this point, I'm okay with this transition. I'm rinsing my brush. You can still drive the pigments by tilting the paper while it is still wet. Maybe there is a case shed over here cast by the spines. Like so. Now, the body will be painted with a brownish color with the dry dry technique. Now I choose a brown color from my color palette. I'll be using the so called Marse brown hue. This is a nice, deep, reddish brown. I'm showing you how it looks. Feel free to use any brown you have. I'm adding some water to it so I can see its lighter shade. More water. I'm taking my test paper. I remove some of the moisture from the bristles. And I start painting the main body like this, leaving lots of paper white. I'm taking more paint. I remove some of the moisture and continue. And as I'm moving downwards, I'm trying to make the shade darker, as well as the brush strokes more dense. Here at the bottom, I'm using more like the wet on dry technique, meaning that the brush is wet while the paper is dry. More dark at the bottom. I can remove moisture on the test paper if needed. We can apply some darker strokes on the top I'm using the ink drawing as a reference for the directions of my brushstrokes. More brown paint. I'm creating a gradual transition again between light and dark. Just like with the face, we can also use a curve like this as the light comes from the same direction. So the transition will form a curve like this. Maybe I need to remove some pigments from here to align to that curve. You can remove pigments by rinsing out the brush and make it dry on the paper towel and remove. Clean and remove. Me dark Nice gradual transitions and a pretty dark shede close to the ground. Nice. We can even use a little black to reduce the intensity of our brown color here at the bottom. Where there is less light, colors are less intense. Think about the sunset when dusk begins, we see less and less colors. Now, let's say we have a kind of dusk over here. I tear the paper to avoid these pigments traveling upwards on their own. Like so. With relatively dry bristles, I can drive pigments upwards myself. Very good. This is pretty close to what I imagined. Finally, let's paint the legs. The front leg gets more light, so it will be pink. And the one in the back will be a darker shade. Now let's make some light gray paint for the cashadow. And I'm painting it. Actually, we can use the try on dry technique to create some texture that harmonizes with the main body surface. Something like that. Maybe a bit darker. Here, close to the paddy, it should be even darker. It's all logical. I mean, how shadows work. We just need to think through how much light a certain surface gets. Less light means darker shade is needed. On the sides, it gets more light, diffuse light from the surrounding, so the shadow disappears smoothly. We Awesome. I guess our cute hedgehog painting is complete. I hope you have made that, too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 21. The Donkey: Sketch & Ink Drawing: Today, we are going to paint a cute donkey. We take one step further again in developing your drawing and painting skills. This time, we will put more emphasis to the three dimensional look of our cute animal. Let's draw the pencil sketch real quick. Our donkey will stand in a three quarter view. I'm showing you what that means. Its head outline will be an oval, and with the center line, we can show that three quarter view orientation. When you place the head, make sure you will have enough space for the ears on the paper. Maybe I need to shift it a bit downwards. The two ears. As you already know, the one that further away from us will be a bit smaller, the roots of perspective. So the center line of the head runs like this. Let's place the eyeline somewhere here. Now we can place the ice. And the nostrils. Good. Now, in case of a fairy tale character, the size of the head is usually exaggerated. So we will have enough space for the main body over here as it will be smaller. The legs will also be small. And the body will follow an orientation like this. A little tail over here. Let's refine our shape, starting with the ears. Our donkey has big ears. And let's also illustrate the main. The outline of the head at the chin will be a bit flattened. Let's finalize the main body shape, the front legs, the hoofs, and we can convey the three d spect by choosing the right angle for this bottom line. Okay. Good. We have the pencil sketch, so we can start redrawing with ink. One continuous curve for the head. The man. Like so. The ears You can cross the outline of the head over here. Remember the term called T overlap that we learned in a previous drawing session. It's one of the tools in your hand to illustrate spatiality. Let's draw the facial features. The rest of the main. Like this. Let's see the main body. The legs. You can see another T overlap here. Oh Finally, the tail like so. That's it. We can start erasing the pencil marks. Now I don't have to be careful by the eyes as I didn't fill them in with ink. Actually, it's more practical to do it after we erased. Now, let's do that just as usual, showing the highlights in the corners. 22. The Donkey: Painting: The painting part can begin with a size two ram brush. What colors shall we use? Inside the ears, we'll be painting with pink. Other than that, some kind of brown color will rule the surface of our donkey. It will have a white area in the front that runs through the belly below. This part will also remain paper white. On the rest, we'll be using light brown. And in this lower section, it will be a darker shade. Let's start off with the pink. Let's not forget to activate our paints, the red and white that we need to mix pink colour. Let's take some white We have a small area to paint, so we need a very few pigments. I'm cleaning the brush, rinsing the brush, and I'm taking a bit of red. I'm cleaning the brush, and let's mix that pink. Et's add some water to it to make glr And we are getting a nice light pink colour. Grain of dust or something. Get out. I leave this side white. And it gets darker inside. Some dust again. The other ear, the other side will be lighter, and we can go with darker shade. Let's wait for a few sack for it to dry. I used very little water, so this should be quick. Actually, in this particular case, it's not a problem if the two shades mix, as this is a curved surface, so the transition between light and dark can be smooth. But I'd like to get a somewhat less smooth gradation, which is also a question of style if you like. So let me have the drying process. Or if you don't have that patience that I can understand, in the meantime, we can continue with another section on the donkey. Let's paint the body with that light brown color that I mentioned until that pink paint dries. I'll be using this so called Mars brown. I'm activating the pigments. I'm taking some paints to my mixing palette. I'm adding a plenty of water to it. Then let's paint. And as we discussed, this section. This section, we remain paper white. And here I start painting with this light brown. This time, I'm making my brush strokes like this. En we can paint the main too, as it will be a darker shade soon. The main body, there will be a white stripe over here. So I'm making a curve like this. Similarly on the other side. I'm holding my brush vertically so I can work more precisely. Oops. Let's not forget the white stripe over here at the belly. The legs are brown. The tail is brown. We might even take it a bit darker in order to create some more contrast compared to the white. Let's balance out the head surface with the body. Like so. Very good. Now we can get back to the pink. I'm cleaning my brush, rinsing the brush. With the cleanest brush possible, I'm going back to the pink. A little water to reactivate the paint. Adding a bit of red to the mixture. Let's try this shade. Pulling a curve like this. Remove the water drop, if any, more paint on the brush. Something like that on the other ear. Don't forget that watercolor paints get lighter as they dry. So this shade may seem a bit dark now, but it will be just fine in a few minutes. Or if you feel like you can remove some of the pigments with a clean, slightly damp brush like this. Rinsing out. Mop it up, or you can add extra moisture to the paint on the paper if needed. Then we remove. However, when you remove paint, you may experience something like this. Let's say a side effect. Pigments gather at the contour line. Now, either you can say that it's intentional. It serves a purpose. Or let's see what you can do about it. With a clean damp brush, we are going over the surface so the contour line gets smoother. My brush is not too wet, just slightly damp. We basically reactivate those extra pigments on the paper and remove them. Let's do the same on the other ear, too. A Now, of course, we have to wait for the surface to dry completely. Sure. And then we can go back with a less dark shade of pink. I think the brown is dry over here so we can get back to it. Let's see this dark shade. Well, I find it too intense. Let's make it a bit duller with some black. With a clean brush. I'm taking a little black. Cleaning the brush, rinsing the brush, and I'm adding a little black to the brown. As you can see, the intensity is getting lower. So I'm painting the main The tail. The hoofs. And let's illustrate some shadows here and there. Maybe it's too much at the back. I can quickly remove some of the pigments while the surface is still wet. Good. I was able to undo without any trace. Let it dry now, so we can paint a better shadow there. In the meantime, we can paint a shadow here at the neck cast by the head. Maybe another curve over here. Now, let's go back to the pink with a clean brush, of course. I'm adding a little water to the mixture as I'd like to have a lighter shade. The surface seems perfectly dry, so I'm painting that curve. It can be a bit darker, like so. A very good. I guess this sheet seems to be in sync with the other parts of the donkey. Finally, let's paint a cast shadow on the ground plane. As usual, I'm using light gray. One or two brush strokes. Very simple cast shadow. H. Maybe a bit darker. Awesome. I forgot the nostrils. Let's mark the colors we used. Two different shades of pink. Two different brown. And the cast shadow. And our cute donkey painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 23. The Hippo: Today, we are going to paint a cute hippo. Let's draw its sketch real quick. Is shape will seem complex, but I'll show you how to build it up step by step from simple shapes. The hippo will be facing us in a sitting position. This will be its head, a triangle shape. At least that's what we are starting with. I'm drawing a rectangle for the main body. And I already start to bend the lines on the sides. Like so. Let's illustrate the two front legs. Something like this with a V shape in the middle. The bottom is flat. Let's draw two ovals on the sides like this. And you already know that these ovals will illustrate the back feet. Watch their orientations with the center line pointing that way. Now, let's refine the outline of the body. Also, let's give a final shape to the head. Imagine a pear shape. Just take it a bit wider. Down at the bottom, with a bend like this. This curve will represent the front face. I'm drawing two little ears. Like so. A little hair at the top, just to increase the cuteness factor. U see, step by step, our hippo starts to form its shape. Let's refine the curves of the mouth. Two little teeth. Two nostrils with unfinished curves. It and the two eyes like this. Light from the right, so the highlights will be placed over here. And this time, we are adding eyebrows to that will add to the facial expression. Finally, some nails on the legs. And we have the sketch for our baby hippo. Let's redraw with ink by starting with the head. One continuous curve. The ears He's bending kind of downwards. The hair. The two eyes. You know what? Make it look this way. Okay. Good. The nostris The teeth and the lower jaw. Now, let's see the main body a symmetrical curve on the other side. The v shape, the nails, and the back legs. Like so. And the drawing part is finished. Let it try for a bit, and we can erase. I forgot the eyebrows. Let's continue raising from the bottom then. Careful by the eyes. And that's why done. Awesome. Let's take our size to run brush, and simple enough, our color scheme will consists of different pink shades only. I intentionally kept the paints on my mixing palette from the previous painting session, so I can reuse them. Maybe I need to add some white. So I'm wetting my brush. And as my paint is still creamy from the previous session, so I can take some. A little water to reactivate the pigments in here, and I start mixing. And with a medium wet brush I'm making brush strokes on the head like this. The light comes from this direction. So brush strokes on the main body. But let's leave the nails white. Good. We have a light pink base. Now with some extra water, I'm reactivating the darker shade over here. One level darker shade of pink, and I'm making similar brush strokes, starting from the bottom. Teeth remain white. And we keep moving forward with the shades layer by layer. Hops, more dark on this side. Similarly inside the ears. Now I start using a bit more water. By adding some extra d pigments, I'm taking the shade a bit darker and continue with my brush strokes, something like that. The ears are facing downwards, so they can be darker. Maybe this outer rim can be white. Let's move on with an even darker shade. This side is probably in shadow. Because this is an organic curved surface, you already know that the shadow shape over here will form a curve like this. Let's move on to the head, thinking through what shadow shape the light will create. Now I know this is kind of intimidating for a beginner, and unfortunately, it's a more robust topic than I could explain the Is Ni in a few words. So what do you do then? Either you can use your observational skills to create the shadow shapes based on reference photos, or it's worth to take some lessons on this specific topic. I mean on how shadows work on organic forms. Hope this helps. I think I remove some paint from here, so I clean my brush. I mop it up and remove those pigments. Good. I'd still increase the contrast bit by adding more dark to the darkest places. Like so. A. Maybe to the ear on the left. All right. If you feel like that some of the contours are too sharp, you can make them smoother by using a slightly dmp brush like this. Over here, for some reason, I got some spots. Teeth remain paper white. Some finer touches here and there. And if you feel like, you can stop painting now. As usual, we are adding a cas shadow on the ground plane with a few brush strokes. Let's not forget to paint our color scale. Okay. A very simple monochromatic color scheme. And our cute baby hippo painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 24. The Monkey: Today, we are going to paint a cute monkey. Let's draw its sketch real quick. This will be its head. And the main body will look like this. Two arms on the sides, two little feet, as our monkey will be sitting facing us. Maybe I'm shifting the x to the sides. The arm will look like this. Sweet a tiny hand. Let's refine the head shape. I'm drawing a big ear. Similarly, on the other side. And an inner curve like this. Now, let's draw the face. With two eyes a little nose and a smile. Good. Also a little tail. Curling like so. Let me draw over the lines here that are supposed to stay. There will be a lighter part on its belly. And our sketch is ready for the ink, starting with the head. The ears. The inner section. The outline of the face. The eyes the highlights on them. Like so. A nose. And a smile. Let's draw the rest of the py. You can also illustrate the toes if you like. I'm finishing the arms. Finally, the tail. Very good. We can start erasing the pencil marks. Of course, I'm careful by the eyes. Let's wipe down. Let's start the painting session with our size two round brush. What colors do I plan to use? The base color will be brown. The face will be a kind of yellowish brown shade, as well as the ear lobe, the belly section, the feet, and the hands. The rest of the body will be painted with light brown. And we'll be using a darker shade for the shadow parts. Let's start off by mixing that yellowish brown. Let's choose a brown. As far as the light one concerns, I'll be using the so called osiena and for the darker shade, this one called Amber. And we will also need yellow. I'm taking a little lemon yellow. And let's mix the skin tone. I'm adding water to it. I'm rinsing the brush, and see what happens if we add a little rosiena plus water. Of course, as usual, feel free to use whatever yellow or brown color you have on your palette. Now, let's test the mix. I'm painting the parts that we discussed. I would add some more brown to the mixture. Yep. Something like that. I'm rinsing my brush. I'm checking my paper. If it's still wet, yes, it is. But this time, let's practice how we can paint adjacent surfaces so paints don't bleed in. I'm taking some osiana a little water to it. And let's see. It's kind of an orange brown shade, but I'm fine with it. I'm making sure that I don't touch the previously painted adjacent layers. Inside the ear, oops, it's still damp over there, so I let it dry. But over here, I can already paint. Not that I'm using the very same paint, but because this is an additional layer, the outcome will be darker. What's happening here is that we are increasing the pigments density, so the result is a darker shade of brown on the paper. I'd like to have a contrast between the yellow and the brown sections. Let's not forget the tail. Let's check the moisture level on the paper. I think it's dry enough. I'm rinsing my brush. You know what? Let's paint an eyebrow with the slight Bancolur a Like so. Now we can take the darker brown shade. I'm using this amber. But because it feels like mud. I'm mixing it with raw sienna. Just to harmonize with the previously painted parts. I encourage you to mix your paints from your color palette. You will get a more exciting result, as well as a more unique painting. Let's see. Uh huh. This shade will work for the dog. Some shadows done here at the bottom here and there. And let's darken the tail too. And below the head, I don't know. Is it dry? Yep, it is. So I can paint over. A cahadow right below the head. I guess this could be darker. So taking more dark. And little osiana let's see. Good. I intentionally left this gap over here because on this lighter yellowish shade, the shadow color should be different. Similarly on the feet. Now, you can decide if you are fine with the result, or you could go even darker. We can even add some black paint to the mixture. But I'd also like to include that warmer, lighter brown shade. Well, whatever you like. I would also increase the intensity over here. So taking from my raw sienna. Adding a little water to it. I'm reactivating the pigments here. And I'm adding that shade. Similarly on the body. But at this point, the dark brown should be absolutely dry because I don't want to invite those pigments into the lighter parts. So I'm extra careful not to create a bridge between the two surfaces. Like so. We can also tilt the paper using gravity to drive relatively more pigments on the lower parts. As long as the surface is wet or damp, pigments can travel, and you can also drive the pigments with your brush. Good. Let's paint our color scale. And with a little light gray that I'm mixing with brown in order to harmonize. Let's paint the cast shadow on the ground. Something like that. Awesome. Our cute monkey painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 25. The Flamenco: Today, we are going to paint a cute flamenco. This time, the challenge will be to draw its special shape. It's going to include several curves, and you will need to pay attention to several different things, including sizes, orientations, and relative positions. Anyway, we are here to cope with these challenges, so let's draw the sketch real quick. Let's place the head somewhere over here. Our flamenco has a long neck, forming an S curve or a mirror curve, if you like. And also, it has long legs. So we need to think ahead. We will need space for those legs somewhere here. One leg will be in straight position. The other one will be bent like this. It is kind of in the middle of walking. The main body will be an oval shape with the tail feather pointing this way. There are beautiful curves there, if you look at it. There is rhythm in these lines. Wonderful creation. The leg could be even longer. The head can be a bit smaller. And what is so characteristic on a flamenco is its beak. With a shape like this. Watch this a curve again. Let's place the eye. I'm adding some details to the beak. Let's refine the outline of the neck. Thicker at the top, then it narrows, then it's thicker again. Now I take the opportunity to shift everything a bit upwards to be able to extend the leg. Like so. I'm also refining this other leg. And we have the sketch of far from ankle. Let's draw over with ink, starting with the head. An as curve like. Another as curve over here. No. The beak. Looks good. We can fill in this section. The eye with the highlight. The front of the neck. The main body With a curve like this on the back. The outstretched leg. And the bent leg. Like this. And we can also illustrate the wing with some simple C curves. Very good. Let it dry for a few sack. Then we can start erasing the pencil marks. Careful by the field in sections. And the drawing part is finished. We can start painting. The base color will be a reddish pinkish color. As usual, I'm using my size to run brush. Let's wet the brush. Let's activate the pigments. We are going to need red and white for mixing pink. I'm taking a very little red. I'm cleaning the brush, rinsing the brush, and taking some white paint. Let's start mixing. Some water to it. And with the lightest shade, I start painting. We are going to leave paper white surfaces, for example, on the beak, white curve under the eye. Moving downwards. Another white curve on the back over here. Like so. Further highlights on the wing. Good. We have a first layer of paint. Now, I can see that we can make the shade a bit darker. Let's add some red to the mixture so it gets darker. And we can start painting the second layer. Let's make sure we leave those white spaces. Very nice shade of pink. I was thinking of something like this. P ship. Awesome. Let's mark this shade on our color scale. I'm adding a little water to my brush. And by using mainly red, I'm creating a dark shade of pink that we'll be using to paint the shadow areas. Of course, we need perfectly dry paper. I'm still feeling a bit humidity on the main body. I guess it's dry now. So let's move on with the darker shade. I paint a shadow over here. A curve like this. A very thin curve on the neck. I accidentally went outside the ink drawing, but I can live with that. We don't have to be too hard on ourselves. Another shadow curve on the main body. Kind of a curve again. Like so. Finally, the features of the wing cast some shadow. Good. Let's say the light is coming from upright, that will create these shadow shapes. And our cute flamenco painting is complete. A very simple but still spectacular painting that we got. The challenge was to practice drawing these as curves. Plus we had to apply very precise brushstrokes as we painted on a relatively small format. Now if you find this test too difficult, feel free to use a larger format. Let's say, two, three times larger. And I'm sure you will successfully paint this very same flamenco. Don't be upset. Your precision will improve over time. This is something that you can develop. You can train your muscles and nerve system to achieve those fine movements with the brush. Now, of course, there is a limit for everybody that one cannot exceed, but that's okay. We are not the same. It's best to accept our limits. You can use the format size and painting technique that work for you the best. But if you are brave enough, you can try pushing your limits from time to time. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 26. The Seahorse: Today, we are going to paint another cute sea creature, a sea horse. Let's draw the pencil sketch real quick. I'm starting with the head, a circle shape like this. Its body will curve like this. A typical curve that we can see so often in organic forms. Here at the bottom, I'm drawing a circle again, a bit smaller one. Now if you have the image of a seahorse in your head, its body twists at the bottom. We are going to draw it in a minute. This will be a bit complicated shape, but we will deal with it. Our seahorse will be facing right. Is snout will look like this. This is the curve of the head that runs downwards in an esker like this. And it twists this way. Like a snake shell. We are going to refine final shape. This front section that is called the keel will curve like this. Not an easy shape, right? The front face will look like this. These see curves create sections. An S curve again over here. Similarly on the top of the head. Being able to draw all kinds of S curves is a fundamental drawing skill as drawing is a basis for painting, it's good to have that skill for a painter too. Anyway, let me refine these S curves. Over here, this body part is called the cornet. They are getting smaller and smaller as we are moving downwards. Let's place the eye over here with the highlight, of course. We need the doors of fin somewhere here. Okay. Like so. I guess we have the pencier sketch, so we can redraw with ink. One continuous curve that stops here at the dorso fin. And I keep drawing from here, like so. The lower curve of the head. The eye. This time, we'll be painting it. And let's draw this front side. Like this. The door's open. Kind of an organic shape. And the so called coronet by drawing a wavy line. Let's follow its freedom. It continues from here. Getting smaller and smaller. Very good. We've got the drawing part. Let's erase. I guess it's dry already. Good. Well, for the sake of simplicity, I'm just filling in the eye with ink anyway. Now, what color shall we use? We'll be using purple that you already know how to mix from base colors. Remember the octopus painting session. We were using red and blue to mix purple. Let's wet the brush. I'm activating my paints. I'll be using this ultramarine blue. And this vivid red called ruby. Now it's up to you which color will dominate your purple. I plan to use more blue. I'm cleaning the brush extensively. I'm rinsing the brush. You see, if you clean your brush on the paper towel well, your rinse water will barely discolor. Now let's take a little red. We don't need to clean the brush as we are mixing. Let's see. The red pigments that were left on the bristles are perfectly enough to make that purple mix. This shows that this specific red is extremely intense paint. I'm adding some water to it. More water and see if it works for the base layer. Let's try. Again, we can leave white spaces here and there by taking the light direction into account. This section remains white. It will contain only a few stripes. I'm moving downwards, a white stripe at the top of the doors of fin and we can leave some on the twisting too. With the same purple shade. I'm painting these let's say section lines. Try to follow an orientation like this. That tells the viewer what really surface he or she sees. Matter. Now we can move on to a darker shade. I'm adding a little water to the brush, a little blue to the mixture, something like this. This wave form will be dark. Hopefully, the lighter section is already dry. Otherwise, the dark purple would bleed in. Maybe the tip of the snout is dark, too. I'm reaching the bottom. What about the fin? Let's add some darker curves like this. What else? I'm taking some paint, the same dark shade. Let's paint a shadow over here. And assuming the light comes from the right, I'm painting a shadow shape at the back. Like so. The fin is in the front, so it remains untouched. And we can also place some shadow here. Well, I'm painting this twisting part like this. H et me not analyze now how light reflects here. We can make things darker if you like. More blue, more red, more pigments mean a darker shade. And we can paint over the dark parts again. Not necessarily everywhere. If you want to, you can show all three shades of pink. Et's create our color scale. Our cute seahorse painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 27. The Fish: Sketch & Background: Today, we are going to paint a cute little fish. We are taking another step forward in the mysteries of watercolor painting. In today's painting session, you will learn what the term called negative painting means. Let's start off by drawing the outlines of our little fish with a pencil. Like so many times, as a first step, we are drawing an oval shape, kind of a circle. The orientation of our subject will look like this. The tail will be located somewhere here. We are going to refine its shape soon. Let's place the dorsofin over here. The vertical center line of the head over here, and placing the mouth in here, our fish will have a big eye. The pectoral fins over here. Very good. Now, let's refine the form of our fish. The top curve will look like this. And a slightly less curly at the bottom. Let's move on to the tail. A little bit longer upper side and a bit shorter lower side. We'll finalize with ink in a minute. The dorsal fin will curve like this. The pectoralin on this side. And on the other side, we can barely see it. That's true open mouth and the relatively big eye. This time, the highlight over here will also be bigger than usual, and we are adding a second highlight at this spot. That's it. We have our pencil sketch. Now, this time, we'll be painting some background elements too. There will be air bubbles over here. We will only be painting these bubbles. I drawing them with very light pencil strokes. Something like that. Now let's draw over our fish with ink. The upper curve. Like so, the lower curve should be in sync with the upper one. Good. Now let's see the tail. The dorsofin like so. The pectoral fin, a C curve down there, and then S curve at the top. We are just suggesting the other one. Now the I Okay. Like so, this section will be black. We are going to fill in either with ink or paint. We'll see. Nothing else left than the mouth. An irregular form like this. Let me fill in this small area with ink. Very good. One or two curves on the fin, just to suggest its orientation. Similarly on the tail, and something like this over here. I'm waiting a few sack for the drawing to dry and we can erase. Careful by the mouth. And let's remember these bubbles later. Now I remove them. Let's wipe down. Very good. We have a nice fish drawing as a base for our painting session. I mentioned the term negative painting. What does it mean? This is when we start painting the background first rather than the subject. So we are basically defining our subject by the surrounding. Practically, we'll be painting the water around our fish first. By the way, negative painting is a very useful exercise to trigger some areas in your brain in order to see things with the eyes of an artist. We'll be using some light bluish grayish color. And, of course, we'll be also defining our bubbles over here. Let's start off by painting these bubbles as there will be some details on them I'd like to address first. What colors to use? Let me check my color map. I'm showing you. Here you can see samples of my colors from my color palette. This map has several benefits. For example, can you tell me what colors these ones are? Well, I can't. I painted these samples, taking the shade gradually lighter for each. I have the names on it. I can see what shade to expect on the paper. This map is in front of me when I'm choosing a color, trying to imagine what works best on my subject. Now, of course, when you mix these colors, well, the map is useful anyway to know what to start with. Good. Now let's choose a base color for our ocean blue. As we are talking about ocean, this cobalt azure blue would be an ideal choice. But because this color is usually not part of a standard color palette, I ordered it separately as I remember, so let's use a more common color. This cobalt blue over here. This one. We'll be adding a little black to it to decrease its intensity as I don't plan the background being in the focus, more like our fish, which will have some orange yellowish color. Good. I'm activating my cobalt blue, as well as my black paint. As far as the fish concerns, I'm activating this orange and the lemon yellow. But let's back to it when we get there. In the meantime, the pigments can dissolve. I'm wetting my brush, squeezing out the air bubbles. I have this point tip so I can work precisely on the bubbles. I need more water here. I'm taking some cobot blue paint. As I plan to fill in the entire background, I make sure that I have enough paint on my mixing palette. It will be a light blue shade. Let me clean my brush before I go into the black. And a little black over here, I'm cleaning the brush, rinsing the brush. And let's mix. Just a little black, and I'm adding water to it. As you can see, the black decrease the intensity of Arcobol blue. Plus the water makes it lighter. Now let's paint those bubbles. I'm painting unfinished circles, kind of half moon shapes. Like this. With different sizes, showing variety. Once they have dried, I'll be adding some dark to them. Okay. But in the meantime, I'm adding some water here and we can start painting the background. I'm using a well diluted paint as you see. I'm painting the space around my fish. We don't need to paint a homogeneous layer, so I'm just touching the paper with my wet brush here and there. I'm taking more water as needed. Depending on how quickly your paper dries, you may need to be quick. I'm putting some paint. At the top, I'm trying to keep the shade lighter and towards the bottom, we can add more dark. It's getting darker at the bottom. And as long as the paper is wet, blue pigments can spread nicely. I can still see my bubbles. And that's it. I'm rinsing my brush. Now let's add the second layer to our bubbles, a darker one. Something like this. I think I'm taking some extra cobal blue. The lower parts of the bubbles will be darker. It can be even darker. Let's tell the paper a bit in order to keep those dark wigments at the bottom. Very good. For me, the bubbles seem random enough. We can move on to our subject. However, the paper is still wet here and there. Next to the outline of our fish, it seems dry. So we can start painting the fish itself. 28. The Fish: Painting: If I don't need these shades anymore, but I need some space on my mixing palate, I can mop it up like this. And I'll be able to use this extra space to mix my orange shade. With a clean and wet Brush. I don't start with this, but with the lemon yellow, I'm adding a little water to it. Now, let's take some orange paint. I'm cleaning my brush, rinsing my brush. Just as a reminder, you can mix an orange by adding red and lemon yellow together. And you will get some kind of orange. But for the sake of simplicity again, I'm taking that orange paint directly from here. A little water to it to see its diluted state. Now the plan is to have two different colors on our fish. The fins will be painted predominantly with lemon yellow, and the main body will have orange color. Now, I'm adding a little orange to the lemon yellow. Maybe it's too much. So with a clean brush, I'm taking some extra lemon yellow and making a lighter mixture. Something like that. Now, let's paint the fins. I'm making some brush strokes like this. Good. Now, let's prepare the mixture for the body. You can add a little lemon yellow to it. I'm diluting the paint further. I'm rinsing the brush just a little bit, and at the top, I start painting the main body. I'm trying to follow the orientation of the surface of the fish. I also intend to illustrate some kind of fish care texture with my bar strokes. Very light at the top, with lots of paper white. Now, let's take some darker shade. I accidentally crossed the eye outline, but it will be black anyway, so it doesn't matter. Down here at the bottom, I'm leaving less paper white. And I think with a slightly damp brush, I softened the texture. The mouth can also be orange. Let's take a one lever darker paint. Like so. And let's play a bit more with the shades. Notice that here, I'm using two different things to create the overall look. One factor is the lightness of the paint. The other is the density of my brush strokes. Now I'm adding some lemon yellow to my mixture. An even darker shade. Good. Now, what happens if we add some black? Let's experiment. Oops. Paint on my bowl accidentally. So at the very bottom, I'm adding this dull orange. I see nothing. So I'm adding more black. I don't know. I let go of this idea. I'm cleaning my brush. The surface is still damp a bit. Now, the plan is to add some lemon yellow spots to the orange section here and there. But I wouldn't like the spots get blurred completely, so I wait for the evaporation. Let's test. Like so. Good. I would still like to increase the contrast between light and dark. So what if I'm adding a little red to the mixture? A little water. Uh huh. It will work. Now, we have a too sharp contour line over there. So I'm cleaning my brush and with a clean slightly damp brush. I soften the transition like this. Oh Very good. We have the darker shade at the bottom. And over here, I see a not so smooth gradation that I'd like to fix. So by using the same technique I'm creating a better transition. Like so. What else? I forgot the mouth. I'll be using a slightly different shade. And a bit darker one at the lower side. I'm rinsing my brush. And with an orange lemon yellow mixture. I'm making one or two brush strokes on the fins. Just to harmonize with the main body. Awesome. I guess we can fill in the eye with black now. However, now I can see that I accidentally painted this white section with orange, which is not good. I need to remove that paint as soon as possible. With a slightly damp brush, very gently I make this section wet. I'm cleaning the brush, and with dry bristles, I remove that orange paint. I repeat as needed. This orange is a quite intense color, but fortunately, I can remove most of these pigments now. If you paint it with indigo, for example, there is no chance to remove the color with this technique. You need to literally cut it out from the paper. So remember that different paints are not equal in this regard. Anyway, I'm okay with this section now. Now, obviously, we need to wait for it to dry completely. To avoid the black paint travels outside the eye. Otherwise, we will just make the situation worse than it was. In the meantime, we can refine the bubbles with some dark shed. Just a few touches here and there. Has it tried? I'm taking the risk. Black paint directly from the pan. And with a pointed brush, here we need extra precision. So I'm holding my brush like this. Supporting the position with this part of my palm on the table, and with a vertical brush position, I start painting the eye. I'm trying to make it visible for the camera. So my brush is not exactly in vertical position. Very gentle brush strokes. A useful exercise for developing your muscle control. Good. I didn't screw it up. Let's also paint over the tiny spot in the mouth. Note that at this point, we can't go near the black surface anymore. Our ink is water resistant once it has dried. But if our watercolor paint gets any moisture, its pigments will reactivate, and some of them will travel across the wet paper surface. That's something we definitely want to avoid. So this is the reason that in watercolor painting, the odor of paints applied on the paper matters very much. You need to think ahead. You need to plan your work. You need to leave the darkest paints to the end, especially black. Okay God, this is how you can ruin your painting. Fortunately, I didn't this time. After working hours on a painting, then accidentally dropping the brush, one of the nightmares. But fortunately, in most cases, you can use the technique you just learned to remove those smudges. The quicker you act, the better. Anyway, that's it for today. Our cute little fish painting is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 29. The Cat: Sketch & Ink Drawing: Today, we are going to paint a cute little cat. Let's draw the pencil sketch real quick. Our cat will have a big head. The ears will be located in here. For the main body, I'm drawing an oval like this. Or cat will be in a sitting position. The front legs over here, and the back leg on our side. And a tail like this. So this would be the very rough outline of our cat. Maybe a bit bigger here. Like so. And as usual, we are refining our shape step by step. A little curve over here. Uh, another slide curve in here, S curve over here. A C curve. Another s curve. You see, organic forms build up from these basic elements. This curve can also be identified as a C curve just with a very slight curvature. I'm taking this part a bit narrower. Its neck seems too thick. Fortunately, we are drawing with pencil so we can improve the form. I keep drawing these curves until I get the one I feel right. Among these curves, we are going to find the final ones with ink. Let's add some extra details here and there. Stripes on the tail, a bunch of sea curves if you like. Now, here comes the changing part, namely correctly placing the facial features on the head. Their placement should follow some rules, the rules of perspective. As a first step, it's a good practice to draw the center line of the head as a guideline. However, I've already given the orientation of the head by the ears. So the center line is supposed to be located somewhere here. It's also practical to draw the eye line on the head like this. These guidelines will help us to place the eyes, for example. There will be one eye on this side. And the other one over here, note that it's smaller and narrower as it's further away from the viewer. This way, we are following the rules of perspective. So the form of our cute animal will be believable. Let's place the nose over here. The mouth will curve like this. Arcade, will have an exhausted look. Let's intensify this with the details on the eyes. Like this. Et's not forget the whisker curving downwards. Right I guess we have the final form among these lines. So let's find it with ink, starting with the head. I intentionally deviate from the regular circle shape just to give some character to the head. The ears et's see the main body. I'm trying to work with curves wherever it's possible. And the back curving something like this. The tail. The stripes will be painted. Let's move on to the facial features, starting with the eyes. The nose. And the mouth. Finally, the whisker. With some definite nose. I guess we've got the drawing. So let's erase. But remember to be careful by the eyes. Very good. I like how it turned out. A 30. The Cat: Painting: Now let's start our painting session with a size two round brush. I plan to use some kind of grayish black or grayish, bluish color. However, it's not the color that will be in focus this time. I'd rather like to show you that by using only a simple hue, you can still paint something great if you are using the light and dark shades. In other words, the values right. I'm wetting my brush. I'm activating the black paint, and we'll take some blue by using directly the brush later. Let's dilute with water. I'm rinsing my brush, and I'll be using my ultramarine blue. Feel free to make your gray color more interesting by adding any other color. I'll be happy to see your unique color mixture. I'm adding some water to it to make it lighter. Remember that in watercolor painting, it's a best practice to start with the light shade then gradually moving towards the darker ones. So I'm going to start with a very light shade. Again, before we do anything with our brush, let's think through what we are going to do. Where shall we leave white space for the highlights? On this edge, on the ear. On the top of the head. Some highlight on the forehead here and there. This surface is facing downwards so we can paint it. I'm taking some darker shade of gray. Let's assume a light direction like this. So this side can be darker. It's the dark side of the head. We can make the look more interesting to leave a white strap over here. Let's say it gets some ambient light from the other side. Similarly, on the other leg. On the back over here, And on the tail as well. Like so. Very good. Let's not forget to keep those surfaces paper white as we move forward with the darker shades. Good. We have our first layer of paint. Let's mark the shade on our color scale. Now let's move on with a darker one. It's getting dry by now here, so I'm activating the pigments. Let's see. Oops, this is too much. Let's add some water to. I need an even lighter shade. Good. Let's not forget to keep the white areas. This part of the face can be darker. Like this. Notice the curve between the light and dark areas. A downward facing surface, so it can be darker. The neck below the head can be darker. That's till the paper. So we utilize gravity. I just have limited space on my table. The mixing palette is in my way. The inner section of the ear is surely dark. A downward facing surface. Similarly, over here, Good. Let's not complicate things. I'm taking a last shade. Maybe I'm adding some duck to it and some water. And let's darken the surface a bit here and there. I'm trying to think through which surface gets the less light. Uh Below the head. Inside the ears, over here. What else? It all depends which direction the light comes from. Actually, there are infinite variations to implement shadows on a subject. There can be multiple light sources. Shadows just have to be believable to the viewer. Let's mark this third shade. Let's paint those stripes on the tail that we planned. However, I'm not going to start with the darkest shade, so I'm cleaning my brush. But I'm starting with the lightest shade. Let's recall the orientation of those stripes. Something like that. Let's wait for it to dry because in here at the darker areas, I want to paint over with a darker shade. In the meantime, I realized that I missed the eyelids. We can do it now. Something like this. Maybe it's too dark. I remove some of the paints with a relatively dry brush. Good. Maybe I'm adding another shadow over here. I guess the tail is already dry. So on this section, I'm painting with a darker shade. Like so. Very good. What we did on the tail is kind of a sophisticated implementation of shadows on a textured surface. We didn't paint those stripes with just one single shade, but we took the local light conditions into account. Just a little light and shadow theory. Finally, let's paint a simple case shadow on the ground plane for our m. Something like that. A bit of darker shed close to the body. I'm refining the transition. And we are done. In summary, today, I wanted to show you the power of monochromatic painting. We were using only three different shades of the very same color, a light tone, a middle tone, and a dark tone. And we got this result. What I'd like you to remember is that in drawing and painting, these different shades are called values. If you learn to use these values by placing a certain value to the right place on your painting or drawing, then you will get a very lifelike appearance. Actually, our brain uses these light and dark values to interpret objects in the sweet space. So controlling the values on your artworks is a fundamental artistic skill. By using different colors on the same painting, we'll make things even more complex. I encourage you to practice with monochromatic paintings or to use maximum two or three different colors. That's it for today. Our cute little cat painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 31. The Pig: Sketch & Ink Drawing: Today, we are going to paint a cute liu pig. The outline will be simple and complex at the same time. Let's draw the pencil sketch real quick. We'll see what we get. I'm starting with a circle shape like this. Watch how I hold the pencil. Try to follow the size of the circle, as well as its placement inside the format. Let's extend the circle like this. This shape is supposed to be the head. The eyes, the ears, The pig is facing us. We can barely see the back of the main body. Four legs, Some shape like that. A little tail over here. The difficulty lies in forming the curves of the outline of our pig. In the meantime, let's place the nose over here. Now, let's refine the curves. The top of the head will look like this. I'm drawing this ear. Something like that. I'm sure the outline will change later, but we have got to start somewhere. The other ear There are pretty interesting curves on the ears. Let's move on over here. It's curving like so. A kind of sea curve at the bottom. At the back. It will look something like this. The legs will follow an orientation like this. I'm illustrating the close if that's the right word. The other leg in the back. As far as the front leg is concerned, let's project the ear down here. Note that this is not some kind of general rule. It's just like that in this specific viewing angle. Maybe a gap between the two legs. Let's draw the center line. That will help us placing the nose. Like so. And the eyes, very tiny eyes. Finally, a little curly tail. I think I'm shifting things a bit to the right. Good. Let's redraw with ink. I'll be honest. I'm a little bit afraid myself. This is not an easy form, but we have to deal with it, so let's do it. Good. We took the first step. I intentionally stopped at the leg. Let's draw the ears, kind of an S curve, if you look at it. And the C curve over there. Everything is a bit smaller on the other side as it's further away from the viewer. I'm trying to follow the curve of this line from the top of the head. All the way down. Very good. I think this will be okay. The front leg. The belly, the back leg, the one on the other side. And the fourth leg. The claws. The tail with one quick motion. The nose. The nostris the eyes I'm filling it in. And basically, we have the ink drawing. I'm kind of satisfied with it. Hopefully, you feel the same with yours. Let's erase them. Yeah, I should be try by now. 32. The Pig: Painting: Let's paint. We de size to ram brush what color a pig could be. We'll be using pink, starting with very light at the top and taking it darker and darker in these directions. Down here at the bottom, it will be the darkest. What technique will we be using? Over here at the top? We'll be using more like dry brush on the dry paper, down here at the bottom, and in the back, we'll be using the wet on wet painting technique. So we make the paper wet, and then we add the paint to the surface gently. How do we make pink colour? You already know we mix red and white paints. Here. Let's stomatopsi Let's activate the pigments. Let's see. The white, some more I'm cleaning the brush. Rinsing the brush and with a clean brush, I'm taking a very little red. I'm cleaning the brush. A touch of water. I still have red pigments on the brush, but well, let's rinse it so we can control the mixture better. Now, let's mix. Actually, we don't even need this red paint over here. We need so little to our paint mixture. Never mind. I'm mixing a very light pink, adding some extra water if needed. I guess this is the shade I will start with. I'm removing the moisture from the bristles as far as I can. Okay I start making brush strokes. Well, this seems insufficient. So let's start over. With the brush strokes, I'm trying to follow the curve of the head. I'm filling in the entire body with this shade. So that's our initial layer of pink. Now, let's darken the shade a bit by adding a touch of red again. Like so. We can even go darker. I'm painting the lower parts first. A. And as the brush gradually loses moisture, I'm moving upwards. My brush is almost dry. I'm taking a little water. And as I mentioned, I'm making the paper wet to prepare for the wet on wet technique. There is a key concept in watercolor painting that is called water control. It's about how damp or wet your surface is, as well as your brush. There is a wide range of outcomes that will depend on the moisture level of your paper. Brush. This is something that cannot be explained as there is no way I can measure the exact humidity level of my brush and paper that you could replicate exactly. So I can just give hints on this, and you need to practice experience and feel how different amount of water and paint behave on the paper. I hope that makes sense. But remember, this concept is called water control. I'm taking a darker shade. You see, over here, it's almost dry, pigments won't spread. On the leg, pigments were almost blowing away. It's best to spend quite some time experiencing this Good. Brush strokes remain visible over here, which shows that the surface is nearly dry, so I'm bringing some moisture to it. It needs more. But in the meantime, I'd like to keep this light area light and the paper white areas as they are. So it's not an easy task. It's also good to experience what happens if you touch an already painted surface with a wet brush? What direction the pigments will follow? I'm taking it darker below the nose. Mm hmm. I plan to use a curve like this for the transition between light and dark. The ears inside are supposed to be darker. To make the look more interesting, I'm adding some dark to the nose. And now we can play with the shades. You can remove some moisture on the paper towel and you can add some from the rings bowl. In the meantime, it's good to check the moisture level on the paper, how shiny it is. Note that this is an inexpensive watercolor paper, 190 GSM, which means it dries relatively quickly, while a 300 GSM quality paper would keep the moisture for a longer period of time. So you have more time to act using the wet on wet technique. Mine is quite dry, so I'm adding some water to it. Now you can see another interesting phenomena over here. As I added too much water, pigments ran away from this area. One of the reasons is that the water has created a hump on the paper over here, and gravity pulls pigments downward that I don't want, so I need to remove the moisture from this spot with dry bristles and give some pigments back with a less damp brush. Okay. You see, I was able to fix the issue. Another consequence of making an area wetter is that pigments together at the borderline. Sometimes it's good, sometimes you don't want that. So you have to deal with it. With a slightly damp brush. You can disperse the pigments like this so the transition get smooth again. But I'd also like to preserve these white areas. So on one hand, it's good to have a plan before painting, so you don't need to fix things that would create further issues. On the other hand, it's good to have the skill to work fast if needed. The quality paper can also help your work, and it's beneficial to learn techniques that can make things better in certain situations. But let's get back to our pig. I'm making the slower part even darker. I have a nice damp surface here so I can work nicely. Here, it's almost dry, so I'm adding a little moisture. Maybe more dark to the ears. To the legs. Now, I took some very dense paint from the mixing palette, and even the surface is damp, pigments don't want to spread. The result is the lack of smooth transition over here, so I need to address this. With a slightly damp brush, I need to soften that transition. I think I've got too intense pin down there. It's almost red. So I'm taking it back a little. I guess it's still too much. As the paper dries over here, undesired border lines start to form. That we are going to fix in a minute. I think here at the bottom starts to look right. Now, let's fix those pigments gathering as far as we can. I hope the camera can show this borderline. I'm using a clean, slightly damp brush. I'm making brush strokes in a way that I pull the brisles from the light area toward the darker side. Maybe I need more moisture. Now I need less moisture. Now, pigments are reactivating on this area, and I can relocate some of them. So the border line disappears. Note that the brush cannot be too damp, otherwise, pigments will run away again, as you can see there. To fix something afterwards is kind of challenging. So it's best to paint the entire area in one row, leaving no space to error. But I don't mind we ran into this issue because hopefully you learn something new. I still like the nose to differ from the surrounding surface. Now, let's wait for everything to dry. Or I would work further on the lower part by adding an even darker shade. And let's soften the transition. Like so. Something like that. Okay. What if I'm adding some black to the bottom? I'm careful at this point, because I feel like I'm going against the less is more saying. It's really hard to know when to stop with your painting. But I guess now is the time for me. Please, someone take the brush out of my hand. Don't worry. I'm just marking the shades I was using. All right. And our cute little big painting is complete. Or did I forget something? Let's paint the cashado real quick. Awesome. We are done now. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 33. The Elephant: Today, we are going to paint a cute baby elephant. Our form is getting more complex again, but I'm sure you can make it, and by doing so, you gain more confidence for the future. Let's draw the pencil sketch real quick. We are going to have a seated elephant. This will be its head, and this will be its main body. Something like this. The ear that is closer to us will be placed over here. And the trunk. Well, I don't have enough space for that. Now, this is the reason we have to plan our composition, but that's okay. I can shift everything to the right. So I quickly draw each shape again. Like so with a little tail at the end. Now I can draw the trunk. The forehead, the ear will look like this. The eye will be placed over here. The ear on the other side, at least the portion that we can see the front legs, illustrated like this. And the back leg will be in this position. We may see the other foot, too. I'm refining the curve over here. The tail, and the curve of the trunk. A little smile. I'm shifting the eye to the left a bit. And we have the initial fancy sketch of our baby elephant. Let's redraw with ink. I'm starting at the trunk. The ears. Good. Let's also draw the ear lobe. Something like this. The eye. The highlight. Let's fill in with ink. Let's finish the trunk. A simple mouth. The front legs with a small curve at the bottom. The back leg, the toes The rest of the outline of the main body. The foot on the other side. And a little tail. Very good. Now, let's remove the pencil marks. I bup SDI, of course. I swipe down. Being careful by the eye, I guess it's already dry. Regarding colors, we'll be using pink inside the ear, plus on the feet. And we'll be painting the rest with some kind of bluish gray. So we keep things simple again. Our elephant will have only two different colors. Of course, we'll be painting the shadows with darker shades. This time, we'll be using the wet on wet technique. So we are going to prepare the surface with water, then we are going to apply the paint. There will be lighter areas mainly at the top where the light is coming from. And as we are moving downwards, we are adding more and more pigments. Sounds like a good plan, a size two Run brush. For mixing pink, we need red and white. And as far as the blue concerns, I'll be using my cobalt blue. Plus, we will need a little black too, just to lower the intensity of the blue. Let's start by wetting our brush. I'm taking some white paint. I'm cleaning the brush. I'm rotating it, cleaning again, grinsing the brush, and taking a touch of red. That's it. We can start mixing. So additional water to make it lighter. As I mentioned, we'll be using the wet on wet technique. So with a clean brush. I fill in the places with water where I plan to apply pink colour. Something like that. I'm checking how shiny the paper is. Let's not forget the feet. Later, we may need to wet the surface again depending on how fast we can work. If you have a thicker paper, feel free to add more water to the surface. But I have to be careful not to soak my 190 GSM inexpensive paper. We can start applying the pink. But first, let's think which part will get more light? The light comes from above, but the ear lobe casts a shadow over here. So this lower part will get the most light. It will be lighter and the surface gets darker as we move upwards. Keeping that in mind, I'm adding those pink pigments to the ear. You see, Big men stay inside the wet area. Very good. Now let's take some darker shade. We can also til the paper to give direction to the Bigman flow. We usually tape down the paper to keep it tight, but this time, it's good that we haven't done so. Or you can tap it down to a smaller drawing board that you can also move in the desired position. Let's mix some darker shade of pink. No. As long as the paper is glimmering on the entire surface of the ear, pigments can travel nicely. I think I'm okay with the ear as it is now. It seems that I haven't fill in the entire surface here at the lower side. Let me fix that real quick. I forgot the feet, so I need to start over there. However, that flat surface is pointing in the same direction, so I simply just fill it in with this shade. Or we can add the bit dark, whatever you like. That's it for the pink. Let's mark the shade on our color scale. We can move on to the blue. But before that, I mopped this up, so I have space for mixing that blue. With a clean and wet brush, I'm taking some cobalt blue. We need to lower its intensity that we can do by adding a touch of black paint to it with a clean brush again. I'm taking a touch of black and mixing pigments together. I'm tossing my brush. Let's start with this shade. I need a very light shade, but at the same time, I'd like you to see my brush strokes. I'm intentionally leaving some paper white here and there. I need more water as my paper dries quickly. The tilted position just makes my job harder, so I place the paper back. Anyway, I'm trying to keep my entire surface wet because as we discussed in a previous session, pigments may gather at the borderline of your wet area. So paint on the layer wouldn't be nice and continuous. That's why I keep adding some water to the entire surface until I finish painting it. A. All right. I'm checking if there is any dry areas, so I keep them wet. But I also want to avoid my paper to curl because too much water was added. Well, this is how it is with watercolor painting. You have to pay attention to several things at the same time. Great. I have the entire surface wet so I can start playing with darker shades. Now I tear the paper to control the pigment flow. And I start adding some darker paints to the shadow areas. I'm looking for downward facing surfaces. Or surfaces that don't get direct light from above. Well, in a hurry, I've painted these toes that I wanted to keep paper white. I'm going to fix it in a second. I have to be quick with a clean and also dry brush. I don't need to reactivate the pigments there as they are wet. I'm removing the pigments like this and cleaning the brush on the paper towel. Now, as the surrounding surface is wet, pigments may come back. So once I remove the pigments with my dry brush, I quickly need to take any moisture out from the toes. It seems okay. Now I'm going to let this area alone for some time. Do it. Now, let's take some extra blue paint. Do it. And some extra plaque. Fortunately, my surface is still damp, so I can continue working. So I'm painting those surfaces that are facing downwards or don't get direclt. Something like this. We can also make the areas darker where two adjacent curved surfaces meet. No Now, here comes the usual question if the dark is dark enough, or you would enhance the contrast between light and dark. I would add some more dark here and there. I think this makes our baby elephant look better. Note that my paper is still damp, so pigments can spread, allowing a smooth transition between light and dark places. Very good. Maybe on the ear at the back, it's too dark, so I remove some of the pigments. I Good. It's time to stop, I guess. I marked the bluish shade. And let's paint the cash shadow. H. Okay. Something like this. Wish. Wonderful. Our cute baby elephant painting is complete. I hope you have made that, too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 34. The Dinosaur: Today, we are going to paint a cute dinosaur. Let's draw the pencil sketch real quick. I'm going to place the head over here. The main body over here. Its back and the tail will curve like this. The muscular leg will look something like this. And I'm placing a small arm somewhere over here. We have the basic shapes. Now we can refine them. I'm forming the head like this. Let's diversify the curve at the back. The belly part. And let's complete the outline of the tail. The eye, the mouth, the nostril. The arm will be illustrated like this. We do little hand. The leg will look like this. We are going to draw the so called plates at the back like this kind of half circles in chain that are getting smaller and smaller. I'm going to finalize them within. Let me alter the outline of the face a bit. Some fine art touches at the back. Good. Let's draw over with ink. Something like this. I stop at the arm and continue below. Similarly at the leg. Now let's draw the leg. Like cell. The arm with some curve. The eye. Let me fill in with ink. The smile and the nostril. Finally, the plates. They are getting smaller and flatter. Very good. We have the ink drawing. Let's erase. By passing the eye. I swipe down. And we can start painting with the size to round brush. What color will we be using? I plan to have a greenish base color for our dino, a lighter shade at the top and a darker one at the lower part. It will also have a yellowish orange bell section, and the plates will alternate between green and yellow colors. Let's pick a green paint. One of my favorites is this light green. The manufacturer calls it may green. It's an apple green shade, kind of a yellowish green, a beautiful color. But remember, you can always mix a green from blue and yellow base colors. And by adding water to the mixture, you can make it lighter. Or if you have a dark green on your palette for example, this one that is called sap green, you can add a little lemon yellow to this, and you will get a very similar light green like this. I encourage you to experiment with colors. Now, let's wet our brush. I'm activating my paints. I'm not sure at this point which yellow I'll be using. We'll see. Anyway, let's start with this light green. A little water to it to see its lighter shade. I think I'm going to add a little dark green, too. Let's see what happens. That's too dark. So taking more light green. More water. And I start painting. Where do we want to leave white spots? An edge on the leg? A similarly on the arm. More paint on the brush. And I also leave some white spots on the face here and there. I'm filling in the rest of the body. The plates over here will alternate, as I said. So I'm painting every second one with green. If you want to change the shade, now is the time. So I'm adding a bit darker green that will nicely travel around. I still have some dust on my paper, so I'm trying to eliminate it with a dry bar. I don't want to smudge the paint outside the outline, so I think I'm going to deal with it once everything has dried. Anyway, we have our base layer. While the surface is still wet. Oh, no, I messed up. I didn't leave the belly section white. So I quickly remove the pigments that I can with a relatively dry brush. Remember, the paper is damp, so pigments are active there, and with a clean and relatively dry brush, you can take some pigments away. Okay. Or you can also remove those pigments with your dry paper towel like this. Fortunately, the yellow color is next to the green on the color wheel, so having some green pigments in here is not a big deal. Note that in order to do this paint removal process effectively, a brush with harder bristles would work better. Watercolor brushes, including this one, have relatively soft bristles. Actually, oil paint brushes have stiff bristles. Let me show you one. This brush would be better for the purpose. But I'd like to keep the number of tools we use low. On the other hand, being flexible when you make mistake like this is a good thing. So I'll be using a color on the belly that will work in these circumstances. My original plan was to add some dark to this section while it was still damp. So I'm wetting the area again. I'm taking a darker shade of green. And start painting the shadow areas. Actually, I like to make mistakes. I look at each of them as an opportunity to learn something new. Regarding shadows, as you already know, we are looking for surfaces that are facing downwards, away from the light source or body parts that are covered from direct light. I think I also paint over the plates with this darker shade. Or with a slightly less dark. Like so. Good. Let's not forget the arm. Okay. And you know what? We can also touch the lighter part here and there, because dinos body surface isn't probably a flat or smooth surface. So by adding these shadow spots, we can illustrate the roughness of the skin. Or these dark spots can also represent texture on. Very good. While the paper dries, let's mix our yellowish color that we'll be using for the belly section as well as the rest of the plates at the back. I need a clean brush. As you can see, I have a green tinted water by now. Not that I usually have two different bows. In one of them, I try to keep the water as clean as possible. But because of the recording, I have a limited space on my desk now. Actually, this spray bottle is my second bowl now, so I can activate paints with clean water. Anyway, let's test this cadmium yellow medium first. A little ar to it. I guess this color will work. So where the paper is dry, I start adding this color. In the meantime, I'm checking if this tone works well with the existing ones, and I think it does. It has a very similar intensity, so this green and yellow can harmonize. I think this section is also dry by now. So let's paint the belly. I plan to have a curve like this a curve again. That is everywhere. I like it a lot. Okay. Very good. It nicely covers the green below, and it's not an issue at all if they mix. I think I take this yellow a bit darker. Let's paint our color scale real quick. By now, our paints have dried, and as you can see, the shades have gotten a bit lighter. This is how watercolor paints work. They get one level lighter once they are dry. Keep this in mind. So I'm adding another, a bit darker layer of paint. Something like that. Finally, let's paint a cast shadow on the ground. Like so. A bit darker shade close to the body. By the way, this is called the occlusion shadow. This is the place where light is completely or almost completely blocked by the object itself. Let me make the transition smoother over here and our cute dinosaur painting is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 35. The Lamb (sitting): Today, we are going to paint another cute lamp. This painting session is planned to be a quick and short but great one. Let's draw the pencil sketch real quick. Our lamp will be sitting in front of us an oval shape for the head, and a rounded triangle for the main body. Like this. Now for the face, let's draw a half circle like this. The face will be surrounded by a layer of wool. It will have two dropping ears. Like so. We are showing the ear lobe as well. The top of the head. Two feet at the bottom. With the hoofs. Two arms, place like this. With wool on them. And the outline of the main body. Two big eyes over here, the nose, and a little smile. You can draw the eyebrows and the highlights in the eyes. Maybe the ears can be smaller compared to the size of the head. Good. We have the pencil sketch. We can redraw with ink. I'm supposed to draw the wood sufficiently diverse. Something like that. Let's form the face. The eyes The eyebrows, the highlights. Let's fill in the eyes so it can dry. The nose and the mouth. Let's finalize the shape of the ears by taking it a bit smaller. On. That's not exactly the same size, but that's okay. Let's continue the outline on the main body. The feet, including the hoofs. The arms And this curly line above the face. Very good. Once it's dry, we can erase. Being careful by the eyes, of course. We've got our enjoying. We can start the painting session. Our lamp's face will be painted pink as well as the ears and the feet. On the rest, we are going to illustrate the texture with light gray. We are going to keep things simple, but at the same time, my hope is that it will look something great. Let's activate the red and the white. Let's wet the brush, a size to round brush as usual. I'm taking some white We are going to need very little paint. I'm cleaning the brush, rinsing the brush, and I'm taking a touch of red. Now, let's mix. A little water to it. And let's paint our lamp. This time, we'll be making quick brush strokes. The fewer the better. The ear the face, the other ear. The hoofs Very good. We are making progress in here. Now let's darken the shade. One or two brush strokes for the shadows. Let's assume a light direction like this. So on the face, we will have a shadow shape like this. Inside the other ear. Some spots on the hoofs. I guess we can make things even darker. So I'm cleaning my brush, raising the brush, and I'm taking another touch of red. Let's mix it. And see. Good. It will work. Notice that we have three different shades of pink now. Let's create our color scale at the top. The darkest tone. The mid tone, And the lightest one. Now with a relatively clean brush, let's take a little black. I forgot to activate it. Let's dilute a bit. And with this light gray, let's illustrate the texture slash shadows on our lamp. Quick brush strokes again. The shadow shape will follow a curve like this. A small shadow area on the head. Below the chin. In the meantime, I need more paint. I make things darker over here. I dilute my gray further, making it lighter, and I'm placing some spots on the light side as well. Like so. Below the ear. If you want to, you can make the dark even darker on the shadow side, creating more contrast between light and dark. But we leave this side alone, maybe at the bottom. Finally, let's paint a casado. The light comes from the right, so the casado will be shifted to the left. A bit darker. With a dry brush. H. And that's it. Let's mark this gray on the color scale. And our cute sitting lamp painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 36. The Turtle: Today, we are going to paint a cute turtle. Let's draw the pencil sketch real quick. An oval shape, kind of an ellipse for the main body. As usual, try to follow its size, orientation and position inside the paper. These are the three key properties that you need to observe when you copy a shape, another oval shape for the head. The lower edge of the shell will be a bit flattened. Oh another two ovals for the legs, or if this is a sea turtle, the flippers. A little tail over here. The center line of the head, like so. I'm placing one of the eyes over here. Let's say we don't see the other one on the other side. The outline of the head curving like this. In this viewing angle, let's say we can also see the third leg to some extent. Note that this will be a simplified illustration. The upper curve of the shell will look like this. Okay. I'm drawing two nostrils. As far as the texture on the shell concerns, I'm starting with the pentagon shape. And I'm trying to distribute the others, something like this. I just want to suggest them. No need for precision here. Very good. Now, let's redraw with ink. I'm drawing the outline of the head and the neck with one single curve. A big eye with the highlight. I'm filling it in. The nostrils. Like so. I guess I'm going to change the curve of the upper shell a bit. The lower curve, including the outline of the lower shell. But I'm not sure we need this and a little tail. Finally, the legs or flippers, if you like. And let's try to draw the texture on the upper shell. Good. We have the ink drawing. We can start to erase. We are getting around the eye, of course. Awesome. We can start the painting session with the size two round brush. What colors are we going to use? I plan to use some kind of darker brown color for the shell and some yellowish brown for the head and the legs. So I'm activating these two yellow paint. A cadmium yellow medium and a yellow ochre. Let's say this will be the base color for the lighter sections, and we'll be adding some yellow ochre to darken the result in order to harmonize with the color of the shell. I'm taking some cadmium yellow. Let's dilute with water to get a lighter shade. And let's quickly paint these areas. We can go even darker. Something like this. I'm cleaning my brush, rinsing my brush and see what the yellow acre looks like. It needs water. Let's dilute the paint. Let's start painting the lower parts. Let's tear the paper this time to keep those darker pigments down. Moving on to the legs. We can take it even darker. Something like that. Just a few touches here and there. I'm cleaning the brush, raising the brush. And let's pick a brown for the shell. I'll be using this so called Mars brown. Oops, too much water in the pan. Never mind. That will work, I guess. Let's dilute so we can start with a light shade of brown. I'm making my brush strokes like this. Running through the surface quickly. Now I'm taking a bit darker shade. The paper is wet so pigments can travel nicely. But I'm careful not to touch the previously painted parts. More dark. Applying it at the lower part. Okay. Maybe I distribute this dark further. In the meantime, I add this shade to the color scale. I guess I'd like to take it even darker with some black. So with a clean brush. I'm taking a little black. Oops, that's too much. So my brush is clean again, and I start mixing these paints together. And with this dull brown. Uh huh. Maybe it's too dark, so I get some more brown into the mixture. Something like that. I remove some moisture from the bristles. Okay, what we see here is that I touched the wet paper with a relatively dry brush, and as a consequence, the brush soaked up some paint from the paper. But it's good that we ran into this. So I could explain what just happened. No So remember, if your brush is relatively drier than your paper surface, then pigments will travel from the paper to your brush. Actually, something similar happens when we try to remove some undesired pigments from the paper, you know, when we accidentally run through the outline or something. Anyway, let's play with the shades further. I'm adding dark paints back to this area. Very dark at the bottom. Good. And I might use this darker shade to add some shadows to the legs. I. However, this shadow doesn't seem good. It's too regular, aligned with constant width. So changing its shape. Like so. Let's not forget the tail. Finally, let's mix some gray for the caseo laying on the ground plan. Something like that. Let's not forget our color scale. The cadmium yellow medium. Yellow or cray. And the gray. And our cute turtle painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 37. The Seal: Today, we are going to paint a cute sea creature again. This time, a baby seal. Let's draw the pencil sketch real quick. The head will be placed over here. For the main body, let's draw a sea curve at the bottom like this. Another one above. Like this. The hind fil purse over here, we refine it later. Let's say our baby seal rests on its front fil purse something like this. Now let's start refining the form, the different curves. A bit bigger chest. The hind flippers, separated like this. The front clipper. I'm taking my pansy strokes harder to see the chosen girls, the winners, if you like. Let's form the head. We can see a well known T overlap here, which conveys to the viewer that the head is closer than the rest of the body behind. Let's draw the center line of the head so we can position the facial features correctly. A seal is supposed to face this direction. I'm also drawing the eye level Let's place the nose over here, a kind of triangle shape upside down. The line of the mouth. With a little smile. And finally, the outline of the cheek. And the chin. Notice another T overlap over here. And I'm placing the s over there. Two eyebrows. The highlights. Our pencil sketch is finished. Let's red we in. I'm starting with the head. Notice the s curves over here. The nose with a little highlight. The eyes with the highlights, of course, try to be consistent with your highlights. In our case, the light comes from the right, so the highlights will be located over here, both on the eyes and the nose. I'm filling in the eyes. Drawing the eyebrows, the chin, a slide C curve again, the outline of the back. Try to draw a continuous curve, not like me. In here, I'm drawing the flipper, like so. On the other side, And let's finish this bottom curve. Finally, the hind flippers. Very good. I guess it looks just right as a three D form. I forgot these strokes. Good. We can start erasing the pencil marks once everything is dry, of course. As always, being careful by the ice, the ink there takes longer to dry. Let's wipe down. By the way, one of the advantages of ink drawing is that it doesn't forgive. There is a pressure on you to draw the strokes. Somewhere in the middle of your journey in art, it's worth to get familiar with ink drawing. It can greatly develop your drawing skills, which is a foundation for painting, as you know. Because by using a graphi pencil, it's easy to take your eraser if something goes wrong, but that's not the case with ink. Anyway, let's start our painting session with our size two round brush. I'm planning to paint with one single color with some kind of grayish bluish hue, and we'll be focusing on the light and shadow aspect of our painting, trying to support the three day look of our cute animal the best we can. I'm activating my black paint. And my cobalt blue. But we'll be using very little blue in the mixture. Well, it would have been better to wet my brush first. Now I need to take my paper towel to start over. I missed to prepare the paper towel because I was so eager to start drawing and painting this baby's heel. Actually, it's not important to clean our brush now, as we are going to work with one single colour, so it's not a big deal if our rains water discolor So I'm taking a little back. And because I'm planning to go into another pan with the cobot blue in it, now I need to clean my brush. I'm rinsing my brush and taking a little cobot blue. A little water. And let's start mixing a bluish gray colour. Use whatever ratio of the two paints you like. Diluting as needed. This time, I'm planning to work with a more like dry brush. I'm showing you. Now I have a relatively damp brush. Unless I'm making a brush stroke like this, maybe I'm taking it a bit darker for you to better see the effect. Again, as my brush is losing the moisture, brush strokes are changing like this. We are getting a texture layer of paint. I have already talked about water control in another video. This is part of that. This is the texture I imagined on the seal, especially on the head. Now let's take the paint. I'm testing the brush on the scrap paper. Uh huh. It's too much water and brush. Something like this. Note that it's challenging to achieve this effect with a relatively small brush like this. We have a short time frame while it holds the exact amount of moisture we need for that specific texture. But because I'm painting on a small format, I'm using this small brush. On a bigger format, by using a bigger brush, this would be easier to do. Now, it takes more work, but no problem. We are practicing at least. You can also rotate your brush to find the desired moisture level. Good. I don't like it here on the forehead. So how do I fix it? I'm rinsing my brush. I'm pushing it to the side of the bowl. So the brush is just slightly damp now. I'm reactivating the pigments here. And with a dry brush. I'm trying to remove some of the pigments. Like so. I may need to repeat. Good. Now I'm mixing a bit darker shed. Trying to lose some of the moisture. And let's paint the shadow parts. We can leave the chest a bit lighter over here. The light comes from the top, but the ground surface can reflect some of that light that can reach the chest making it lighter. Showing this reflected light can make your paint more realistic. But of course, over here, we will have the darkest shadow. Now let's make the dark surfaces darker. The light comes from this direction, so this side is in shadow. And we are moving downwards gradually. The back is on the light side. And as the surface bends, it gets less light. This surface faces downwards. It's surely darker, one of the darkest ones. Some final touches here and there. The forehead faces partially away from the light source. The top of the nose gets direc light. You can improve your shading skill by observing real life objects or photos with awareness. Check how shadows look like and try to find explanation. How does this surface bend? Which direction does it face? What shape does the shadow takes? These questions can help you improve. On a curved surface, the light and shadow transition is generally smoother. Unless there is another object around that casts shadow there. However, there is usually ambient light, which can also make that transition smoother. A, there can be multiple light sources. Lots of things to consider. Illustrating light and shadow is a very complex topic. Anyway, I'm painting the darkest dark surfaces in order to increase contrast. I'm checking the overall look, which part requires amendment. Mm. Okay. Maybe I'm doing something with the flipper because it seems too homogeneous to me. Finally, let's paint a cast shadow with a few brush strokes. And our cute baby seal painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 38. The Polar Bear: Today, we are going to paint a cute polar bear. The shape of our animal will be very simple. What will be in focus in this session is light and shadow that you cannot practice enough. Let's draw the pencil sketch real quick. I'm starting with a circle in a size like this. Let's move on with an ellipse with the orientation and size like this. I'm connecting the two shapes with curves like this. Well. Legs at the bottom. The outline can be completed in here. And at the top of the head. Let's form the legs. With a small gap between them. I'm placing the nose somewhere here. The light comes from the left. The mouth, two dots representing the eyes, two eyebrows shifted upwards, two little ears. Like so. The other two legs or arms, whichever you like. Something like this. Let's illustrate the clothes simply. And this would be our pencil sketch. We can redraw with ink. I'm starting with the head shape. Like so. As I'm a right handed person, I'm drawing this curve on the left first. So I can draw a similar one on the other side. The legs. The bottom of the belly. Close on the legs. I'm taking its arms a bit smaller. The clows again. Now, let's move on to the head, the ears. The eyes, I'm drawing two tiny C letters. This way, the highlights are included. The eyebrows, the nose. Actually, I've chosen another light direction with the eyes. So the highlight on the nose should be also located on the right, just to be consistent. H. And a little smile. We have the ink drawing. Once it has dried, we can erase except the nose. And I'm also careful by the nose while I'm swiping down. We are ready to paint with a size two Runbrsh as usual. As I mentioned, we are going to be practicing painting light and shadow. We'll be mixing a simple colour from black and blue. Let's activate the paint. Starting black, adding some water to it, more water, 'cause we'll be using a very light shade. I'm raising my brush. Cleaning my brush. And I'm taking a touch of cobalt blue that I'm mixing with black, getting a bit more exciting color that will fit into the icy and snowy environment where polar bears live. I'm diluting the paint further, turning its path this way. So I can easily choose the shade I like as I said, light comes from this direction. So this side will be lighter and on the other side, we'll be painting shadows. Let's see the paint on the brush. I'm taking it even lighter at the top. I hope the camera can show that. It's almost like I'm painting with fully transparent water, but it's not. There are some pigments on the paper. Okay. More paints on the brush. Here I can make it darker step by step. I'm consistently trying to keep the upper right side lighter. We are forming the surface gradually by taking the values darker and darker. We can go with a darker shade now starting from the bottom. The arm casts a shadow. The lower part of the belly faces away from the light, so it will be darker. This area is on the dark side. On the head, we are going to have a separator curve like this between light and dark. I On the chest, there will be something like this. This part of the arm is facing downwards, so it'll be dark. Here at the bottom, the surface will be the darkest. We can add some moisture to the brush if we want to get a smoother transition. Good. Let's not forget the ears. Let's make the paper dry. I guess I take the opportunity and paint the casado on the ground playing. Let's take a bit darker shade again. And paint the next layer on our polar bear. We are keeping the shadow shapes that we have already formed. I guess we should tear the paper now. We can make the transition smoother again with a slightly damp brush. Somehow I managed to create a lighter spot here, so I need to fix that. Oops, that's too dark. In the meantime, I'm refreshing the mix over here. And we are painting a one step darker layer. What we are doing here is that we are gradually stretching the distance between light and dark shades on our painting. As a result, the contrast is increasing and we are getting a more impressive three D form. Very good. And you play this until you think that you can still benefit from it. H. Now I need to adjust the cache though to the subject. And with a slightly dmp brush, I'm making the transition smooth. Good. Now you can decide if you are fine with this contrast, or you would enhance further. I guess I didn't work on the transition in the previous, so let me do that. Actually, I don't mind if some of the brush strokes are visible. Let's say, they will be part of the style I'm painting with. Let's show the orientation of the surface of the arm by making it darker. I think I'm going to take the lower section even darker. Note that the sun is not the only light source in nature. It's the strongest one, but the sky itself is a light source, too. So this surface also gets some ambient light from this side. However, over here, the surface gets less and less light. So I'd like to communicate this by adding more dark. Now, we've got a sharp separator over here that I'm trying to soften with drybush this time. Note that with a dry brush, you can take away pigments from a wet or damp paper. That's what I'm doing here. Finally, let's mix the darkest dark that we'll be using today. H. I'm just touching the surface here and there. As the surface is still damp, pigments can spread. Maybe at the neck. I don't know. I've changed my mind, so let's remove. Or I distribute it I'm sorry. In the meantime, I didn't realize that I switched into intuitive mode, so I started to apply different techniques in a sequence so quickly that I cannot follow with the explanation. Anyway, try to act in the same way and create some interesting texture similar to mine. Some final touches here and There. And our cute polar bear painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 39. The Cat (lying down): Today, we are going to paint a cute cat. It's time to raise the bar again. So I thought this time, we will skip the pencil sketch part. The goal would be to think less when we draw and paint and give more space to our intuition. Try not to be nervous. Just enjoy the process that you experience something new, whatever the outcome will be. Today, forget to aim any perfection in the shapes you draw, the brush strokes you make. Just let it flow. Draw and paint by instinct. So let me draw the cat with ink now. I suggest for you to sit back and watch me drawing the cat. Once I finished, you can take your turn. The composition will look like this. The head will be placed over here, and our cat will be lying on its belly in a three quarter view. But enough talking, let me draw the cat real quick. I'm forming the head with swift ink strokes. The outline of the main body curves like this. The legs will look like this. They are stretched and pointing backwards. And the tail looks something like this. Its eyes are barely open. Let's say our cat is sleepy and not in the best mood. I'm drawing the whiskers. And I'm checking the big picture if everything is right. I'm also adding a little bit of texture to the main body, a few stripes like this. Keeping the curvature of the surface in mind. I follow through on the tail. That's it. And this would be the rough sketch of our cute cat. Nothing complicated. How long did it take? Three or 4 minutes. The drawing is not perfect, but I'm perfectly fine with it. Now it's time for you to give it a try. Try to use quick and impressive ink strokes and try not to think, let your hand moving. You're ready? You can pose the video now and we'll be painting together once you are done. Very good. I hope you enjoyed the experience. Don't be too hard on yourself. This is just practice. The more you do this, the better you will be edited. Now, let's start our painting session with our size two round brush, of course. The painting part is supposed to be similar. We'll be making quick and expressive brush strokes. Try to keep up with me. We'll be using two brown colors, a lighter one, and a darker one. Let's activate the pigments. I'm wetting my brush and taking the paints. Cleaning, rinsing. Today, we speed up a little, okay? Let's dilute the lighter brown. Sure, we are in a hurry, but let's decide on where the light is coming from and what shadows it will create. So light from the right. I'm checking my brown shade. It's fine. We can start painting. Let's run through our cat surface real quick. Like so. I'm leaving paper white edges on the legs. And on the tail, too. White areas on the face over here. And on the top of the head. I'm taking a bit darker shade from the light brown. I'm not thinking too much, making those brush strokes. Like so. Let's step one level darker. Make sure you keep those white areas paper white. Very good. Let's say we have the base layer. Now we can move on to the darker brown. But I'm rinsing my brush before doing so. Let's dilute the paint a bit so we can start with a lighter shade. And let's roll et's tear the paper surface so dark pigments rather move downwards than upwards. If you persistently painted these cute animals with me, by now, you don't have to think much where to place the shadows. Hopefully, they come by instinct. If they don't worries. Follow my lead. You already know, the dark sheet can also illustrate texture or pattern on a surface. So feel free to add some brush strokes to the light side of the surface. Let's go even darker. I've run out of dark paint, so I'm taking some more. And moving on. Don't forget the curvature of the body surface. You can also illustrate the fur with some of your brush strokes. Okay. Yeah. Now, let's bring some black paint into the picture. That's too much. So I'm mixing the darkest dark for my painting. I'm trying to use the least water I can, so it doesn't make my paint lighter. Very good. It's pretty dark now. So let's add some more contrast to our cat. Awesome. I'm rinsing my brush. Let's paint a casado on the ground, play. A barely noticeable cashedo. Very good. And we are almost done, but I missed the eyelids, so let's fix that in seconds. Uh huh. I need a lighter shade for that. Something like that. Some finer touches. But I have to remember myself. The point was not to overthink things, so I stop now. Our expressive cute cat painting is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 40. The Bunny (realistic): Today, we are going to paint a cute bunny again, but this time, we'll be using a photograph as a reference and trying to add a certain level of realism to our artwork. Note that in visual arts, realism is a broader term, including various styles that strive for accurate depiction. While photorealism is a specific style that seeks to replicate the exact visual appearance of a subject or a scene. We don't target photorealism today. What we are going to do is that we take the reference photo and we are trying to make a simplified but accurate fancy sketch. Then we will refine it with ink. Finally, we will paint our bunny trying to create realistic shadows on the three D form. This would be the reference photo. Now let's turn it into a pancy sketch. I'm starting with the head and the outline of the years. Note that as this is not primarily a drawing lesson, I won't go into too much details. It would take too much time. I'd like to keep this painting session light and easy. Anyway, watch how I hold the pencil. This is called the overhand grip. This way, I can draw very light and pale pencil strokes. I I already see that the placement is not ideal. The body won't fit in my little format. But that's okay. I noticed it in time and I can start over. This is a very typical mistake when you draw bit on a reference. You start with a certain body part, you are focusing on its shape and orientation, but you forget to see the whole picture. So I'm shifting the shape a bit upwards and a little bit to the right. Like this. This is the head and the body will fit in this time. Two legs will be placed over here. In the meantime, I regularly look at the reference photo watching the direction of the lines or curves if you like. I'm paying attention to the sizes of the shapes as well as their orientations. The eyes over here, I start refining the outline. I'm trying to forget what body part I'm actually drawing. I'm focusing on its shape. This will help me switching certain mechanism off in my brain that wouldn't help the realistic illustration. This part of your brain wants to draw a symbol of an ear that is different from what's on the picture. So I try to forget that this is an ear. I'm also regularly checking the relative placement of these curves compared to the other surrounding curves. This is not easy, I know. So don't be upset if something goes wrong. Now that who will look at your painting won't know how the reference photo looked like. Watch this triangle like shape over here between the front legs. In drawing, it's called a negative space. It's a shape between adjacent objects. It's a good practice to focus on these negative shapes rather than the front legs in this case. It helps to trick our brain and create a more accurate depiction. Very good. I think the form turned out well. Now, I see that the placement is right vertically, but horizontally, it's not exactly centered. Let's say the case dough will be placed over here, so the composition will be just fine. I guess we can redraw with ink. The most important curves are the ones on the head and ears. I'm trying to make them right. You can play with the line weight if you can, but it's not mandatory. What did I say? Where does the light come from this direction? So the highlight in the eye will be placed like this. This is also an important section. It's definitely part of the gesture of our bunny. A little ear lobe over here. Kind of curve over here. The head looks good to me. Not that I'm trying to illustrate the muscles with my curve. Yes, sir. The legs. Let's draw an overlap here. This front leg partially covers the other one. Like so. Good. One curve has left on the left side. Awesome. Maybe a little detail to the nose. Like this. And to the mouth. Good. We can erase the pensier marks now. Note that we didn't draw too many lines. We just placed them at the right places, and we've got a pretty realistic shape for our bunny. I we dum. We can start painting the bunny with our size to round brush. I'll be painting with a brownish grayish color. I'm choosing the paints from my palette. I'll be using this light brown called Rosanna and black for mixing some gray. I'm taking from the brown. That's a bit intense, so I'm planning to add a little black to with a clean brush. I'm taking a little black. Let's dilute that black to get some gray. Here, I'm making some light brown. And I'm adding some gray to the brown now to reduce its intensity just a little. Let's start painting with this shade of brown. Where does the light come from? So inside the ear will be darker. This section is on the shadow side, so it's darker. I leave paper white on the top of the head. The left side of the front leg remains white, similarly on this leg. The ear casts a shadow over here. It will be dark. Paper white on the ear lobe. This section is in shadow. Very little light between the two front legs. I'm rinsing my brush. I mop it up and with a very light gray, making sure they stay separate in here. I start adding this gray shade to the surface. Kind of mixing with the existing light brown. Inside the ear, the gray should dominate. More paint on the brush. U head cast shadow over here. Shadow side over here. Let's say we have the initial layer of paint. I'm rinsing the brush, mopping it up. Now let's take a bit darker brown and start forming the shadows here and there. More paint on the brush. And the light and shadow relationship starts looking realistic on Ar Bonnie. Good. We are one step ahead. Note that this time, I don't plan to create very smooth transitions between light and dark. Now, let's apply a bit darker shade. So I'm taking some brown again. And mixing it with a tiny black. Let's see. In the meantime, I tilted my paper, so pigments will travel downwards. And I'm making the dark parts darker. Not that I don't really make brush strokes. I'm just touching the already damp paper surface here and there and let watercolor paint do its thing. Over here with this specific shadow shape, I convey the orientation of the surface in the three D space. This is a downward facing surface, so it can be darker. Like so. The cast shadow by the ear over here, And as I'm looking at the big picture, I guess a darker shade of brown would make some good. I'm taking a little from this burnt amber. We can even mix it with the previous brown. And I'm adding some touches here and there, where our bunny surface gets the less light. Very good. In the meantime, we can paint the case on the ground plane. Not that as we are getting further away from the bunny, the shadow is getting lighter and its outline is getting more blurred and even darker shade close to the subject. And this time, it's okay that this dark shade is bleeding in into the brown. It's too dark over here. So with a dry brush, I remove some paint. Something like that. But the casado is not supposed to be in focus, so I stop adding more details to it. Now, if you feel like you would increase the contrast of your painting, you can make the dark darker. But by now, I'm very careful with the paint. I'm checking the big picture. I guess I would add some light brown to the light side. And some final touches with the dark brown. A little smoother transition over here. And I guess I like this painting now in its current state. So finally, let me mark the colors we use A very simple colour scheme. And our cute bunny painting based on a reference photo is complete. I hope you have made that too. Now, don't forget to upload your painting, so I can give you some feedback on it. See you in the next video. 41. The Penguin: Sketch & Ink Drawing: Let's practice realistic painting some more. Today, we are going to paint a cute penguin using a beautiful photograph as a reference. As a first step, let's draw the pencil sketch. I'm starting with the head. Interesting enough, our penguin will be in a dynamic pose. The photograph was taken while the penguin was walking. So today, you will learn about how to approach dynamism on your painting. So this is the shape of the head, and I'm drawing a so called gesture line like this. Gesture line is used to lay in the structure of a form. It describes movement and direction. In order to do this right, you need to have an understanding of the mechanism of your subject, how its parts work together for balance and stability. Here, you can see the spine of our penguin, and I'm also representing the flippers with this other curve. The angle of inclination is crucial here. I mean, relative to the picture frame. The main body will look like this. On penguins feet, we sink into the snow. The other foot will be in the air preparing to take the next step. In the meantime, I'm checking the reference photo, particularly where this leg is located compared to the head. It's roughly in line with the eye on the right. And if I project the other eye downwards, it will be outside of the penguin's shape. This way, the viewer can feel the sideways teared. The contour line of the body curves like this. One of the flippers is over here. The flipper that is closer to us will look like this. It's interesting to see that our penguin has a longer flipper than I would think. It happens often that in reality, a body part has a different size than the one that we hold in our memory. That's why it's important to draw what we see and not what we think we see. I'm comparing the angle of inclination of this curve with the reference photo. We have to be very precise in this if we want to convey the exact gesture of our subject. There will be a cached over here, which would be more important this time than usual. Unfortunately, it won't fit into my square shape format, but I can live with that. We will also show some footprints behind the penguin supporting the walking gesture. We have a nice rough sketch of our penguin. Now it's time to refine the curves and add some details to the drawing. Now, if you observe the head on the reference photo, we see the face from slightly below. I'm drawing the eyeline. And the beak, which looks like this, it crosses the outline of the head. A very important detail again, to illustrate the gesture right. Let's move on to the main body. The belly part with a curve like this. The foot in the air. This part will be in shadow, so there is no need for sharp outlines here. And the other side of the main body, adding some irregularity to the lines. I'm making sure that the two flipper like wings align with each other. Of course, at the same time, they are different in shape and size. Some irregularity again on this curve. The shape will look something like this. What is also important is the stripe at the neck. I'm checking the distance from the beak. Okay. Well, we have a pretty small format, so we'll see what level of details we are going to show. Anyway, I'm drawing the dividing line of the black and white area. Like this. Again, the format is small, but I'll try to illustrate this thin bar somehow. A dark stripe over here, and here as well. And we'll be painting some texture over here. Similarly on the other side. Very good. I think the drawing shows the dynamic gesture of our penguin pretty well. Let's redraw with ink. The head is challenging because there are tiny details over here. Good. Let's follow the outline of the main body. The curve doesn't have to be continuous. I'm illustrating the feathers. Like so. Mm. Over here, the indentation in the snow. The other foot. The flipper on the left. Like so the back something like this. Let's follow this curve. Like so. Good. And over here, I'm illustrating some falling pieces of snow. The cassette over here. But I'm not drawing it, we'll be painting it. All right. Finally, we can add some details if we want to. This is optional with ink. A very thin stripe on the left. And on the face. I'm filling it in for the sake of simplicity. I'm checking the reference photo if I missed something. O. A little pattern over here. Maybe I'm drawing this thin stripe with ink. But we'll be painting the thicker ones later. Like so. I guess we have done with the ink drawing. Once it's dry, we can erase the pencil marks. Let's remember to paint these footprints. I'm careful over here. Now, let's slide down. Good. I think ink drawing is nicely reflecting the subject. I'm taking my size to round brush. And as far as the color is concerned, I'm planning to use a bluish grayish color that will fit into a snowy environment with a blue sky. But before we paint our penguin, we are going to paint the background first, which will be very light. I'm activating my paints, the ultramarine blue, and the black. I'm wetting my brush. I'm taking a little from the blue. Diluting it. I'm rinsing the brush and taking a little black as well. That's too much. I'm cleaning my brush. Crinsing the brush. Let's see. Feel free to mix a color that you like. I'm starting from the bottom. I can make it lighter with some water, and I'm painting the background like this. I'm leaving lots of white areas. More paint on the brush, starting again from the bottom, where the shade is supposed to be darker and moving upwards. Now, I'm adding some water to my brush. My paper is pretty damp now, so I can keep adding more paint. That's too dark, so I dilute. Okay. Mm. I want to keep the background relatively light. We'll paint a shadow over here a bit later. I'm checking if I managed to stay outside the outline of our penguin. 42. The Penguin: Painting: I'm mixing a slightly darker shade now. And let's paint the main body. I'm making brush strokes like this. I'm trying to follow the curvature of the body. Let's keep the left side lighter. I'm using the photograph as a reference when I formed the shadows. Let's try to forget the surrounding darkest parts for now. We are focusing on the front area. I'm checking the reference photo and trying to create a similar shadow pattern. The food remains paper white for now. I'm wetting my brush as needed, and I'm gradually making the shades darker. Okay. The lower half of the flippers can be painted. It's okay to paint this section, too. It will be black anyway. Let's go one step darker. Now, my brush strokes is clearly seen, but that's okay. I'll be able to make the transition smoother later if I want to. Use a less damp brush if you feel uncertainty. One or two brushstrokes on the flipper to make the surface more interesting. And let's add another layer of dark. Something like this. Good. Now I'm cleaning and rinsing my brush. Now, if you can leave the surface as it is, if you like it, or with a slightly damp brush, you can work on the transitions, blending the light and dark shades. My brush is too dry now, but I'd like to keep my brush strokes visible to some extent. Something like this. What's next? Let's deal with the feet. I'm taking a touch of orange paint. Now obviously, this would be too intense, so on. So on one hand, I'm diluting it with water to make it lighter. However, a light shade is not ideal for us now as the feet are in shadow. So I'm taking a touch of black and mixing very dull orange shade. Let me see. That's too dull. I don't know. Let me add some intensity back. Something like that. Maybe I'm adding one or two touches over here as well. It's not noticeable, but there are some orange pigments there now. I think this section can hold some light paint. Like so. Okay. And now while this area is drying, let's work out this cast shadow on the snow over here. I need some black. I'm cleaning and rinsing my brush. Let's make something usable. And I'm painting the shadow shape just as it is on the photo. Well, the composition would have been better to include the entire cache shadow, but it worked out that way. Anyway, I guess I would make it even darker. Or is it too dark? Then I'm adding some water. Something like that. Yep, that will work, I guess. What else? The footprints in the background. They should be painted with a very light shade, almost identical with the background color. Like so. Fewer can barely see them, but they are there. I can see that my paper is still damp at the neck, so I have to wait with the dark paint. Now we can wait or with a perfectly clean and dry brush. I'm taking the moisture away. We are going to paint with black now, but before we do, every adjacent area has to be perfectly dry. Otherwise, black pigments will bleed in which would ruin our painting. In the meantime, this food can be a bit darker, I guess. Actually, on the photo, this is just a blurry spot, so it doesn't have to look clearly like a foot. Maybe some dark over here inside. Shall we risk the black paint now? Let's give it a try. I'm reactivating the black. I'm taking the paint directly from the pen because I really need the darkest dark. Now, let's do this. I'm holding the brush like this. It's almost perpendicular to the paper. The edge of my palm serves as a support on the desk. My other hand holds the paper firm, and I gently start filling this section in with black. Like so. We can paint over the already black stripe, just make it consistent. Likewise, on the top of the head. But I'm trying to be very careful not to break out of the existing black shapes. Let's not forget the flipper. On the other side. Very good. And we have the beak, but it will be a slightly lighter shade, maybe even lighter. Light is reflecting from the snow on the ground. What else? If we want to, we can add some more details to the body, some texture here and there. More dark over here. Just a few brush strokes at the right spots. My brush is almost dry now. I'm very careful with water now. I don't want to reactivate the existing paints on the paper. It's too light over here. A little more dark at the bottom. This surface gets the least light. And I returned to the neck. This is where we removed some paints. Now it needs more dark as we have added more dark to the surface below. So to be in sync, this extra paint was needed. And I think our cute penguin painting in realistic style is complete. I hope you have made that too. Now, don't forget to upload your painting so I can give you some feedback on it. See you in the next video. 43. Final Thoughts: I hope you are having a wonderful time while painting these little creatures. If you have painted all the cute animals, you have done a tremendous amount of work. Please accept my appreciation. If you are just having fun with one or two projects, I'm happy for you, too. I'm curious, how are you feeling now? Did you succeed, learn something new, enjoy the painting sessions? Your feedback in the form of review or rating would be valuable for me. I'd appreciate that. And if you like my teaching style, I definitely have a few more classes for you. See you in another learning session.