Painting Pet Portraits in Watercolor

1. Watercolor Pet Portraits and How to Choose a Good Photo: Hey, thanks for checking out this course on watercolor portraits or PET portraits. My name is still Hong car, cause I've been doing watercolors for about 20 years. I have a bachelor's degree in fine arts. And I just loved to share it. I love the materials and what you can do with it. So I hope you can jump in with us. This is looking at pet portraits were gonna be, it's been more of a, an intermediate course. So if you don't have a ton of experience with the materials are using watercolor and how to choose papers, how to choose pigments and things like that. I would just suggest that you check out the first, one of the first courses that I recorded, which is exactly about watercolor materials, covers, papers, brushes, things like that. In this course, we're going to, starting with this video looking at how to choose a good picture to paint from. How to set up your paper to get going, and then sketching out the image just to get a better feel for what's going on in it and transferring that to the actual watercolor paper. And we're going to look at how to mix colors so that we get the right consistency in terms of image and the animal are gonna look at starting the painting with undertones, adding some color details, some shadows. And really, I like to look at the volume creating volume in the animals. Because sometimes when painting from photo, the photo is condensed to a single viewpoint, whereas your eyes actually see in stereo. So we're gonna be looking at how to incorporate that into the painting so that even if you're painting from a photo, you're gonna get a little bit more of the depth so that you get a feel for that. Looking at the actual three-dimensionality of the shape of the animal's head and things like that. I don't five-step approach to it creates that in your, in your painting. So I hope you kinda get that out of it. And then we look at how to paint the background, Adding Details, doing very fine details, and just getting it to look a lively and fun. So I hope you really enjoy the course and that you get something really great out of it. And I hope you share what you're working on because I'd love to see animals and love to know what kind of pet to your painting. And if you're painting a different kind of PET, then the cat that we have in this as a sample. And you run into an issue, you know, feel free to post questions and happy to answer and talk about it and see if we can find a solution for you or something that might improve the situation that you're working on. So hope you join us. We're going to have fun and let's take a look how to choose your photo. Okay, our step one is to figure out a photo to you. Now most of you will probably have a photo like this and your pad, you're standing around the pet standing around new take picture. You can use something like this. But I would suggest that you go for a photo that is more like a where you have directional lighting and you're at the same level as your pet, because then you're going to be able to have a better the sense of eye contact. Like you have here. You have light. I know we talked about directional lighting you how light coming from the side and you have a dark side. So you're going to be able to create a better sense of volume and you draw the animal and you just have a much stronger connection, a much cleaner crop as to the face and you have a much nicer just composition because if you're too far away, like in this one, it's hard to get the facial features in. And I just, it's gonna look kinda generic. You know, you might get the coloration of the animal, right? But it might not be so great. As as my former Keeney mama. She's Q. And this one is another one that you could potentially use. This is if you were just doing a black on white or single color that you're using. And again, this is directional lighting, so you have this strong contrast between the face and the background. And then the rest of the body is kind of in shade and this shows personality quite well. And it just kind of who she was. And she, you know, you get a sense of her face and her eyes and her facial features. So that's again something that will give you a good structure to the phase when you're drawing. It will be easier to make the animal look correct, so to speak, in terms of dimensionality and proportions in the face. And then sometimes you might have a picture length as you might actually get off the internet or something if you have acute KitKat photo. And this one is cute, but it's again, very flat lighting because it's a flash from a camera taken directly from the front. And so you're not gonna get a lot of sense of dark and light or direction to give you a sense of volume in how the pet looks. So this is a picture of readily when she was really tiny, she was a kitten. And you, you know, you get a sense of the kind of overall shape of her, but you don't get the sense of volume like you doing this one where you really feel like her nose is coming forward and her body's falling behind the face, and the ears are perking up. So you have just a personality thing where cuteness is awesome. But personality and connection with the eyes is always really important and will kind of help you to connect better. So if you can, well you pets laying on the couch or something or doing something else like that. You have good lighting for a window, that's a great time to take a picture. You can even do it outdoors if you have a dog who see no. Sitting around, maybe in the early morning is going to be a good lighting as opposed to midday mydata and they give you very harsh shadows and it's not gonna be as attracted to look. So take a good photo and we'll get started taking a look at how to create the image. 2. Taping and Prepping Paper: We're not gonna talk too much about materials sufficed to say that even when they'd watercolor, pencil, and brushes. And if you have a piece of paper, you'll need to take it down from the art stores. It's just a piece of masonite, but it's been just so on one side so that it our archival for whatever you're taping onto it. If you buy Mason IPE forward from a Home Depot or something, it is not going to be as archival because glues that are in there. But I do still use. Or it's fun that you want artist grade masking tape and you just want to take about a quarter to a half inch my papers and cut straight square. So I'm just going to take a little bit more to type it, tape it. And this piece has been as from a roll of paper white keeps curling. Its just cut from that. Sometimes that's a cheaper way to go if you're going to be doing a lot of watercolor, just get a big role. You know, you have the paper you like and you just keep going with it, cutting it. Our board, straight piece of papers as flat as possible. There's no correct order in which to do side. Sometimes it is easier to take one end and then take the sides down off the paper to flatten out better. Before you need now to the way that tape down flat so you get bubbles on the sides, otherwise you'll have seeping and underneath on our side. And artists grade masking tape so that you have a high quality acid free paper down. And this one is found about ten by 14 inches. Little smaller once I finished because I will trim it down. There you go. That's your piece of paper. And this will keep launch. We went the paper. It will keep it from buckling too much and it will return it back to its original shape. So that will be next. We're just going to whet the whole surface of this paper and let it dry. So if you don't already know about your watercolor materials, I do have a video that you can check out on materials, Cisco to my skill show channel and check that out. And it's been our lung, but it does give me a real good feel for what your color and your paints. Ipad, sadness, take book, clean water from my cup. And I'm just going to wet the surface is paper. I'm just going to loosen up some of the sizing, make the paper a little and the page a little bit easier to learn when otherwise, the paint might sit on the surface and it can get a little bit difficult to work with. You kinda saw the paper, the water beating up there. So this is gonna do it. And it's probably, I smell a little funny when you do this, especially if you have good colour, good quality paper. And it's gonna start buckling and warping a little bit. You see this surface is starting to have a little bit at warp to it. So it's going to happen when you would it, and that's perfectly normal. So just, you know, don't like drown your piece of paper, but it's enough to get it fairly well. So just get that in. Let it soak and let it dry. And I'm going to do a ton of wet into wet. And again, he hand whatever we do, we're going to do it in section so that we're not deleting all over this whole page. Alright? So when your paper and get gone. 3. Making a Sketch: We're waiting for the paper to dry. I'm just gonna take a little time to sketch out just the composition a little bit, get a sense, just work out a few visual details. I've looked at this. The width of the cache is taller than it is wider than it is tall. The height of the ears is approximately the height from the tuned to the eyes. And just getting a few things established him as I'm drawing hat and as I'm painting, I'm going to have a better sense of what's going on. Visually. I have helium into soil 2y. So that's part a says just taking some time to just make sure that you get some sense of what's going on. I'm using an f7 extra smooth pencil. And you know, really kind of dark as far as pencils go. You would wanna use a H B, H hardness as you're transferring onto your watercolour paper so that you're not getting really thick pencil lines on it. The other option is to use watercolor pencils. Once that dissolve as you do, especially if you're here, you're animals. And all in the grace, grace scheme as this one is, you get a sense of at dissolving epsilon will dissolve into a painting. Or R, C, I swear too much. I'm sorry. Thank attention to the fact that we have not just the pet and I also have a pet on a couch. Now, if I wanted to, I could think to couch out. And that may be OCHA choice at this point. We just make sure that we have the edge of the cat's fine at darker going home. And this is a highest plastic erasing. Now it's hard to see with the Navy, but she is Paul here. There's actually a second of all species on top of kind of a slip surface. And to create something that she's sitting on, a rock, all sorts of things. If we don't want it to be accountable. So we have choices. As easily as you can get a sense of the tonality to use. Printers, you can get the composition. Just knowing more and integral is essentially this local color, which is already a fairly dark particles that are also how this area here is my new finally doing the painting. So things locally and are not a Stephen King. And it can kick the system itself. 4. Transfering the Drawing: So I have my sketch here. And when I notice between the fixture in the sketches, that's the tilt of the head is off. The head is tilted more here than it is here. And so as I transfer this drawing over to my finish drawing, our finished painting, I'm going to be mindful of that. If you can take the photo and enlarge it on your computer and printed to whatever size you want. And then dada through a light table. To me looks kinda cheating because it doesn't really teach you how to draw in the end. So what I like to do is actually just take the picture dried on by hand and do it with a mechanical pencil or a number two pencil that's going to be fairly easy to erase and fairly light if it does stay under the painting. So we're gonna do that. And this is going to teach you again, you know, it's like I do this so that I remember the changes I need to pay attention to, the shadows I need to pay attention to and whatever just is there. And for myself, then that's, you know, that stuff keeps you learning how to draw. If you just copy the image, then you're not really teaching yourself how to draw. And that, that leaves you in that space. So just copying from photos and things like that, which is not helpful as an artist. So I'm going to be trying to make sure that I get this line of the eye is correct when the tilt of the head so that it is a little more accurate. So it's something this, right? Remember the IQ that had a little too wide the first time? So I'm going to pay attention to that as well. And just draw a nice light oval here. You may not even be able to see that. And then I'm just going to, you know, it's, it's good to take measurements here to kind of see how big something is. Comparatively speaking. So the distance from the chin to the lives and formulas and I was almost the same. So when the eyes are well more than halfway up the home. So you know that the nose is probably going to be around here. So we're going to do, like I said, this is a fairly wide sketch. And we'll look at the height of the ears. Let's say it's felt from the chin to the eyes. So that's pretty tall. Something like this. So we're pretty close there. It seems exaggerated when you're drying it sometimes. But it's good to pay attention and trust. There is a measurement, so it doesn't always come out looking exactly right, but you get some idea what you're doing. You know, figuring out as I'm drawing this that hides in the head. Pleasure wise, it looks okay. It feels a little off to me. They're just gonna see how it occurs. And there's some guide areas in here that I'm paying attention to Arizona join so that I make sure that I'm keeping that space predicting a room with what's in the photo. And you can always measure, let's say the term here, where Zedong phase is probably about 30 is. So this might be different, whatever just summarized at the sweat and the crime helps you keep things in line. Dash is drawn. There's not mess over here. Wrong way to do that. It's just making sure that you have more accuracy here. Her down bolster. My Phil, I am looking at this now. I have shifted the head a little too high so I could go back and move this whole thing now and just kind of do it over again. And this is just, this is kind of how composition planning goals. It may seem like a lot of work. And it can be, you know, I'm not always that patients sometimes I just say GET and then I crop it at the end. But for the sake of argument here, why don't we just do that? Make sure you could see it's not always just fun to use, but what the sketch, it doesn't matter as much if it's accurate as it does with something that's a little more finished. But anyway, so I'm here a little bit. Having a brush helps you to clean that debris off about getting your hands as much as all over the piece. So, and you'll still see a little bit of the pencil marks to my node to drop my space down here. All her ears are credited as Kitty did have some huge rural gravity years. And that was just part of it. And sure. Backbone here that my eye level is kind of accurate to camps. And you can look in, look in this drawing when you wear the ear comes down with a meteor comes down. It's right in line or through the eyes come here. So it gives you an idea of where to place the eyes. And the nose was right there as well. If you follow that line. So there are these proportional rules that you can follow. It comes to drawing, painting, animals, people, something to pay attention to where your vision. And sometimes you can draw lines, you know, that kind of help you to delineate spacing. You are guessing where something goes. To the left side of the page that I sent them at Stony Brook University in story. Okay, so now we have our cake Jack here. Now it looks pretty good here. So terribly far. Does also helps to have a general sense of anatomy as you do these things. So she can get a pretty good idea of where things might go and when something is off. I'll be honest with you, I've not studied cataloger, made it beyond having my own cats curve along time and watching them so I get a sense and once you kind of know where a hearing their anatomy and goes, easier to extrapolate from that where something else goes. So we do have that pocket. So we have a pretty good sense of arcades. There. Was, you know what, these guidelines to be too heavy. Really, this is probably more than I would put down for drying, but more so that I can see what I'm doing. We have, we have a sense of what's gonna go away and we can get moving. 5. Mixing Colors: So we're going to start painting. And the first thing, it's good to have a piece of scrap paper, preferably of the paper that you are painting on so that you can get a good sense of what the colors will look like. Because we have an extra space around this piece, I can use the border out here to tests and colors. And because she is a fairly neutral color, I'm gonna test out a few things and make sure that the colors we have are really complex. What we're doing because I should put painting a bird or you're painting flowers. It's pretty easy to just make good. And evil is neutral so you can do it. But I, I tend to prefer to see drug hole is at war and just get a sense for the mixtures before we get started. I'm going to do some of that here. And you can go ahead and have your palette out drops and water and all the different colors. Especially the neutrals here, will be really helpful. But also some of the other colors which you go into. A little bit of warming in some of them and a little bit of fun with the college rather than just completely straight from the two. So we're gonna be probably mixing a few things. Have Payne's gray, that's going to be another one. That would probably be useful. So let's take a look. Really guest of this over here is going to be a pretty good color for us. So I'm going to somehow and I'm just gonna put a little bit down. Now when I look at it and you know, that's pretty close to the color of her news. It's a little bit warmer, a little bit brighter. And it's okay if we embellish the color just a little bit to make it a little more fun. But they still give us a good sense of it. We can add some something a little bit like a paint grew into this and tone it down a little benefiting walk to. And that's going to give you something a little more muted, more close to what her actual colors do. You can also use like a blue or something to do this because roundness, orange colored family. So you can get a little bit of glue in there as well. And just this is ultramarine blue. And you'll get a similar results. There might be a little more vibrant on because anything in the gray family will tend to tone down the color and make a little more bland. So we have that, we've got a good sense of that. Make sure you have some paper towels with you or rag of some kind. Russian zone. It's not to swish all the color into your water because if you're using the same time, then you're creating a little bit of a mess. You might not want to have some clean water and a clear a bucket for Washington and brush if you feel like you need to do that so that you have a little more room to maneuver. And especially this water gets real dirty or we're going to replace it. And this is paint scoring. And I know that by itself, this is going to be a little bit to blue. To go with our key. There are some areas where we can probably make it work. It's all about her town is a little bit warmer, so we're gonna go just add a little bit of something in their system. Burnt sienna might take some extra to get it to warm up because it is a fairly strong strength in the paints. Greg and anything in the grey or black family will tend to stay kind of muddy longer. So this is going to be a little bit warmer. Knowledge put the dark areas. So first to start with. We also have with us just a little bit see happily over and I have here I'm trying to see what that looks like. Die we did some of that money, so I don't like that. Who might just take some yellow ochre? And this by itself is coming due to strong in terms of a Gallo at Phoenix and yellow ochre. Too much pain screening. And now I would say that's probably you just move over a little bit and try and get a cleaner piece of CMO here. Down on the moment again. So that's a little bit too strong still the yellow ochre can have a really strong just watered down that you need to. So this is more, if we use enough water, we're going to get this sort of yellowy color. But strong. Or what I like more than maybe some other scientist to pick your colors. So I think that one's pretty good. And I'm going to dilute it down even more to get started. So you should know that, but with watercolor, so you know, it's good to start with your lighter colors for so you can block in some areas. It just takes time to figure out the colors, trying a few different things. Tinting blues into color if it seems too warm or adding warm colors to it if it seems too cool, Now don't let your colors get too muddy. We want them to still stay nice and strong and hope to see what kind of palette you come up with. You can even put them down on a piece of paper and then snap shot and let us see what that looks like for your pet. Each one is going to be a little bit different. 6. Undertones of Color: Okay, so I'm going to use my somewhat large brush here. So second number 26 or something. And I'm going to just block in a few areas where we're going to walk the lighter brown to go in. So like the tops of the ears for sure, maybe a little on the sides, the top of the head. Just to give it a little bit before watering. Ten, you'll notice areas around the eyes that are some whites, but really only in areas where the lightest hitting. So we want to be careful and make sure that there's enough water there. Don't drop into those areas. So it was you getting some around the face. And there's a fairly large areas where we can watch this scene because our overall is this sort of Beijing coma. So we can get away with that pretty far. And then because it's brushed holds a lot of water can be really good for picking up or these sort of wash areas that we want. So though the areas learning as we want to, we can credit Wilson back and putting the water down before we start keeps it barely contain so that it's not flowing all over the page if we just set it down. So here we go. We have some water and we have some lighter coat of paint down. So if we want to work went into wet, we can get started and take some of this burnt umber and little bit of the Payne's gray in there. And it's okay to have a little variety when you're working with animals because their coats have a lot of variety. So you're gonna get a lot more intriguing there. And if you get a spot where you do not want kate, thus ways to critically brush and just pull it back. And this area of the face. And then keep it pretty light here because there is some light that shows from under the first or we're going to people who are pillar there but not too much. And you can kind of keep going in, filling in three spots in there. Feels right for you. A lot things we didn't test yet is the lighter QP color and ears. So while this is sort of settling in and drawing a little bit, I'm going to go in and just test a little bit of a peak hello. And that's a little bit sort of a orangey brown. So, you know, put a lot of, couple of reds in Lear and then go back to this burnt umber. And that's probably going to be able to go to Brown. So over and I'm kind of walking you through my brain process. Davis, I don't usually stop and think about it as much as more intuitive, but it gives you an idea of how I go through this universe is starting to look a little bit more like the peak on. There. Might be a little more of this sort of Alizarin. And that's the ring chromosome. So that looks pretty close. And if I diluted down, I think it's going to look even better. Sort of new to pink. So I think that's pretty nice. And I can kind of start with that in here. And as I do it, that's, it's pretty heavy. But one of the things about watercolor is that it dries lighter than it looks when you put it down. Part of that is the pigments. And getting absorbed. Color here in the green, yellow. We can try that with a hooker screening in Archaea are Sap Green is a nice color. Sacraments not always archival, or has the good light fastness, so it may not be the best choice. Always put if you're just scanning this and emailing photo to somebody or something like that. That's one option. This is a little too green still, so I'm gonna take a little bit of yellow ochre and just mix it in a little bit. If I do this, that's looking pretty close to the eye color, which you might be more green, you can leave it more green. I like to do a little more accurate. So now I even use both of these terms because there are some shadow in her eye and just to get that cooler tone in there. So it's good to test these a little bit. I want this to be pretty pale in her eye. And sometimes you might want to go with a smaller brush when you're doing this to try and get the shape corrects on something like this. And you can correct that a little bit because you have that dark outline around her eyes, so it'll help you shape it a little bit later as well. This is where having piece of paper towel comes in handy. You can lift up color pretty easily. And if you notice in the painting around the photo is I actually is darker. Pull it back just a little bit. Maybe that I end up going and actually, as we continue. So this number here and a little bit here in the knowns now, I kind of feel like it's nice to have that a little bit. When I do oil paintings, span acrylic paintings, I like to make sure that I have a dark and a light bright color on my painting so that I don't go to unit with my colors are too light or too dark with them because it's easy to go one way or the other. They're going to let that bleed and a little bit like just gives a little more loose field. And now we're going to let this dry for a little bit so that we can go on with another layer and it's not going to just kinda lead everywhere. So we'll give it a minute and let it dry. 7. Shapes and Shadows: Cake for his dr. Now, from this first slide, the couch is very similar in color to the cat. I'm just gonna go ahead and do a wash of color for this undertone on a couch as well. In a little bit. And that way we're going to have just a lot of continuity in unity in their day wanted to be a really light. So as I go in, I may just take some paper and plot it out. So a little bit darker than I'd like. So I'm going to just go back in. That's pretty good, funded by having really good watercolour papers saying on an orange color now. And you want to just tell me a little more wholesome if it out and just serve some more water on their list works a little better with paper child and cloth here. Because it's classism alterity. But this lets you pull out even a little more color. That's pretty light, close to that actual couch in situ sitting. And we have that. We can keep that clean and then we can go back to work and analog sides here because I wrote this down, but I'd just like to know so you know where the edge of the drawing is. As I do that, I'm I'm focused starts at some gray towns that have this. Payne's gray and brown mixture pretty light because it had a chance to dry. It could use long brown or next. Just become the way it drives. Just using this to kind of want them to go dark areas. You how dense you want those areas. And now needs to be done to me. Or you can put some more water and on the edge. Here I ranked choice helps you control the water flow a little better. I like to work my paper a lot and that's why a good quality maker so important. Otherwise, we're just gonna go and launch stroke and you're done. Personally. Even with watercolor cases where you might have a fair amount of color mix together, so don't run out of it the moment. You do, you can always mix on ammonia or make it a little more interesting. Variety, animals sharper. But don't get too picky. Yeah, a lot more. And the shapes, coloration, white brush stroke tend to follow the contour. Based on how we can establish the lights at darts. And we get bad. Luther later at the men because they are darker tones. These striations in things that she had in her cadres strikes. So those are things that go on last because the shape of the shape of the animal is going to be a lot more important. First. Then the those little details, the markings, I don't know like this are important because it's gonna make it look unique to this particular animal. But you also want to be aware that the shape of the face is going to be number one on this importance list. Getting that structure first. And then we'll be adding so stripes. 8. Fur and Features: I've let this dry again. Not completely drive, but it is pretty dry. And you can see on the video, but this is still quite a big part of it is that it's spam. And that is the reason why we pushed this tape around it because it's going to help it laid out loud again, may not be super completely flat, but it's going to be as flat as possible once it's completely dry. So that is an important step if you think about skipping it. I don't recommend especially on a piece like this and we're gonna be using a fair amount of washes, just getting a sense of my trusty paper towels here. You're gonna work on the eyes just a little bit. So now it's really easy to think of as being notice here on the top of the eye and then around the iris. Or making a fairly small brush. Brush. Now, a little more friendly. The process of modeling the shapes of the face. Working on. Notice that switch to a smaller crashes, I can just add color. Sometimes two pieces by at the same time. You feel like you're not waiting around? Some people will use hairdryers. Technique changes. Yeah. Okay. Sorry. All right. Ok. And here we are, you know. Okay. Woo. Ha, ha, all. In Turkey. It's cool. Ok. Cuz you Ingles. Aha. For me. It's a three root. Two. And all we were distinct. Thank you. Something like this, right? Mm-hm. What I'm doing right now is that this areas, I'm going to go over this with the darker town. It's going to cause some of these areas stably working dark. Before you finish the lighter layers? Yes. And I'm just looking at areas where I have lights and darks. I'm checking either dark or are there to dry much lighter than what I intended. And then kind of just repeating what I'm doing. Each step. I'd like to see a little bit of where you're standing with your piece, however you come along with it. And do you have any questions? Please take a photo and add it to the gallery interior project and let's just take a look. 9. Deepening the Shadows: Okay, so let's get back to it. We're going to be adding more shadows, smaller. One I would say is I went in to erase the pencil lines that I don't need anymore just to clean it up a little bit. So if you call if that's what you wanted to do, or just take some of those darker sort of need to maximize this darker Keynes graying and unburned mixture. We're not going to be adding again more shadows. As you're looking at the picture. There is actually a space between the catch in a cap that is kind of equally darpa on both sides there. So it alive, I just certain separates it. But overall that's the sort of Dart, swatch on the cow. And then on what kept. You just add a little more depth there and make it look interesting. Woman, going back and here I use cells that area, era and, and behaviors create dark current. Still looking at the contours, the face, shape events. But the skull structure and I can get pretty solid feels her that. You just want to keep going continuing to add some of these darker areas. Building the shape and the shadows. What I like to work on masses is creating auto volume here in the front. Because this sort of feeling a little flat. So one thing we can do is take some of this. We're just gonna take some of this burnt umber and just kind of putting it in here. It's gonna give us the feeling that the couches certain edge to it. Super hard edge. Nafta kind of created gradient. And we can add a little bit darker. And this is Newton's law, says guys, I'll put in a little refold into that fabric so that it has a little bit more sense to put it back here after the couch. Mainly just because it's going to have less contrasts with the body of the man that's going to make it look a little more bath in the back of it. We don't want to get it to dark just enough to give it a little bit of that feel of being there. And on this shape, it looks like there's one we're gonna get to paper. And as that drug or I go back in, so don't get too crazy with it. And just start adding a little bit on the markings and we're Summit. I convinced them together. Starting to find media areas a little more here earlier, but I prefer to have a little bit of space to do it. Once I know the larger shapes that are looking at the white saying this picture, base areas under the enter on the eye, they're not actually pure away, but just like we have here and now, I'm just gonna go in dark in those areas just lately. It's only went up up here. Why? Because look really nice in water to the Senate going look like everything. That can also be the case that we have this. Like we almost white. And that means that area next to it, actually much larger than your neighbor. That dark. But there is so you can solve with just strike a room. Do you ever work? This needs to get darker. It's because we made the church or darker. Stolen a little bit of this light body distinction. We'll see how much lighter these areas dry, even our panelists so much cooler. Now, work in layers. More drag, more. You know what this area to compete with the cap for still want it to be a bit darker and match the coach. Make work rate close to adding some detail in this. It's like in the ears here that we could go in and buy a little bit some shackles on. This one, especially darker. Gi a lot lighter. In full effect, just the whole office. For the English infrared light is going to be a little tricky. Referred it to lie there where. So once this is dry and once we're finished with the white until a few areas of pain, namely there's a good spot to the eyes. That means BY adding those course, also advocating chance. Most of the time I'd always worked, but I think that certainly for me. Yes. Hopefully you're following along. You can see some of your progress as well. I'm going to go into the details next, so I'm going to leave a little space for this to dry and then move into the background. And some of the details. 10. Background Step 1: Let's chop some color into this factor. I'm just going to wet an area that we can walk. But some code that's going to do this in a unit of green silicon. A little sense. Nature, isn't there something that's going to kind of match what they're to have but may be a little bit darker. That looks pretty good. Skilled jobs. I still wanted to have this feeling that maybe being a window behind her. So I don't want to be super-strong with color and puts women in my social space, reflux and miss out. And we'll do some of that again. At some point you have to make gives us assertive model. Sensor Green outside without being super strong. When you are looking from the inside to the outside, objects inside are always darker. And whatever is outside, unless it happens to be a nighttime image. There thing outside is going to be lighter, brighter than what's your Often if you take a picture of something in the house and there is a window of time that it will actually be white. So you don't actually see anything. The swatches for paper gets a little bit of texture, so tough, just flat. That's a little bit here. At the bottom is pretty racking. And unless you pretend that she has a little shadow there and kind of matches. So now you can start adding details as you feel comfortable. And this little mouse strains are there. Now go and add a little bit of darkness in layer with a smaller brush. They go through her eyes and now their people from this, so you get a sense of where they are. So any ice wants and needs, brushes. La, Nutella use dependent medical, sexually. Are those tiny version of this. We think. Because once you change the size of the brush, your changing the size of the stroke. And that is that change. What you're doing. As you can see, a change in the screw. Latch. Something a little bit more ground, you must occur. Coffee a little bit around us are sometimes sufficiently kitty cat. So again, they're dropping grapes here. More brown them. Straight, dark. Notice that the base is a little too wide. To eating more. Children, their offspring it in a little bit. 11. Background Step 2: Dark spots into this area right here. I'm going to go into work. I was using vilifying pressures to do that because we are starting to get more into the actual the top layers of that. So I'm going to do, get really interested in doing just doing these little tiny fractions of a closed at this size, the size of the affairs of so fine. It's very difficult to make to do that. And I'm going to add a little bit of the background here. No. Isn't it? Sit down. When you step into the areas of critical skill, that feeling of their condition for which there are the messiest achievement to new hosts. So the area is the learning objectives that seemed to make a little more subtle. For there were cameras, tasted a simpler vector, much upset. It certainly venture that came from the Chan, the aperture so that employers look for There's two key points one by one. We're taking these two points. Who knew? Instead of them? Let's see how far you've gotten. 12. Fur and Fabric Details: Yes, my little brush to add a few little hairs into some areas of the third. Didn't do that. Like this is sort of fading out into the back. And there's gonna be some whiskers coming here. So I'm worried about the areas are not quite as intricate as worried about those. Notice that these are flat shade. Issuing. One area. I wanted to point out though, the ferry animals is paying attention to the ear area. That's where, you know, with cats, dogs make cases here that we'll see the hair little more pronounced. A fair. There's actually more white hairs in there than they are darker hair. So kind of just to mess to cause a little bit at blending from this dark line that I had here. Also on this side is going to exceed Monterey. Hairs are white area trying to clear some gaps between these brush strokes. Some of his other students were, again, just creating a little flourish. Why would we ever that lighter Thatcher into something else? These people, over and over and over again. Just the shaded areas here in a little more shape and a little less blackness here. So there's one more pink and brown. Anything else is just sort of extra on top. There's one thing I wanted to do, which is add a little bit of this patterning to the couch, computes the count just a little bit. I would say go without it. There's a little bit. The lack of a better word is going to go in. A larger. Ships will have to be too intense. But taking best sensor is in a very specific capture the very specific pattern on it, rather than just some generic H caps is here. Now if we wanted to on a dry brush, could go in a little bit. Texture. So the sharper touched their lives. Fields are first pattern, but it's there. So they're fairly far along. 13. Whiskers and Finishing Touches: So I start with my wash, titanium white. And I'm gonna add some of the little details and the very last step. Then maybe carries where touch in here. But mostly this is going to be in a phase where I do some of this. We touching the white. And I don't want it to be a pure white because that's just num comma query. Nice. So I'm just gonna take a little bit of color and its mix it and so it's just a little bit lighter, but not quite diverse. And Katlyn speakers on handout that you used to do this with. Good cat whiskers are really tiny to fund the end. That can be really nice for teachers sometimes. And they fall off the cat's randomly. Some terms. Yes, he's going to be very translucent. To be super thick. String just in very much Piscivore. All right, here's, here's some common interests. And this is you don't want to straight, right? Because it's just ONE, two. We'll go in and they're like snowflakes or something. It's just, it's a little unpredictable. Can stand up to much. Painting. Especially if it's your strong wouldn't have enough wherever. We're just not going to work, right? First, chips will become hence thick. Hesiod pushing harder to change it to pay off the Fresh. And there's one more starts being more share with such a blue, green. Oh, nice. Him or her to the eyes themselves. They're swaps. The ideal time when income to create something else. Yeah. Mm-hm. I'm going to add just a snitch more for just a couple spots. Targeted to make content. It's sort of a thing they were scenario. It's very subtle. Drawings. It's these kind of gas so militant and contrasts with the word Townsend. The games. This is too much, if you can tell, but that reduction in just that little family knows that we do. And it's the contrast with those write those oranges and colors. You need to tap into. Just a subset. Great to sit. Isn't feedstocks? 14. Final Thoughts and Trim: So our final step, I always find this product the most challenging is to sign a piece if you want to put your name on it. You know, some people understand what bright, bold. I prefer to kind of hide my name so that it's not super strong and focuses on the image. And I think that's kind of a nice way for me to do it. So I just usually in these really tiny 0 brushes, but some kind of a good color bread or something like that. And then the last step is to show in this piece of paper, if you Venusian gust of random piece. If you want an eight by ten, just use a ruler, an exact don't I pressed a ruler down and just draw the exact straight. Or you could put the ruler on the side of the painting and node here so that the exact and I've slips is not going to affect the painting itself. The other thing you could do is erase the pencil lines and then just track this outside a little bit. And then you'll have this sort of nice soft edge. And the painting, I don't want to kind of pretty you mad, uh, Matt around it. And that's another nice voice and take care of it. And you know, you can go through, if you're happy with your painting, look good ohmic, but for those spots that you didn't like about it. And then you could say moments to look at, okay, there's something I would change about this if I were to do something to edit it a little bit. And I think the one area I would notices is the corner of this array is actually higher than I would like it to. Pisa would bring it down here. And I couldn't rework and scratch the paint out and put more hand. But with this paper, it's a pretty good quality. But I noticed that the scratching may not be the best thing for this, so I'm just going to leave it as it is. Close match and I'm pretty happy with it. So I hope that you are carrying out brain. They are posting your progress on page and we can all take a look and kind of share how we're all doing and, and encourage each other or good pointers and tips and then think about how we might improve our piece. So thanks for joining, and I hope the CLR PET portraits coming out.