Sidney the Red Squirrel. A Free-Flow Watercolour Masterclass with Jane Davies | Jane Davies | Skillshare

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Sidney the Red Squirrel. A Free-Flow Watercolour Masterclass with Jane Davies

teacher avatar Jane Davies, Professional Artist and Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 14m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketching Out

    • 4. Tail and Leaves

    • 5. Sidney First Layer

    • 6. Sidney Second Layer

    • 7. Legs and Leaves

    • 8. Eyes Nose and Ears

    • 9. Finishing Off

    • 10. Final Thoughts

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About This Class

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

In this class, we will look at multiple ways to use this liberating wet on wet technique to paint ourselves Sidney the red squirrel

You will gain yourself the knowledge and confidence and a big smile on your face! 

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

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


I will show you:

  • How to paint Sidney using very soft layers/washes to build up depth and character
  • How to create those lovely vibrant leaves with an interesting and fun technique 
  • How to section areas off then soften and blend using layers
  • How to create that wonderful fluffy tail
  • How to pull the painting together with the smallest of tweaks at the end

You will be painting the fun, characterful red squirrel and be amazed and inspired to add these simple techniques into your future artwork with confidence

Past reviews

"That’s the shortest and best class on Skillshare"

“Jane has immediately become my favourite SkillShare teacher! Her unique style and explanations of how and why are fantastic! Thank you, Jane! ”

"A very enjoyable way to begin to learn the fun and skill of watercolour"

“Thank you sooooo much! I've been waiting for your class to start. I'm thrilled. Love you’re easy to follow style. As a beginner, it means a lot to me to be able to follow the lesson well. Looking forward to the next one.”

“Hello Jane, I viewed your lessons fully and will rewatch and paint. I see where wet in wet can be an enhanced feature for illustration. Listening with my headphones and the chirping bird in the background was a lovely feature :). I have a Samsung tablet and the resolution and sound is really beautiful for your lessons.”

"This class exceeded my expectations! Wow, congratulations Jane!! Just watching this through... I just LOVE trees, they are my enduring love, so I may take some time out from surface pattern designing to just relax and watch the paint flow where it wants! Love DS watercolours too, so I'll have a rummage about, see if I have some granulating ones too. Thank You! Lovely bright, cheery class :O)

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

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Meet Your Teacher

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Jane Davies

Professional Artist and Teacher


Let me tell you a bit about myself...

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

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




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

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1. Introduction: Hello and welcome to this intermediate water color class, where we be painting these rather cheeky but character for red scroll that I've named Sidney now are going to be sharing some really interesting and fun techniques with you. If you're just starting out in a watercolor journey and haven't done my beginning classes. I suggest going back and looking at those first before plunging and painting Sydney, I'm Jane Davis. I live, paint, teach a walk my lovely spaniel in the beautiful south downs National Park, England. Over the last ten years, I taught myself the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun and sometimes daunting. But it's allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis or as part of a group in a wonderful studio in the heart of the south downs. I also run a successful commission-based business, painting PET portraits and wildlife art in my own home studio. In all my classes, you will follow along in real-time. Or I can guide you to keep your work loose and fresh without over fussing. I'll be sharing lots of tips and tricks along the way to. I provided you with a template and a beautiful reference photo of Sydney in resources pages. The template will give you the right shape, so you can just enjoy painting him. In this class will be applying several subtle layers to build up that lovely sense of depth. And CIDI character will be adding lots of wonderful autumn colors and an easy fun technique to create as an interesting patterns and marks to form those leaves will be sectioning areas off to allow us to work on certain parts. Then using techniques of layering to soften and bring them all together. To also show you how to achieve that lovely, fluffy and natural tale. I'll be sharing with you some of my thoughts, tips and tricks on taking the time at the end of Sydney to bring him to life. If you'd like to learn more about me or my work, please pop over to my website at Jane Davis watercolors dot co WK. This can be found on my profile along with links to my Instagram or Facebook pages. I'm very active on my social media pages. Well, I love sharing my art, especially on stories with many ideas, works in progress and tells us Julia life. I really hope you will share all your paintings on the projects pages. As I loved seeing them, our species. And don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in his liberating wet on wet, loose style. So come and join me. 2. Materials: So welcome to Sydney, this grill and he's autumn leaves. Another Q1, I think. So I am going to run through all the material that you're going to be needing today. And as no more, I've got all Daniel Smith paints better. Again, you don't need Daniel Smith paints and you don't need you need these particular shades I'm using. So have a good old ROM engineer in your paint drawer and just find some lovely autumn shades. Little school is quite open to interpretation on the colors you use. I personally use poppy, Italian, burnt sienna, and the war umber, mainly an ultramarine violet butter. It doesn't matter. There's no, no rights and wrongs with with him. I will run through my selection. I have audio vet Gold, which is just this. Or when he colors hair, Italian, burnt sienna, which is the majority of him. And he's body along with the war on, but down here. And I've got credit crunch, ohm bird Scarlet, which has got a really warm reading, is lovely. And that's great for the leaves. Tiny little bit of white Guo ash. And that is just for the tiny hint, Tony dies. Ultramarine violet. And again, I used a little bit Hinton he, on his body. And the lead just makes a nice mixture. I've got Kinect could own gold and that's a yummy color if you haven't come across really, really lovely and vibrant. And ultramarine took weight gain. That's just a hint to analyze. A lot of these colors are just to give the leaves and I sit a little bit of a. Now I've got my little sensor. And that can be found in the resources pages along with the paints. So don't worry, you don't have to memorize those paints. They could all be Fan resources pages. Just kinda put them to one side. I got a little MT. It's just quite nice to mount your piece when you're finished, but that's again, that's not necessary. Now, I'm just going to remove Sydney because I have actually stretch myself some paper. Had to know if you follow some of our other classes. I've gone on about this for the last 4-5, better. I did start this class to record it and hadn't stretch my paper. And we had a lovely old buckle. Because what we're gonna do, we're gonna wet all of this area and it, it does buckle. So I would definitely suggest stretching your paper. If you're unsure how to do it. I would probably just suggest Googling. It is quite easy and I won't go into, into that. But it's, it's not, it's not tricky and worth doing for this class. My paper is blocking that still, but it's only a 140 pound. Not I have got today has gotten a little pencil. And the pencil, do you? And I have three brushes. I've got my I've actually gonna pop, pop Sydney backwards so you can see him. Because I've only got a size four Foster. I've got a little rigor, but any little small bar should be absolute financially a rigor poppy isn't ideal. So if you've got a small budget will probably be better. And I've got a little cheese or brush. It's not very chisel the moment drive that just takes out, it'll highlights those back. I've got obviously my poster, potable water. This is a little love hot, and it's just something that's in inches high and what we're gonna do. And one of the stages, you just tilt our pieces Paypal board and it just allows somebody's paint to answer. Anything that's about any child will be perfect. And you've got a paper towel or kitchen roll. Potty Weber got some cling film today and this, this makes up some lovely affects on the leaves. So crappy stove over to cling for more shrink-wrap and gets also called I have got a hair dryer and i is not a central ahead. You are just quickens up some of the processes between stages. If we haven't got ahead you i don't panic. You don't you don't need that. You can just let it go on its own. And that can actually leave you with some better, better effects. So I think I've covered all my materials. So I think we ought to go under paint, Mr. Sydney here. 3. Sketching Out: Now I've taken the opportunity to sketch them out already, just so you don't have to watch me. Quran go ram modules. That's very carefully, but just a few little tips is the stents who ends up giving you quite a lumped end. So it's worth once you've drawn around him just to go around and Phoenix him a little bit. More of the Putin TM eyes, just roughly is quite nice or you can make him look appealing when you're painting him. If you, if it doesn't look very nice, you tend to give up and go on go. No, he doesn't look very nice. So take a little bit of time making him yeah, look, look right. And don't be careful with the lines. Don't, don't too, too strong. Alliances are a little bit stronger just so you can see you I am, I'm Act but ideally the end, you don't want to say me your pencil marks. And just a little word with leaves just bear in mind. So the ratio of the size ratio between the unesco and the leaves and make them make the leaves too big or vice-versa, too small. I can't make you my file leaves a little bit too small compared with him. So I think that's all you need to know, but that so once you have once you join him out poppies, tensile, and you pet so to one side you need those anymore. 4. Tail and Leaves: And we are going to cover this whole area. And if you've got, if you've got a little mountain you've drawn around the amount, you need to go outside it. So I'm going to you could if you got bigger a bigger Bush as well as they settle some glue and I've suggested then it will cover the paper that quicker, better. Show procedure manual one, c12. All lovely in where everything was going all over him. All of the leaves, noise, noise and wetness. And there is a period of what Marx says is we completely wet. We then have to wait, cuz we're gonna put the sloppy, big fluffy tail on here. And we have to wait for the paper just to get to the right state of police exposes the vine poet. And that can take a few minutes to introduce, wet it all down. And fulfilling my head up. And Daniel, BIOPIC wave you let any marks. You ideally want all eyes uncovered. And then it's a little bit of a waiting game to get the correct, say the quick dampness. Now I'd have a, if you got a spare pieces of paper, have a play because my paper will react a lot differently. Maybe the news, unless you go exactly as I am, paints in exactly the same paper, you'll find the results may be a tiny bit different. So Habre practice, get familiar with this technique as a watch it, watch it foo, watch me do this fluffy town and go back and have a little bit of a practice better. It's fun, but it's some, it's catching it at the right time. So I'm going to keep an eye on this. And then we can get on with it returns. I'm going to be doing a lot of bubbling or my head up and down to make sure I get it whiter that white stage. And then we can paint him. Now I think my paper, it's just about there. So I'm going to just wipe my brush on a little, take the excess moisture off the war umber, No, I know how my war number acts. So again, as I say, it's about learning your paint suite in every single paint has its own characters. But what we're going to do, we're just going to tap. And if it's not moving just at a tiny little bit amount, amount of bourgeois new Bosch. And we were running down his nose. It looks a little odd. But what you want is this effect. Do you see how it's spreading out? And that's giving you a really, really natural fluffy tail. Say take it, take your time. Don't, don't panic too much and it's a little bit of a potentially scary process better. You can work within. What you don't want to do is put your Bush anywhere, Round heads. You want to work within his ETL phase. It doesn't matter. It doesn't matter how much painting on his face. We've had shows. I want to just keep tapping thing, it's spread on its own. And you wanted to come right down here and I don't know, I was always trying this technique out. He was getting a bit of a halos. You wanna keep tapping. It doesn't matter if you go down further down his body. If in if you need to come down, that's absolutely fine. Just be cautious not to add too much water. And the MiniZinc, it will continue spreading. So bear that in mind as well, which is going to be brave fulfillment anymore Homo, I put a little bit events, yet another shot to have a little bit of within a mock step it, every time you tap and add more paint, that's gonna keep spreading. So it does have to be even either to mind going a little bit of a missing bit, Nozick, we're indexing that's actually going to spread anymore now it's beginning to join is a tricky technique, is a fun one and it gives you a really lovely natural look. So I'd say it's definitely worth practicing on a, on a spare piece paper. And what you can do if he spreading a little too much I've just taken just came a Bosch take nickel-based excess moisture off. And I can then very carefully, I'm letting the weight of the Bosch just fall. I'm not putting any pressure suite you don't want to do is to take too much paint out. You can go into in a little bit if it's spreading a little bit too much. C, Ideally you want your brush. Almost the same witnesses he's painting and the paper. And you won't be left with any, any marks. If you put, if you put o, if you put your passion, it's very wet. You'll find, you'll give me some really funny mocks. So it's all about a nephew can really the trick of watercolor once you've, you've sussed he paper. And how what your paper is to how how, how much water and how much paint you are putting on is the, is the trick. And once you, once you've mastered that and mastered you own your own paper in your own brand of paper, the ease, because they all act differently opt-in trying out another brand. And it's, it's beautiful, but it's very different to what I'm used to. I think FAC is going to dry quite nicely and I want to do too much more. You can say, well, I'm even just the even doing that. He's leaving marks and taking us a little bit of a harsh EMOC there. But we can't win it when it's dry. We do a few flicks as well so that can if you've got events that were built are marked like mine, I can put a flicking that so that doesn't doesn't matter. That's, Yeah, I can see that's coming is going to be quite nicely. Puccio tail. Now before it completely dries and you may have found like mine is actually beginning to Joy down here. So you can rewire this. Just be careful, don't get too much water because what you don't want your water from here, pushing up the page and then because that will disturb that nice tail. If it has dried like mine and just sort of wet, wet the leaf area at the bottom. That's nice and wet. And this is a, this is the fun part conquered to run with this. Pick up whatever your true colors. And just, we're just making marks. Don't worry too much. I don't know if you test out your colors on a scrap piece of paper. Sometimes it is just that you just popping colored them. Just like you're trying to be testing out of it a year colors on a on a scrap piece pica, which was going to add a word colors. I've got here a paper called junkie. You can add a little bit water. Doesn't turn to Don't worry. Message with this was a little bit trickier. This is, this is very free. And this is his quinacridone. Gold is lovelier, which don't color. Will pop. Going to have to have our listener week this up. Now I tend to paint out of the outer tube if you haven't, it's your first time watching me. I tend to paint a achieves charged sphere like and get a nice amount of brush and not having to screw up too much. And this is this marine. Its productive a lump then? Not yet. Yes. That's perfect. We don't we don't have to stay in the lines of the leaves. It doesn't matter because we do another, another layer This leads and define a molecular bit. So wash them and then pick up you cling film. And what you're gonna do, this is if you come across gene hands, but she uses this technique quite a lot as well. So it's not something I've infected. Clas kitchen as I shrink my puja cling film over the top of your paint, I need you screech and you can see some lovely marks coming underneath. We will run a little bit. You're not trying to make a leaf shape, you're not trying to manipulate it in any way. Just, just one, something like that. And then we've got to let this complete ego. I know this takes a long time. Underneath is cling film. So if you can and you basically ONE width then ideally this will be left for an hour probably, and you'll find should have dried Butter. Like main. If you're impatient, they knew you're probably going to put a hairdryer over it better. If you do just try and make sure you can hold, somehow hold the corners down because the head you I will lift up your, your king film and you wanted to, yeah, you want these lovely marks to stay where they are so you don't want to the king from lifting up and down. And if your little tail was a little bit damp, just go easy. Keep the hair dryer quite a way up above your bobby painting and you lower it down and that will make sure you don't, you don't interrupt any of those nice marks here. So we shall get that lovely and dry. And then we can be wrong to his body. 5. Sidney First Layer: Okay, so this is a lovely enjoy. Hopefully I've actually reached a hairdryer over that, so it's ready to paid off, which is a really fun bit. So just grab one engine gently paid off job, go carefully because if he still damp, you want to with it back down again better AS enjoys. Great effect snake. So all we're gonna do in a couple of lazy, just pick out a couple of those Lee's we've sketched in Georgetown. So for now, we're going to pick up a bigger brush and we're going to do the body. So all lovely on wet, on wet. So it's some O W Bush with nice, nicer underwater. And we're just going to do the body. So we're going to be sectioning areas of very carefully. Is what your little school down to Be careful, stay within those nice lines. You call this Google cuz you don't want to do is shape omitting factual. And we're gonna go DO about the chest, go over that white area of the chest. We're just not going to paint in. And then the blend him into the leaves. We're just going to very carefully because you don't wanna, Vasiliev will be colors up. Just couldn't do it. Just just just gently wet someone that leave every day you have to do all. And we're going to have a slight tilt and his boss or grab, grab whatever you found a spot in each high underneath. And I'm going to pick up some of the paths together. Do not hold in the tubes. Together, not I. So I've got an MBA and I've got the burnt sienna. And we're just going to, it's quite nice to bear in mind a cooler and a warmer sides on it is going to be my slightly darker shell side. It's a droid. And we just tapping is no no brush strokes involved, it's just tapping. And we're not going to go into that YTD area. What do you do it the chest area. We're just going to just going to add color. Maybe takes on that should just run down nicely. And if he's bubbling at o, because you have pick o bubble here as just stopping so big bubble here you stopping that water running. So paint on my brush. You can just almost tickling. Paint down the middle of it will water down a bit more than that. That will encourage it to run. Now, good, kinda done very lightly. Tap a little bit more column in there. We're just not going to go into the white area is that will that will blend gently and we can take we can take color out. So don't worry. And I'm actually going to pick up some of these, some crack radome. Scott axes, it lovely. We read color. And I'm just going to work on the other side and doing exactly the same. Just tapping down. I didn't do either low lake here. Should a lake down? Discontinue tapping and then just encourage it down. If it's sitting in a sitting bubbling, they're just disequality downer. Just wait. Just a white brush on so encouraging that water down. And you can see it starting to run now on its own. And heat run by tilting were just allowing that to move. So it's we don't have to then actually painted. It's all just laziness for any little tricks to do it. A little bit, like as you can see on here, I've got my reference photo opened up on an iPad even to me, you can't see it, it's just off camera, but if I'm dancing up at it, a little bit more strength there because we had to do another layover over this. So it's probably as much as I want to do on this one. Now if you found somebody's paint from your legs has started to encroach into the white, load your brush up with water and taps a water in there. And that should ease ease some of that color out. I think that's probably willing to do that. Now. Just keep just watch these bubbles is we've added quite a loss of water so you don't want you to really running. Sometimes it so much it in month of the page which will read data. Just getting some of that, that, that so that's drawing my paper towel and then just pop in my little bush on land, that bubble when it sucks up. So we're gonna do the hes face now. And I can even leave your board tilted. So we let this paint one increment all Bell, I think I'm actually going to drop my bowed down so it's flat again. And we're going to settle out. We did it with a body who is going to weight all the head down. We're going to go around the eyes. We're not going to go inside the eyes is only so we don't lose, merely must be paint over them. We will lose where they are. It's a little bit small. So if you'll fit in Boulder and you want to do this cool but bigger, it will probably be better. I'm going to leave a tiny, tiny little thin lines. So I'm no actually joining the body up to with the head. So I'm waiting list down, but I'm leaving a tiny line. It just so the body color doesn't want into the head and vice versa. Who knows? Which again, will cause he's got a little, a little whiter knows. So it actually takes a little bit of CO2 out now so we can see, well, he's digital. Muzzles listening, popular homeland knows butter. So we can just collaborative Colorado so that the clean brush, just copying. Only that still nice and damping and dried it little bit, just just pop it up a little bit more water and acids. It's wet again. And will again tell them to pick up a little bit the ultra violet actually and say it doesn't matter, is. His nose so hard and false room, what colors you should be using? Say, oop, see what we've got different colors. Amaze anyway. And I'm just going to start on is Ilya and is going to color in their purple acquire random and my colors really just blending nicely in a little bit of problems with his his head. You obviously got the color underneath in the title, so that's going to affect the colors on top. Will presume then we've already done one layer really this down and pick up the burnt sienna, puts the anion the other way. Quite a smooth subject is verging on being a little bit small, but we can't get a lot of flows are beefy suits, camera angles of ammonia and what I'm working on this MOOC. But if he can work bigger, there'll be lovely feeding wave at loved disease and bigger work. So ongoing underneath the chin is slightly dark on the hair, so just I'm just tapping. All blending is no partial x. If the line that we're, we're joined this up in a minute. But boy, so it's probably got enough color up there. We're ready actually, from that tail area. I'm going to focus a little bit more. So D, I'm using two colors assigned time here. So I'm just typing my Bush paternity. And he has got little white over top of his eyes, but I could be taken out 12 and electron to leave is too small. Chuan leave it out. I think at this stage is probably few. Daniel say if this is still a little bit damp, that's fine. We can join these up now. If it's really wet, just just hang on a little minute. All I'm doing is just just joining the up down here. And it just flicking your eyes back and forth really from the reference photo to your picture. If you flick your eyes quick enough, they almost become one. So you can kind of say, I think I don't need to be playing anymore with this. And that's enough for that one layer thickness. That's absolutely fine. So we need this to dry, so just held missed. Joined. That needs to dry completely. So what we're gonna do is use our trusty Hydra and with joy that over and then we can numb, book a little bit more of his head and body whose strengthen let up. 6. Sidney Second Layer: Kay, so he's lovely and dry. Some make sure yz and good and dry before we start again. But we're going to do the Haganah, wet the whole body down again. So very much very similar to the first lab. We're working flat says no, no tilt on this one. So we're going to wait oh, down. Our Khurana is again just so we don't lose them. Onesies. And now because of head you ideate my papers quite quite warm. So you'll find you'll find it some. You'll be on your wall to try quite quickly or your paper would dry quite quickly because it's not a moon. And again, we're going to run this down to the leaves. It doesn't matter that you will find is watermarks because while Ido rocky and roughed up, it doesn't matter and just give you some little layer we missed. What was drawing already with us as we are going to use a bit, Ozzie red gold hair acts on feeding this is, he's got a little bit to read in tone. So use whichever colors. Just look at your own page, looking at reference photo, see what you think would be very hard to guide people without actually seeing, seeing the work in front of ESA. Think usual, usual initiative, initiative future over here you think would work well. Here's your instinct is 12 and say, I think that's a little bit of purpose now I say it's purpose nights where they knew the goals. It's just tone it down a little bit. Shall work a little bit over the top of his forehead again. Just tapping, pull them apart quite, quite a long way down the stem. What we're doing, we're strengthening up any dark areas and we're not we're leaving any the lighter areas, so you just ignore any light areas and that will blend just gently, just aka the chest here. That it will blend gently and that leaves the lighter areas. And a lot, a lot of you've asked me to do some pet portraits, all animals, like dogs. But they, I use exactly the same techniques as nothing different. Docsis, aha, there's so many different breeds. No. Wachter, one bomb brief on person would like to know what the other person who likes her. So I use exactly the same technique is nothing different. Let's just observing cupula, picking your eyes back and forth, standing out from standing still. And that always helps stops me crouching too far over. If you're sitting, you tend to get quite close to it, knew more and more seeds to back away and see it from a distance. So I'm just trying to strengthen his is a darker than he's actually forehead. And as this begins to dry them, I paint so I'm going to move as much. So although this is damp, because this is now almost its third layer, the paint isn't moving very much, so I can get some of these. How in that way, it's just impressions because it's quite small. Not being able to get terribly detailed. O just an impression, many just building up those dark areas. Under pickup have islets again, tau got burnt, sienna, Hannah got the violet pod. Just tapping again. A little bit dark here, his knee done inside a wedge to keep at chess clear as well as Timo Bush often. Because escaped too much in there. I don't know why, if it it it bends over to these backlinks, that's absolutely fine. We will run another layer and just do the legs that get a tiny little bit of definition within another layer machine. Let us have a little bit audio at times, you know, your instincts, if somebody's telling you yet pick about color, pick it up in so you still trust. Trusting even thinks, I think, very easy not to get too rigid. Little, little head digital voice in your head going Colorado PWC, coin like that. Little bit of escaping out the tube is one. So quinacridone. But it's gotten easier because it's quite a red, but it's nicer. Some we're not worrying about feet, the feature in the leaves somewhere, so don't worry about those we gonna get to. I'm going to get too involved with us, too complicated. So just but Whiting these leaves down, I can see that plates for beginning to run from the body into the lasers, stopping it from becoming you don't want to line sitting, hey, you want to, you want to get that water running to the, into the leaves. So drawing that joined the paint down. Aspirin to MIMO hand here. She's just wrong, but what you should do cleaning, washing between two impaired amputations. Scalably. Be nicest. Caught docket saying this is going to be the subtle, lightly darker shade. So I don't worry too much. Proper tone a little bit here. And it's gonna mix them with that. Clinic could scarlet just to, just to cool it a little bit. I think for this layer, beginning to lose where his cheek is. Tony would be a dark over there. Decide hasn't got too much dark, so I don't wanna get that too, is very easy to do too much. You're gonna take a little bit outlet, losing the light. Came a brush-off. She's damp to stroking some of that away. And again, if you check this down to disappear white in this stage, you can just take them that paint out longer the stamp, long as oh, this is too damn, you can continue working. They start to get bit patchy. Probably best to just hang on either draw it again or wet it down, which you can easily do. I think he's looking quite sweet. And I do it a little bit of Kula who said, this is quite tacky. Nows can you see my paintings and it doesn't move very much either. So the rhombus, it's quite a nice paint for a little burnt sienna we've used in the policy. Most hoses ground seeing, you know, if you put it down, it's not gonna always across a page too much. And this is also the case if we built up quite a few layers now so the paint doesn't move as much. I think I need to stop a fire over fiddle. We're going to do is get those dual toughs on. So I'm going to have to tell you burnt sienna shall not do sat next to push. So if you pick up a little bush and work, sort of start to know too much auteur style. Hmo sort of saw halfway down easier and then just flick. Let's make these schools so sweet etching. A severe weather event. If he's just soften that down in a minute, is a pick up, up. Become a bigger Bhatia. I'm just going to just very gently take them passion. I've just gone over. What we can do is just add a little tiny, it'll definitely definitions that say we don't want it to look too carried away. I've got stop mopping a boschtools dot width and see how that feels. And we don't want it to be too concentrated. Unesco is quite weak. You just kinda do some quick movements that's a little bit too harsh and my liking, so I've just damp Lovasz Dan again, you've got no paint on here now. I'm just going to soften that damnable bit stuff and go back in. And again, it's a bit better. And that's just a few hints. Sister gives me an idea that's 0s. Just mind you don't put your, one of my favorite things to pick, push it just a little bit to launch and go, go with the angle of the tail as well. So fanning out, I'm going to keep that angle with hey, would go to work around. That line's a little bit harsh. Just gently soften it with a clean, wet fish. I think we've probably done enough. I can see. I'm going to do, I'm going to go too crazy and get too many strands it become to tweet. So I think that's probably enough just to have one hand. Some moocs and isis on walks on if you're not sure on it and then take it out E. So your instinct will be no more. They think that if I stand back from it and it looks okay down my wonder. And we're gonna see if I can start retrieving some of these lighter areas that she opened her vertical chisel Bush, going to take color out. So that's what a clean brush. It's damp. It's lifting these colors straight out in middle eyebrows when retrieving those. Now, if that's starting to disappear again, we can, we fill in these as well? And it's also called monarchical cheek. He has Neizha very gently, like a tiny little bit of color on here. And it's also a little bit of color here, can come out. Best done with stamps in my, my this you still damp what it would do and you wet this down, it will bleed back into the Cali You just taken out and it just leaves a bit softer if we feed you do this when it was very joy, you get it's more harder edges. So you want to take the color band as well. In theory, we got a little bit more like coming in the sizer. Truncate that. A little bit small, struggling a little bit more, that these subjects are a bit tight. Gain if he checks his daddy does pay. You can either tap water in and that will push out paint. We can just gently teased out a little bit of just underneath over his chest. And actually look on the photo. This is ground here really is Nipah. What we're gonna do is just pop a little bit of open on the bottom there. Just blending from the leaves. Just a slot impression that is, these two dark Nice under there. We're not going to put any leisure anything on there that once that's done it and make sense. Just sort of getting out to the leaves. I think I'm just about done for that layer. So what we're gonna do again is to get my good old blog for the hairdryer a hand and we will do the next stage. 7. Legs and Leaves: Okay, that's lovely. Enjoy again. So back with another layer. So I've picked up my bigger brush and we're just going to do underneath his chin, gotta run down his front legs and then we're going to just pick up just some of those leads or any hints of it. Exactly that. You could almost leave that and not put any leaves on that because that will give you quite a nice, very loose impression at least. But we're just going to pick up a few as we've, as we've drawn them in. So go can't quite carefully underneath his chin, you can still make the out wind corridor weight lost, but I can see where VSD genies and then which could have gone down its front legs. Missing out that whites chest. Not going to cover that. And it's just a little bit underneath the chin down into the leaves. A little better if you don't have to, if this is strong enough, you don't have to put painted this lattice is entirely up to you have looking at one piece, we think it's if it's strong enough, just leave, it is just wet and that will give you just enough of a line. Anyway. What that down. But I still want a little bit of color here. So I've got my Ozzie read code. And you're going to put a tiny little bit hair. Connectome is, well, it's not so far, he isn't it? Funny, little movements, essays, you build up the layers. You can do tiny movers, ETH, or did he gestures to each layer can be just tiny little movement and gestures. But down and pick up that little bit of burnt sienna. Just one needs to be a tiny bit cuda well, it's up underneath ESA. And that's not a stock photo, but sometimes you have to interp take your photo a little bit disa we can get at lighten dark. It's always nice to get that tap a little bit more than that. It's just happening. It's allowing the water in the paper just to make up your painting, meaning just that tiny little bit down here. That's going to be enough. Actually. Credit a tiny little bit register, just a little bit. What you can do if you have worked a bit bigger and this would show up a little bit more. If you can. You can pull out some tiny little bits, fluffy bits here, which would thank you the impression that there is the white heads on his chest. Make sense to just putting a little bit of color from the lake that like color into the chess watch hysteria. Reverse. Like scent. Medical brush damp and we're gonna do some of these leaves. So I'm going to put a bubble here is I'm just going to let that run down. And I've got this seeking more leaf or something like that. And I'm just going to what, that leaf down a little brush. I'm going to get right up to the edges of that. Again. Going a little bit of imagination. Go. Associates have somebody took voice and again, he's just dropping colour. Leaves can be ethically events. They lived off the altar and colleagues larvae, the fish puppets colors on top of one another, or practicing leaves on another scrap of paper. And ultimately it's so lovely to do little bit of ultramarine violet Marianne together. And there's just lots of water. It will point us to suppose that point, which is going to be quite random. Random C just picking, just edges, alleles. Or possibly if you read it, I want to be doing lots of very tweet, neutral. Holy, if you just want a little parts of it, get too carried away in that corner. Over here. Silvano cleave here. And then to do a little bit, why did with that, according to seek more leaf, I think is a little more physical modify. And let's put two colors on my Bush is saying time and just drop. You can do just corners are one H If you don't have to do the leaf. Okay, and you can kinda nice noise lot of water in that one down again. See that dont come together now when I was trying to have a leaf in here. So just something to make it look like there's a leaf there. The corner. Two sister enough because it's not cling film or shrink wrap is made such lobby patentee will best on the job for years as I could have always liked it without adding anything else at that stage. But it just come onto the move. I know he shakedowns better. Enjoy reading lots of watches all Brendan, it's beautiful. Lovely colours. To automate really do. Do you have a mixture? Haven't, haven't used? Connected on gold? To me, colors is in the trouble. Spots haven there, as well as the hands. Well, I can have May 1 become it. Knees, chest, move. I like that. Show up a lot in that now. So I'm just going to take that helped a lot. Nicer. Normally shape. It's always just a nice sort of lump of color. And I think before start doing individual anymore, individually is I think that's enough. So you can call it an ice core helper cell cannot just another little bit of just as I step away from a little bit, a little bit too close to that, they're not going to need a bit of that green just to, just to carry the ISO fit a purple entrepreneur. And I really didn't need to stop now. 8. Eyes Nose and Ears: Okay, so what we're gonna do if you can even draw this now, or if you think you're not going to put your hand in there, we can carry on and do some Ezekiel news isn't his ISO who tried to be careful. And so it'll Bosch. Now I've got my burnt umber and we're gonna put those, put his eyes in, bringing to life now. So we're not, we're just painting in is no, nothing clever about different mixing colors is just too small. Or if you've done a bigger, slightly bigger Mr. Sidney, you can maybe add to different colors in his own sputter. They're very dog and there's really not a lot a mixture going in nasa. I think on color will be absolutely fine. So we are just painting. He quite tricky times and absolutely no hurry stage. We're not waiting for paper to do to draw it as a particular rate. So take your time and want to encourage you not to get my head in a way and also not a big old hand in the ninth leads. These one. You could do a tiny little bit like if you wanted to, as it's a lighter side. Now this is where you really want to stop fixing your eyes back and forth to that reference photo. I think my eyes a little bit a little tiny, little bit higher. Pull it down on it. So I lodge in the other. I've got to trading. I think I'm just going to let this dry and this one's a little bit bigger, I think at the moment, so I will do I'm going to let it dry and we can just take a little over out and show you how I do that. I just want that to be a bit rounder. It's got a lovely, lovely sort of curve just in there, makes the eyes quite sweet. And we'll get on with the nose and that dry minute. If you have made a nice little mistakes or is each like me, it's best to let these dry and then you can fiddle afterwards, Vicki carrying on. It becomes Maki and muddled. And then you end up getting further and further and further out. It all becomes a bit pie-shaped. So if in doubt, just let it dry and you can alter it once it's dried. So I've, I've picked up my violet and the Italian burnt sienna home, which kinda pop it on museums. It's a just a tiny little triangle. Drip. Drips on the end of my brushes fall off and places you don't want to just come down. And this underneath the chin is still a bit down. So just as a little bit careful. She don't want split the mouth in and then the mouth than to run into the knife body color shall have just picked up my MBA up tiny little bit underneath here. We start working with stretch paper, I have to say so. Glad I took my advice in the end and stretch my paper. It would mean quite tricky this one out doing, I always stretched my paper. Any pet portraits I must make this. He's nice to work on very flat surface. So I've just picked up my big a bush and I'm just going to clean. Just taken excess moisture off. Just going to touch the very tall views knows. Just blend up very gently. So the water just running into that tool damp paper now, just softening the top left with a very obvious triangle. And this is where we can take a little bit around his ears as well. Little bit lightweight, easier. So I can see. This was my bigger brush. It's clean. Just copying. To just go careful and saying when you're dealing with ETL bits at the end, there's no hurry up the work with damp paper. And there's no hurry. Tiny little bit of light here, and it's always little tiny limb movements at the end that really do put it together. So it's, it's worth it's worth taken Tom at the end. Nearing the end of him. I would do in a minute, we'll be who actually do this now. And then a wet the ear. So just I am wetting it down. So that's softened. I just want to make this a little bit, little bit encouraged, a bit darker. So I'm going to pick up my very neat and tidy here, am I? But that's me. I've just picked up my Amber is a tiny little bit of twist in that corner. Just gently tees up a little bit. Just a little bit lumpy there where we took that light out just a minute ago. You can still see that still light, but it's some softened. Gets closer to that IS I can actually do the same with the other Aidem. Be careful this is site because it's the last song. Stages now is where you get a little bit, start with, it's all very loose into lots of movement. As you. You finish it off. If things get a little bit more tighter, a little bit more time spent on it. A little bit darker down. And this is where you can kind of shape and get that hit the right shape. On the top of his year, there are still a darker color. You have to pick up a sienna. Just get on with the color in there again. Or paint. Quite intuitively really say, you just really need to check this to trust your gut instincts. It takes courage and engineers just he's doing it and realizing that she Yes, I do know. That takes courage itself. Going back here and just say pin that hit up a little bit. You can quite sweet. And want to take a tiny little bit of light at the top of his head with a thicker Bosch's damp. And I wouldn't block it just enough just to do that if you've lost it, you can someday take too much color. And now he's doing a little bit a little bit wetter. And the moment I got a tiny gaps, I'm just going to continue with this painting. And to hopefully, you know, the, you probably want to have these ASE areas, but I think it might be helpful for you to see how I go about tinkering at the end. So if just a tiny, little, tiny gap then of just making it look like Lord, just trying to stem stepping away into and have a better look at it from above. Thing we might do in a minute is actually to put another layer over this head. Some areas aren't dark enough and somebody got a little bit too big, too heavy and basis, I'm just trying to find that white again, Randy's it'll take areas out now before we wet wet this down again. Distorted ea here, it will be nice and soft and some just taking up that little bit of cheek color. I love we stop seeing them come to life. Just a tiny little movements and I'm like, oh, I can see you doing that has brought into life in the mouth is Waze knights put inverter that needs to that this is the wet down here, so I can't really touched at the moment. So what I'm gonna do, I'm actually going to use a hairdryer over there. And then we can continue tinkering. 9. Finishing Off: Okay. Having dried that, it's giving me a chance to have an overview of it. So I'm really happy with this. I loved those leaves. I've worked really well. I'm just gonna take a tiny little bit lighter of these oak leaf because I think it's just got a little bit too chunky hung as well. I decided to drop a load of Turquoise in there isn't, it's just gonna take a tiny bit out, out. Desperate triangular graph. My spare piece of kitchen role, which I can't see, dropped on the floor. And they say, I'm going to take a little bit of color I had carefully don't I'm not to go into that tail because that tails worked our catchy, but I just wanted their pay that hard liner. Can even blob. They're better than us. That's getting a little bit light. Now I'm going to do you know what this hit? Just the head around the eyes. And this is why I can now tinker with these islets. In my mind going a little bit vague. And he said my minutest, it'll gestures, knock and not have to worry about go to my handshakes as nice and join them. Chin over the nose, like no soften them. And these are just a final, final little, little, little bits and pieces were doing. And this is where you can soften that lie down. Make it the harder. If it mostly a Muslim or shrimp they've, he needs to be ISA can just lets it nicely leverage, as mentioned earlier, just meant very gently ME that nice shape. I can take off. Again. Keep, keep his nose model. Just contained a little bit of homework and habits. And who just want to make a little bit dark underneath this one? Say, we will most on the fourth. And now I think I'm counting correctly, so my Paint 3D isn't moving very much now. So it's this give me some yes. Can quite unlike definition now. Again, it's just working too wet paper there. And it's just tapping still. You can see we see that paint really not moving very much now. A tiny little bit here. Show it should have been a little bit warmer on top of the head and think, think, I know it doesn't look like a lot. You'll be surprised these tiny little movements at the end of my code, just ride on toys quite right there, isn't it? Telling you a little bit at the top that say, look, you own your time. Know-how In this stage, we even go away from it. I often num and doing my pet clogged traits or larger pieces. They've done over several days. I'll do parts. And it's only when you come back into the studio you can go, oh, I can see now I can see you. I need to adjust, auto or add to. Sometimes you can look at them for too long. I can generally only paid for about two hours. Such that end up same on doing these tiny little small into a change, I'm going to pick a medical Bush. Anyway. Cosmo to tiny little adult. And then you can work out with just a tiny needle with triangle again, isn't this just painting on doing nothing clever? Watteau, paper, just simple painting. This is still public. Let's draw it. Say if you had wet that down, so a and this is still damp, just hang on a minute, just let it must join. You won't miss mouse be quite defined. You don't want to. He didn't want the paint whizzing around too much. And this is making 3D shape Eva. Who expression? Qt Luke has any baseline to me, he's got a little bit too strong sound disk and to take it out again, that's where my damp Mapuches Cain and damp. Just pick it up a little bit. Pick up my big abortion. To soften, I can see is a little bit of a noble of paintings. Just stopping that smile, look a little bit more again. Just given tight Grady putting on, taking off uhm as they're now actually, I'm not step back. I think he's written quite good. So the piece de resistance, as they say, is put those, it will catch lights symbolist till bit damp. So I'm gonna do these whiskers next. So I'm gonna use my MBA and I would practice it if you've got a spare piece to hand off camera, off, cut off camera, just to hand. Then that's probably quite handy. You can do these in pencils if you're not, if you're not feeling brave enough because it can be a little bit permanent butter. So I've added a painter. I would have practiced off on a spare piece which haven't gotten into Hand, which are going to be by. And then just a quick movement like that. Now some of them are little bit harsh. So what I can do become a bigger Bush again. Just just, just take some of those out. Little sections of it. Well, just just enough to soften it down. I think that looks better. Okay. And he's got a tiny little bit of white on the end of these. Just taking the colon. You can't fiddle for ages is loss. It'll stay 2a alternative, bore you too much. But I'd like you to see is a tiny needle bits at the end. Do you put them together and lost a little bit to the bottom of his mouth and neck back in again. That's shaping his forehead as it were. And I think that's and that's come together pretty well actually. To do those, it'll catch lights, just about John. Snow White. Make sure you eyes and ice and drop before you, but he's catch lights and I think my honest what enough. So we'd be tiny little abortions His way we just use a little bit on one question, which is going to go right to the very top NUS just digital point brings them to life. Because as well doesn't always stay very strong. This is not too bad. And let's put those fears factors again. I would practice on a spare piece of paper, but we're just gonna put a few, a few splattered, so splat is adjusted. You load up the Bhatia who got the OZ red gold, and you put your finger underneath Bush and you flick backwards just like that. And that's a big volunteer. To flicker a little, carried away with that. A little bit of the output, soften a little bit. He do it quick. It quick enough, you'll make nothing that's often done enough. Now he's just about done. I I would like to warp this pencil marks outside because I had some benchmarks in quite strongly c, You can see why I was headed to, I'm, I wouldn't have left these quite so strong because we've done quite a few layers as unlikely to come out. So I won't try and try and work out nothingness. The only pizza box I can say anywhere else. So see, yeah. Well Beni view of that, he can see and neither is very obvious because that makes a difference when they opt out. But just about done, I'm going to pop it. It'll melt round. So you can see what it looks like mounted Yankees come together. Well the well. 10. Final Thoughts: So I hope you enjoy painting Sydney, I love digital cheeky look and at big fluffy tail. So how did you live in go? Remember, you don't have to get it right on the first. The second third gives you the opportunity to strengthen those dark areas and typed light out if needed, is all down with the smallest suggestions. It's so lovely and subtle. Did you enjoy painting the leaves? It's a fun technique and gives the impression of autumn leaves. Be careful, don't overdo the second layer. I get too carried away. Every painting, every leaf wasn't painting the tile fund takes amazing simple technique. The trickiest to gauge the wetness of the paper just or right. I'd recommend practicing on a scrap of paper to get the feel of it first. Hope my tips and tricks helped it really the simplest gestures and the time just to observe your work at the end, that really makes the painting come to life. Sometimes it helps the next day with a fresh pair of eyes. To look forward to seeing you in the next class.