Tiger. A Free-Flow Watercolour Masterclass with Jane Davies

1. Introduction: Hello and welcome to this advanced watercolor class. We're going to show you how to paint this impressive tiger. Now I thought, as it's a year of the tiger in the Chinese calendar, it'll be a really fun subject to paint together. It's a wonderful class with an interesting techniques. You're going to get a great sense of accomplishment when you finished him. Though, fulfilling little bit duty by him, and we'd like to try something a little easier first. Have a look at my beginner classes, particularly the butterfly, as it demonstrates timing and it's really useful in this class. These can all be found overall, my channel. I'm Jane Davis. I live, paint, teach, and walk my lovely spaniel in the beautiful South Downs National Park, England. Over the last 10 years, I've taught myself the watercolor techniques that you see today. Not having been to art school, finding my own way has been fun and sometimes daunting, first 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 keeping your work loose and fresh without over-fussing. I'll be sharing lots of tips and tricks along the way too. I've painted many tigers, so I could learn how to break them down into easy to achieve steps for you. My biggest tip, get your drawing right and practice his stripes before you begin. Look for this lesson titled stripes. I provided you with a beautiful reference photo and template of him in the Projects and Resources pages. The template is particularly helpful. So don't feel using it is cheating. I'm going to show you how to create him by being bold and placing different colors straight out of the tube onto wet paper and allowing them to mix and blend together. I'll take you through how I go about controlling all that loveliness. I'll also guide you through the process of section areas off that help control where that fabulous paint flows to and when and how to join them up. I'll also show you how to add those all-important stripes and how I achieve that softness is all about timing and paint strength. Of course, I share my tips, tricks, and musings at the end. That will help you with the all-important finishing details. If you'd like to learn more about me, or my work, please pop over to my website at Jane Davis watercolors.co.uk. This can be found on my profile along with links to my Instagram and Facebook pages. I'm very active on my social media pages. I love sharing my art, especially on stories with many ideas, works in progress, and tells her studio life. I really hope you will share all your paintings on the project pages. As I love seeing them all 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 this liberating, wet-on-wet, loose style. So come and join me. 2. Materials: Welcome along to this tiger class. Going to run through all the materials I'm using today for this or other spectacular chap. Starting with my paints. These are all Daniel Smith and it's a lovely collection, and I'm going to run through the importance properly of what I found useful in this particular class, so starting from the top, I've got the transparent brown oxide that was on really lovely rich color and it gave me some lobby through granulation and interest. CPO which are love, and thats was fantastic for the stripes and the strong detailing round eyes and noses. Knows there's only one those Ozzie red gold just because it's lovely and vibrant got mkay a flight. That's the brown ocher, that's a nice, warm brown and that's a more of an undertone to there. But tigers I genuine and how could I not saying that it was useful color because it's lobbying a soft and spreads beautifully. I've got neutral tint, then use it a huge amount but it was quite helpful in parts of the stripes. Then I've got genuine, just a color I love to use, and that's again just digitally hint at it, and lastly, the cadmium yellow deep hue, again, just gave me a little bit of a zinc on one side of the layers but in another warm yellow would be absolutely fine. Just a little bit of white gouache. Few color choices, I spent quite a long time going through what was suitable for him if you've got or can get hold of some of these colors, it would be helpful but if you haven't, obviously have a go and have an experiment have a trial one. Blocks of color wheel on pieces of paper and see what you like you don't have to have these colors by any means and you haven't if you haven't, please don't feel you can't do this class because it's definitely not the case, so wrong that's the paints. The pipe I'm using is bockingford and that's being stretched and it's a 140 pounds note. I've got a little bit of masking fluid that was to do the whiskers and some of those splits up a pot of water. A little bit of salt which I use some texture in the ear which didn't particularly work well for me but I'm hoping it might well do for you. I've got a rubber, I've got a little paper white thing which just gives me a little bit of elevation to my board like that and allow some layers to flow. Then I have got how many brushes I've got four. Going from the top, I've got a Number 8 round. I've got a number to round, another one liner which really only used for the little flicks of the coat. Then I've got an eradicate, which I use quite a lot in my classes and my work is a interesting little brush which takes color out really well. I've got a hairdryer off camera, which is quite a handy always the case it's not necessary to have one sometimes it just chose certain areas a little bit quicker for you. I haven't actually got it on the table but it's a little bit of kitchen roll of paper towel just to take it on any excess moisture off your brush. I think that is all you need to know. Obviously the reference photos and templates on the resources pages so, do use the reference photo and template, particularly template. It's quite important to get those stripes in the right place, and I explained all that in the next chapter, but yeah don't feel that's cheating because there is a helpful tool for you. 3. Sketching Out: Here is our lovely tiger all-drawn out. I'm going to give you a few hints on the best way about drawing him out because he is actually quite. You have to be a little bit painstakingly careful, especially with the stripes, so if I run from maybe the top and give you a few pointers, obviously I've already put the masking fluid on as well. That's obviously done with a nice, lovely free-hand and these little spots, they're done with flicking. I use a very old brush. Definitely only ever use a very old brush and just flick those little dots on. That will be done after you've drawn it out obviously. From the top, you want to get this lovely line in here. Really take your time to make sure all the details are in the right place, his ears, especially his eyes. I have quite carefully popped his stripes in at the right place because they're quite symmetrical and if they're out, which I did several times with my practice spaces it made him look a little lopsided. Just take your time. Again this is obviously no rush at this stage. You could do this one day. Come back to him, have a look, check you've got things in the right place, and then you continue painting. Make sure you've got that lovely shape of his eyes and he has got a lovely make-up. I'm going to call it make-up, around his eyes, draw all that in and also mark where those white markings are around his eyes. He's already got this big old patch here. One runs down the side of his eye and he's got a lovely one underneath. Sketch those in because what we will do on the first layer is go round and mix that layer, so it's important you can see where that is when you start working stuff down. Also, there's quite an important black stripe here on either side of him. It's one we will flick out. But mark that as well. I've actually written black there so I can hopefully remember that all-important outer stripe so make sure that's in the right place. Coming down there is probably his nose lines here so pop those on. Also he's got a muzzle line which runs from the corner of his eyes. Get this lovely, this shape right, and his nose is actually quite tricky so to take the time to get that right as well. There's some funny little flicks here and they're actually quite important when we come to paint him. They're quite a prominent little, there's always some part in a painting. I think this trip me up a few times, so get that little bit in there. You can see what I mean here. Just that bit there. That's quite important. Again, make sure his chin is in the right place, and again, his legs have got a nice little sweep. His feet are going to be quite loose so I wouldn't worry too much about those, but make sure they're nice and chunking and you've got that nice flowing line. Once you've got those aspects in, I think you're going to be ready to paint. As I say, I can't stress more highly on this particular piece. The drawing is very important, so do take your time with that. 4. Head First Layer: He's onto the fun bit. Pick up your bigger brush. Actually we won't need these others. [NOISE] I'm not just going to put those to one side along with the masking fluid, but you won't need again, so I'm going to get rid of that as well. Deep breath. She says trying to reassure herself. Get [LAUGHTER] your brush lovely and wet and we're going to wet the relevant parts around his head. What I might do, I'm going to pop. Don't do this yourself, which is just hopefully so you can see what I've actually wet down. We're going to start from the top. We're going to say, don't add any color at this point. This is just for hopefully so you can see what I've wet down and what I haven't. Carefully around here, I've already got a dog hair attached to there, I must get rid of that. Again, this is all important black stripes, so you want to go cover it, but don't go into this as you see on the reference photo is as a fluffy white bit, isn't it? Carefully around. Say, I want to go carefully round this white area here which is his top. White markings. Again, go over the stripes, I need to go over those so they're put on later. Underneath his eye, I'm going to swing around. Make sure you stay within these lovely lines. I'm going to run round to his chops, round with the nose. We're going to keep the nose nice and dry. We can carefully round that because you probably taken quite a long time to get the shape right because it's a funny shape, isn't it? I'm going to just add a little bit more color so you can see. This is not for you to do. That's quite bold, let's water that down a little bit. Again, there's that black stripe this side as well, stay on that round. Hopefully you can see where I've added the water. Come down. Going round those white markings. Because we're doing this quite slowly, you might find parts are starting to dry, so just pick a big brush up. Just tap some water in their game. Do you want it lovely and wet? Not paddling, but as new as you can to it. [LAUGHTER] It gives you a little bit more time to play then, because if you don't have it very wet one, the paint won't move very quickly or very far here, you'll find it gets a bit static. Just saying, I've gone over my white pizza. Let's get rid of that. It's going to blot that out. Should be okay. Yes, the paint won't move very much, it will stick and stay static. If you find you haven't, that's the case. You can add a little bit more water to your brush and try adding that if your paint isn't moving or just wet the paper down. Just thought what else I was going to tell you. Now it's gone. Now there it is. If you're in a warm environment, obviously that's going to take it a little bit. I can dry a little bit quicker as well. I can see that's nice and wet. I can bubble my head up and down. I can see I've got a lovely covering. I'm going to pick up my yellow and my kyanite genuine. I've got that brand new shiny tube. Let's not get these modal, let's go the other way round. We're going to pop. I've already got some yellow in there. I have it already, but I'm going to have yellow on the left-hand side. Just taps and color in. Don't worry too much. What you want to try and avoid is this. Obviously, you can see this is white in him, so although we've wet it down the colors you just gently blend leaving this quite light, so don't put any color of them. I suppose this were cheeks certainly. Keep your reference photo open and you can see quite clearly where these white bits are. Just keep tapping don't, don't get too panicky. If it's paddling, you found you got a little bit of a puddle, you can just pop your brush in and suck that up. Clean my brush. I'm going to go pop a little bit of the kyanite. The other size is very similar to what I've done with the yellow, pop that down now. It's just to give them a little bit of a sense of shadowing, lightened, dark one side. Always nice. Just work a little bit on here. This is going to be very much underneath all your layer spaces. Just a little scent of coolness and we need that yellow method really did make it paying off. I've done many of these more than I've done with any other class. It must be a lot of Tiger sitting around where you're just trying to get all the elements put together for you. Let's put that down for you. Pretty too much. Now we already actually going to do one colored layer. The next layer will only be the stripes and we can add a little bit of color if we need to. But ideally, you want to get as much color down on this first layer. That's why I said you want it ideally as wet as you can keep it and keep it wet. I can see my little corner is beginning to dry. It's not dry, it's beginning to. I can just tap a bit more water in. That just gives me a bit more time to carry on playing. I'm going to pick up the geo light. I'm going to start getting some color down. All tapping, keep everything loose, try not to. He's got a lot of stages to him, but the stages are fairly straightforward. It's just a matter of going through them and not panicking about them. We're going to go both sides. We're going to be emphasizing his nose around here, tops of his head. We're going to leave this lighter area down here. That will give us a nice sense of nice softness to that white area in a little bit of shadowing, a bit of ping from that yellow. Careful you don't go into those too white area to cheeky, fluffy areas. After playing around with that one, we're going to pick up the transparent brown and I'm going to pick up my burnt targets. How could I not use burnt target on a tiger? See, I've got a bit of a padlet and I just wanted to too much water. I'm just going to just suck out my brush. Let's give this a little bit of a squeeze. Has been set on my desk for a couple of hours. You say you want to be nice and bold as you can. Again, let's start down. Let's start on his nose just almost zigzag. It looks quite frighteningly bold, but we have to be quite bulky, we're only having one layer over this. With tigers eye if it doesn't move around and say ideally we want this to just gently swing down his nose and we can edge outwards a little bit a tigers eye, weak that up. Just keep tapping that color in. Both a little too much. Top of his head. [NOISE] Pick up with that geo light while I just have the three of them on my hand at the same time. Just like that round. Just keep those early white areas clear. Pop a little bit more tiger. I keep saying that keep that reference photo as close to you as you can so you can keep pining your eye back and forth. More geo light at the side here. Don't want to get the sides too dark. It's really the center bit you want nice and strong. I seem to have an unfortunate dip. One day I'll have a piece of paper that's properly stretched. This should have been properly stretched. In I see a little bit of back water, it's running into the middle a little. I'm going to keep my eye open for that. Make sure it doesn't run into the center. Hopefully you've got a nicer piece of stretched paper than me. A little bit underneath this eye, there's quite a lot of strength right underneath the eye, right up against that white stripe underneath the eye. As soon as you've got something you're happy with, it's very easy to keep dibbling and doubling and losing that nice refreshing yourself. You can see that's the transparent brown little tiger's eyes will mix together? That's given me some really nice granulation in there, isn't it? Nice strength. If I squint, my eyes, might pop a little bit more transparent, brown-white into that corners because my paper seemed to have a dip. I'm losing some other, it's falling into the middle. You can see there's a nice or a dark area right underneath those eyes. You can almost touch into that, what will be the black make up. You can go in there a little bit. That makes sense. I'm liking that. I think I need to stop and just allow that to dry on it's own. I will be cautious of putting a hairdryer over that until it's almost tacky in just about ready. Because what you don't want to do is if you pop a hairdryer too soon, it will blow the color around. I can see that's forming quite nicely so you can watch it and monitor it. If it's very wet like mine is at the moment, you may find this leaching in places you shouldn't be or you don't want it to be. You can do it very gently. Maneuver it back up to where it should be. Again, if you've got a little puddle as mine, puddle here. I can just suck that backup there and sometimes you just have to watch it and see how it forms. But try not to fiddle too much. I did have out filled, don't I? Don't fiddle. I stopped fiddling and I'm going to put my brush down and I'm going to allow that to dry on its own. [NOISE] 5. Legs: Now I've allowed that to dry, pretty much all of it so I gave a little blast right at the end just because I wanted to get on. But I'm really pleased with how that's dried. Although we're going to do the legs and we weren't going to touch that. It was best to let that completely dry because what we're going to do is pop that little [NOISE] tilty thing, so we have just a slight tilt on our board because we are going to do these two legs. Pick up your brush again. Nice and wet. We're going to start right at the very top. It's quite important where you wet the little bits and pieces down on this painting. We'll have to join up and hopefully leave some white. That was the trick trying to get that right when I was doing all my practice tigers. Go up to that what would be his fluffy that that you can see where he referenced photo is where he's whiskey bits come down, isn't it? Up to that line, carefully around his chin, up and again, up to those fluffy white bits, and then down his legs. We're only going as far as the foot, so don't do the foot in case you get down there before me. Again, carefully go around the little nobly bits of his pad. Don't use pads, the top of his foot. Again, before that nice line around. As you're going to go down that little bit is almost, I think it's his back pad is this bit here I'm doing now, but we're going to go over that. I'm going to wet that down. Then down here. I'm just trying to leave a very tiny little thin line between the front foot and the back foot. There's not going to be a huge amount of color on the back, but just enough. We don't want the back foot bleeding into the front. Because it's tilted, I can see this is already starting to dry, so I'm going to tap a little bit more water in there and allow it to run. Just because I've added more water here, that's obviously going to pool at the bottom here. Be careful, before I start going to suck a little bit up, so maybe a little bit [inaudible] kitchen where we can just get a corner. Just touched the corner and you can see hopefully go up a piece of kitchen roll. Lovely, I'm done. Because I gave this a little blas with a hair drum and it goes it's the paper is warm, so it's drawing on me too quickly. I'm going to tap a bit more water in there. I've got that again, like the face, it's lovely and the where you want it. Really want that paper nice and wet, not pulling, but as closely as you can get to it, just allows that paint to really move and flow around. We're going to pick up, and I'm going to pick up a little bit of Aussie red gold. I'm not going to use cabmen, a little bit of transparent, and then a little bit of that geo knife. I'll just move these around. Okay. Use those in my hand. I'm going to start, I want to keep this quite light. I don't want too much strength on here. I think the lovely aspect of it, because this is going to be quite complicated, you want some elements really lovely and loose, so we just going to tap a little bit of coloring. You can see he's got legs, but not anything too extreme. Just going to go right up to that. [NOISE] I'm going to put a little bit of Aussie red gold and a little bit of transparent brown on my brush at the same time. It's just over the knee area, isn't it? Here. Let's get that in and allow that to run. I think we're laid full flat in a minute and we won't let be tilted for too long, I don't think. I want to again, try and get some little bit of movement in there. A little bit more transparent brown and I don't want it too orangy. When I teach, and I caught, I love the Aussie red gold and I don't get to use it in huge amount on pet portraits because the coloring better. I do use it when I teach my one-to-ones and somehow I always seem to have Aussie red gold up everything, I come to his sideways. It's a very strong color. Okay. I'm just watching this because I've been adding lots of water. Going to sap a corner up. Actually I might start laying that flat again now, I've got enough movement in there. I can see it's beginning to go a little bit dry, just want to add a tiny little bit of Aussie red gold up there just to pull that color to blend. Okay. I'm going to lay that flat now, take that away so it's flat. [NOISE] Make sure we're straight, put that down. I'm just going to pop a little bit of transparent brown, white at the bottom, bumping over little knuckles. Okay. Make sure you really got that nice carefully around those knuckles, just like that. I think that's almost it for that front leg. I want to keep it quite nice and light almost feel like I got a little too much. I'm just picking my brush, I'm just dragging that very gently. Sucking some color up. All done with very line, it's just literally touching the paper. That's better. Let's see if I squint, which will not to be ever so loose. Before this dries up here, let's put those down. Pick up your little small brush and if you've got a light liner is quite handy for this class. We're just going to flick some of that hair. It looks like it will give the illusion that this is the flicky hair from his chops. Just gently go round, if you find you haven't got enough paint, always pop a little bit on your brush. Try and get the angle. Have a look at your photo and see what the angle that the white hair is falling. Let's see, it's coming down at what's that? Seven o'clock. On the clock face. Try and get your movement, your angle right, and that will help, and we will wet all this down. Some of these will get all lost and softened. Again, we're going to do the same actually with underneath the chin. I'm just going to pick up my bigger brush and just wet this is dried again on me. I'm just going to wet that down again. Then just got a bit of cyanide. I'm going to pop that underneath his chin. Just tapping, everything's very loose. Run a little bit up here and I'm just going to pick up and do that again. I'm going to keep in my hand at the same time, that's the joy of using the tubes, you can have both in your hand if you're really spontaneous. I don't want too much color, I just want a little hint of it, especially the back leg and I want to keep that back lay quite cool as well. I think that is almost enough. Such more is going a little bit blue. Again, I can see this. Again for me, it has gone a little bit too much color there. I just really want to keep that nice and light there, although it doesn't show it in the photo particularly. I want to keep these legs lovely and light. It's just dragging those clean, fairly clean and just very keen. I can see that's wet, still wet, if it starts to go tacky, you've lost your moment really, so make sure that's nice and tacky before you do any of that dragging. Add a little bit more strength in here. Okay. I'm going to put those down again, and pick up my little liner brush. I'm going to do some of the little, again, flicking up. You can add a little bit of paint on your brush if you haven't got enough. Try to be random, it's obviously quite a small little painting really. It's hard to be at random. Squint your eyes. I always find this a bit hard trying to see what that looks like because I'm so busy concentrating on my paint here. But I think other people have a better job at doing that. Again, flick up a little bit here as well, make sure you get the angles to that. My iPad's over. I'm flicking you can't see my iPad can you? The coat is coming out this way, so I wanted to flick that way. He's white, he's obviously coming out of that angle, hope that makes sense. Before this, we just need to keep an eye on this. Before that dries you need to put some of those that striping because that is his legs done. I haven't been very careful, my little white line has breached into the back. It doesn't matter. It almost join that up as long as they're tacky, it doesn't matter too much if you like that and it's joined. Okay. Let's have a little bit of sepia and I'm going to pick up a burnt tiger's eye. Just add the two together. Big brush do. This is where you've got to get your timing right. You just want it tacking going off. If you start on them and it looks like it's moving too quickly, then just pause for a minute. It's worth trying on a scrap of paper. A little bit further forward when we go into the stripes, I do demonstrate how to try and get the timing right. If you want to flick through and find that better, is not as important for the leg. If he's paddling it's going to be too soon. You just want it where it's just going off. I can see that bit perfect. These bits a little bit wet still. Some of my paper has not been stretch perfectly, but I'm going to whiz in now anyway. I don't mind if it's blend quite a lot on his legs. Another one down here, I'm going to keep everything really lovely loosened. Don't need a lot, especially on his legs, I don't think we need to make these too obvious. You got another stripy one down there and you just go around that little [inaudible] his back pad probably. If you can strengthen that bottom. I don't know what we call these really. It's his pad. If it's not his pads it's his feet, but yeah, you can neaten those up a little bit strength if you need be. I think I can continue filling and not get anywhere and improve. I'm going to let that dry again. We're going to do the ears next, but it's always best to let these little areas dry because it's so easy to smudge your hand across and ruin your painting. Let that dry and then we can move onto the ears. 6. Ear and Nose: On to the ears. As I told you, it's all in little pieces, all very doable. I'm going to wet my little brush. I could do a big brush. Let's have my bigger brush, not very big. Wet down. Let's do one ear at a time. Get that lovely and wet. You want to go, there's a little dark patch just to that side. See if you can. Checking on what's obscuring my hand. Just make sure we go into that little part there. I'm going to pick up the most tiny little bit of yellow. I just want to try and emphasize, like we did with the face. I just want to try and get a little bit of color in there. Then I'm going to swap brushes. I'm going to pick up transparent brown. Know right amount on your brush. We're going to go round the ear on the outside quite carefully. You want it to at least you can see where it's got a little bit here sticking into the ear. You might've gone a little bit too much in there, so I'll just put a little blob of water in there, just help push it back. Again, just suck up our little blob again if it's paddling. Then that's hopefully pushed it back a little bit. Sometimes you can do these things and you've just taken too much out, so then like me, you're going to have to put it back in again. That looks okay. I'm going to put a color. I've put enough. That looks good. I'm going put that down and then I'm going to pick up my very spanking new sepia, start to escape from the tube already. We're going to go outside. Part of my brush is going to touch this wet line of the transparent brown path that's going to be on the dry paper. Nice strong line, nice amount on your brush. You can see there's a very dark room around it, and this is where it's good that hopefully, everything's nice and dry because you don't want to be putting your hand in wet paper. Just go round. You don't have to go all the way round, if you want to leave a little bit. I'm going to leave that little patch. Don't get too uniformed. It is uniformed in many aspects, but try and keep some bits loose. Then go into that little area we've wet down. Then we're going to pop before it gets too dry in there. We're going to pop a little bit of sepia in there as well. Let's do over that, give it a little bit of color. I might actually pick up a bit of neutral tint. Pop in that on top again. I'm just going to pop another couple of blobs of water in there because I can see it beginning to go a little dry. [LAUGHTER] Put those down. I've just picked out a transparent brown again. Just see I've lost some of that brown there, so I'm just going to pop a little bit more in there. Before that does dry again, I'm going to grab a little bit of salt. I'm going to pop a little bit of salt inside the ear before that dries. Hopefully give this a little bit of texture in there. Then we're going to do exactly the same with number 2 ear. Big brush again, wet it down, right snug up against the head. Again, you want that little dark area just in the corner there. We're going to do exactly the same. We're going to pick up a little bit of that kyanite this time because that's the color we used on this side, so that's plenty. Just a hint. I don't want it too obvious. Pop that one down, pick up the little brush again, transparent brown. It starts in the corner here because that was the color you got on your brush and that'll give you the corner. Then again, just work your way around. You see it hasn't got a lot of color on this side, on the right-hand side, so I think I might leave it at that. Again, that spread quite a lot, so I probably popped that down a little bit too soon. I spread a bit too much. Let me dip here. Just going to maneuver some of that back in again. Then have to add some more back in again if I take too much out. Back with the sepia and your little brush, and we're going to do exactly the same. Go round the outside so you're touching a little bit of the wet and a little bit of the dry. Hopefully, you can get a little closer to your painting. I'm standing, but I'm also a little away so I don't get my head in the camera shot. Some of these intricate bits are a bit tricky for me because [LAUGHTER] I'm having to see what I'm doing from a little way off. If you ever see anything just a little bit altered on the next chapter, it's because when the camera's being turned off, I've maybe neatened something up that I couldn't see clear enough, but I try not to do too much of that because I want you to see all the aspects that I do. But if you do see something that's changed, it hasn't been anything exciting. Get that dark a little bit down there. Hang on to that. Hang on to my sepia and my neutral tint. I'm just going to do the inner ear. He hasn't more of this side. It's more on the right-hand side. You don't have to get too intricate with the ears. I think ears are quite easy in some ways. There's nothing uniformed. It's nice if they're rough and bits of hair in there. Just maneuvering some of that back. Checking on my shape. That looks good. Before that dries, I want to get some salt in there. Put those down and do exactly the same. Whether my salt works, I'm never very successful with salt. I'm going to sprinkle some of that in there and then going to let that dry. We're just going to do the nose while we're here because it's a really quick little wet painting. Almost as close as I get to painting. We're going to pick up the geo life and we're pretty much going to very gently paint that in. You could wet it down first. It doesn't really matter, one way or the other, if I'm honest. Let's pop a bit of almost painting. If you've got a little bit of pink, you can add a little bit of pink, but I did have a pink nose at one of my paintings, but I quite liked. It wasn't so obvious with this. Plus it wasn't another color you had to try and find. But if you have got a pink and you want a pink nose, then that's obviously absolutely fine. If you squint a little bit, it's a little bit darker here on the top of that nose, so just tap something a little bit dark on top. That's the nose really. We don't do a lot else. Take a little bit of color out later on and the finishing bit's better. That all needs to dry before we can then move on to the back. 7. Back: Make sure these ears are nice and dry before you attempt the back but what we're going to do is do a little bit tilting as well. I'm going to shuffle this down a bit so you can see the end of my board. Then I'm going to pop. It's going underneath there. [LAUGHTER] That's it. Hookey dookey. Big brush again. A bit of water, and we're going to wet down all these back, and we're going to go right off the edge of that board as well, but start up here. I'll go careful. What we're going to do is you leave, come for a little brush, I can point a bit easier a tiny little white line all the way around the ear. I just finally gave it a little bit of light to the tops of the ears, which is quite nice. Wet the white end of the brush, wet, always helps. I want you to really slither that over a line. You don't want it too thick. You can always do a little bit thicker and then move in once we start painting and you'll be able to see what you're doing a bit more. Same with the other one. You want to do the sides here. Then wet it right down and off of your board or off your paper. Nice. Lots of water, particularly here because it's going to give you another lovely loose piece. You want to go right up against the top of the head though because ideally, we want some of that top of the head just to bleed in a little bit, not too much of a join. There's a tiny bit here, which just wet down or we'll start off without a pop of tiny bit of color in there, but it doesn't go outside the ear, does it. Again, top your head up and down and you can see where you've left any dry bits. Make sure you're a nice shape. You can take your time at this stage because you can keep wetting, so just make sure you've got a nice shape. I'm going to do that tiny little corner first, I'm going to do a tiny little bit of geo light. [NOISE] Tiger's eye. I did leave it just enough for the eye to see there's a bit of body there. Nothing fancy. I've got the geo of light in there. The transparent brown and I've got the rosy red gold in my hand. I'm going to pop the geo light, the rosy redo gold together, the left-hand side and just allow it to run here. I can see now I've got quite a big stripe. I don't want such an obvious big stripe, so I can close that down a bit now. Now, I can see what I'm doing. You can join some of it up to the ear, it doesn't have to be uniformly all the way around. While we're here, we're just going to just do a couple of those flicks in. You can see that. Just join it up to that. What would be at the top of this leg I suppose. Before this starts drying, just pop up a little bit more water on there as we're waffling here. Be nice and bold, big brush. I'm going to good old lump of transparent brown and they go fine together. Then I'm just going to join right up to the top of his head. What you don't want to do really ideally is to touch too much down here, we want to try and keep adding paint at the top. If it doesn't move and you're finding it sticking, just add that water in it and you'll see it starts running. We can have a bit of fun. But I would suggest just trying to add the color right at the very top and allow it to run because that gives it, so we just want an impression where it rears back, so we don't want anything too obvious, again, without legs. You can close down that little white line a little bit. You may not like it, in which case could be up straight up to his ear, but I quite like it. It's running quite well and what you'll find, I can see here it's gathering, a little bit pooling here. I'm just going to see if I can flick it off and encourage it down. You could see that movement. You can see how that's moving. I'm not touching any of this, I'm just encouraging it to move down. Just giving me quite a nice flowy shape, isn't it? Just going to try and add a little bit here because it's looking a little bit too. You haven't got anybody here. I want to add a little bit more in there. So you have to judge your own new piece and how much color a little bit to your style of painting as well. If you want it to be a little bit more like a tiger, I suppose a little bit more realistic, then you paint it all in. Do what you think it's best, how you'd like to see it. So don't be a complete slave to what I'm doing if you don't like all the aspects of what I'm showing you. I need to be aware. This is beginning to dry a little bit and I want to put the stripes inside. I'm just going to tap a tiny little bit more water in there. Very gently just touching the board. I'm not trying not to disturb that paint. So that's just mingling with the other water now that the others will damp the area. Pop those down. A little bit about tigers eye because whether I really need both tiger's eye in this painting, I don't know, but it just seemed wrong not to add it. I've got a tiger, so I'll just tapping in a little bit more color in there as well. Strengthen it. Yeah, I'm liking what's there. I don't really go on to fiddle too much more with that. Try and encourage off the board. Now, I've just got to wait for that to dry a little bit for you, but those back stripes in there as well. Probably given that about a minute. So I'm just going to pick up my sip here, somewhat use medical brush. Just wet it down, and take the excess water off. You want it, the stripes need to be unquote, nice and thick. You don't want too much water on your brush and you want quite a lot of paint on you're just separating. Just very gently touch it and try and you've always got a slight curves that try and get that curve in as well. Squint your eye if that helps, make them try not to make it too uniformed. Obviously, the photo cuts off somewhere here, doesn't it? So ideally, if you were to mount it, you'd mounted somewhere there was the angle's getting a little bit A2. Otherwise, don't worry too much about this, the back area there. I think it's about to hit a nice strength. Fabulous. I've just got to leave that to dry. The next little bit will be the eyes, I think. Yeah, I'll probably leave that to dry on its own again, you probably get some nice sort of flow if you leave that to dry naturally. 8. Eyes: That has dried beautifully. I've actually just left that to dry all on its own. I didn't put a hairdryer over that. You can see how those lovely swirls have just dried naturally. The next little bit we're going to do is the eyes. I'm going to just lay this flat. I'm going to pop that, take that away, and we're going to work on them one at a time, I think. Let's start. Restore some order. Start on the left one. Pick up your tiny little brush and make sure your iPad or whatever you're working on is open. Scroll up quite close to the eye so you can see what you're doing. We're to work on, say, first one. We're going to wipe that down and we're going to go over the, I'm going to call these the makeup. There's a black rim that goes all the way round. It's quite prominent, isn't it? I'm going to swirl that around. Again, you're fine because it's quite small. You're probably fine. You've got a bubble of water now. You just want to gently suck that up. When we did that first layer, we nudged that paint right up against the eye so you should find that soft to be a little bit. Really take your time, make sure you've got that lovely and wet all the way around. We're going to pick up the algae red gold and the Geo life and we're going to pop a little bit of color in. Just tap in a little bit of Geo light, don't think too much about it. Give it little nudge around, swirl around just so it goes over that black makeup. I'm going to put that one in a minute. That's all you need at this stage, nothing more complicated than that. Just make sure you get right to the edges. I'm desperately trying to see from my little fall off position. I've covered it all, I think so. Then I'm going to do exactly the same with the other eye. Nudge up so that leaks in, colors on your brush at the same time. We just want them covered. It's going to be a little bit of put it down, wait for it to dry. Do another little layer, wait for it to dry. It's a few stages to do this eyes. It all builds up, hopefully, and we get a lovely looking eye. I'm just fixing a little bit. That is the first little stage and we just need to let that dry. You can wheeze a hairdryer over it. Once that starts to go off, it won't matter if the colors actually get blown in a little bit and mixed. That won't hurt it, but just be careful you haven't got a bubble because you might find if you put the hairdryer over it, you go across your page. You don't want that. Once those two eyes are nice and dry, again, pick up your little brush, pick up a sepia. Wipe your brush. I always take the excess moisture off my brush, especially if I want things to be quite thick as it were and quite precise. Again, take your time. You can be sitting definitely this stage. I will try to see if I can do a neat line from where I am. I've started on different eye, haven't I? Doesn't matter which eye, we're going to do exactly the same. Let's be methodical. Let's start on the eye I started the start with. You go carefully around. Hopefully you can still sue your pencil mark where the black line goes. Although isn't black. I find black very hard and I don't like it as a color. I tend to use dark colors rather than actually black colors. This is actually a bit of painting. Using a paintbrush and putting them strokes in very carefully. You can see there's not an awful lot there, is there? But there is quite nice depth here. I'm making his eyes quite round. Take your time. There's absolutely no hurry at this stage. Nothing's drawing on you. You can step away from it. Take your brush away and your YouTube and have a look, stand up. Make sure you've got that nice and round. There's a slight stretch on this eye. There's a slight eyebrows coming across the eye. I'm not quite there. Just want a little bit more of a slant in to give that impression, the eyelid, it's got a frown, hasn't it? I suppose it's probably the best way to explain it. I think that's looking all right from what I can see up here. Fabulous. Clean my brush. I'm going to do exactly the same on the second eye. This is where you you can start to see it coming to life, can't you? Quite thick here, isn't it? Do those little flicks if we want. Do the other one, actually. Keep your eye flicking back and forth. That's considered good technique because it feels like it almost superimposes itself if you keep moving the eye back and forth. I think that's as good as it's going to get. Sounds a bit blousy. That's done. That again, needs to dry. Probably won't take very long at all, and you can probably wheeze a hairdryer over. I can almost see that it's dry, but to be on safe side, I'll wheeze a hairdryer over that. Then we can do the next little part. Once it's dry, again pick up your little brush and we're going to wet the inside of the eye. We're also going to touch that CPO with whatever color you've chosen to do the rim. Hopefully, that should just blend just a tiny bit, which isn't really, but you may find your paint has reacted a little bit. We're just going to strengthen the eye now. Pick up your eye colors and your sepia. We're going to just strengthen. I don't want too much more Aussie red golden on mine. But again, judge your own piece. I've been quite bold already with the Aussie red gold in this eye. What we want is a little bit of shadow underneath on top of the eye so it will give the impression there's a shadow underneath. You can see that immediately. It changes that just by popping that. Again pop a little bit of sepia, just a tiny bit. Quite often if you just touch some of that sepia it will bleed a little bit, but mine hasn't. Because it's not awful or something either. Again, you just have to monitor it. Watch it. If your dark area starts to slide down a little bit, just very gently just tease it back up again. I want to tease it up there a little bit too much, so I'm going to add a bit back. Move very gentle. Set to eyes, especially if you've put a header over there. I knew you're going to say hoover. A header over there, you'll find your papers will be drawing quite quickly. We need to keep an eye on that as well because we're going to put that eyeball in. To put those two colors down because I don't need those anymore. I'm going to use a little bit of tigers eye and a little bit of sepia. We're just going to try and catch it in the right moment. I've brush all ready. You don't want too much water on your brush at this stage, so make sure it's nice and dry. It's looking about ready to go, so nice thick amount, and start do a tiny little dot and you can get an idea roughly how that's looking, and you can just gently add to it. You can suck it up if it's looking a little bit weird and quite often when you first put them in they take a little bit of tinkering. It's judging how your own eyeball's gone. That's looking all right actually. I'm just going to put a tight. I'm going to pick up that gel light again. I'm going to put a little bit gel light in a little bit of tiger's eye. I can see that's starting to go a little bit light at the top there although, the picture shows some quite strong shadowing down here, I'm slightly going to ignore that. I just want to make sure this is dark at the top there. I can see my eyeball slightly starting to slide down. I'm just going to give a little tease. The minute you see you'll suddenly go, oh, that looks good. That's the time to stop. If you find yourself getting a little muddled and a little bit, like oh, goodness, I'm not sure what else to do and it's all going a bit muddy, leave it, let it dry, then come back to it. That's how I used to get myself in a little bit of a fluster with eyes, and it's easy to keep fiddling, and it gets even muddier and you get more panicky. The best thing is to literally let it dry, step away from it. Even move on to the next one maybe and then come back and have a look. You can rewet that if need be. I'm happy with how that's looking. Although he's quite bright done here already, I just want to take a little bit more light out. That's with a clean brush. I've just picked up a little bit of color, and that gives that sheen at the bottom. It's not obvious on that photo. I'm going back to things. Do the tricks I know work quite well because sometimes you can be a little bit too much of a slave to the photo and it doesn't always help you. We are going to do exactly the same. Let me put one more I got here. I just pick up the audio red cord as well. I'm trying to remember what I did. On to the second eye. Again, you can strengthen, mine got a little bit wishy-washy on this one, on that first layer so I can strengthen. I'll put a little bit of geo light, I just tap that to the stage where I feel I'm happy with it really, so I touch right up to that sepia. See if yours gives you a little bit of a bleed. If not, like mine, it hasn't thinned. Don't worry. We can pop a little bit of sepia, a little bit of geo and just tap that in. Try not to do too much brushstrokes, just tap. Because by brushing you're going to rustle that layer you've already put under the first layer. I'm just strengthening, just watching it and seeing how it moves before and it's getting a little bit sticky and not moving very much, and always put a tiny little bit of water in there to move things around again. I'm going on the same principle as I did the eye, this is a shadow underneath here on top of the eye. I'm waiting now ready for the right time to put that pupil in, just about there, I think. Again, I'm going to use a sepia that's not muddled up. Put those two down. I've got the tigers eye and the sepia. My brush is quite, is not dry, but it's definitely not holding up lots of water. What you don't want is to put a lot of water in at this stage because then the pupil would just bleed really quickly. Again, just tap that in starting what you think is the center and you can work your way outward. Just keep peeking your brush away for a minute and see how that looks because he's going to slowly expand. It's worth stopping, allowing it to expand and watch it. That's actually worked quite well. Sometimes you're like, that's worked. Should I fiddle? But if it worked, don't fiddle. Sometimes it just comes together. I'm going to take that little bit of light at the bottom of the eye, so the clean brush, and just take out a little bit of light out, that eye has worked really well. You see these pupils just bled a little bit too much. What I might do, I'm going to dry that because it might be interesting for you to see how I would rectify that. I'm going to give that a little hairdry, that has worked well. It's almost dry and now I am quite confident now if I put a hairdryer around that, it's not going to move too much, so that's what I'm going to do. I'm just going to read, and actually as I stride, I prefer that one to that one now. I'm going to do another layer just to show you, and I'm probably actually going to work on this one, the one I actually liked. Again, very gently, wet your small brush, wet it down. Sometimes just wetting it down will just be enough to soften. I'm going to use a little bit of tigers eye. I have lost a bit of strength. There's the top of the eye. Shadow, particularly the tigers I think because they have quite a heavy brow, they then create themselves quite a shadow. I think that's what gives us the intense look. I'm just tapping a bit of tigers eye in there. I'm really soft to blend the color. Then you start to lose the eyeball a little bit and it stops becoming quite so starry. Sometimes it just a tiny tweaks. You don't need to do a lot. I think that's actually dried. It has actually come together quite, quite well. I like that. I like that now that's dried, so I'm going to leave that, I'm not going to fiddle with that and I think that has worked, so I'm going to give it another dry then we can pop that catch light in. The very final, little thing with the eyes is a little tiny, all important white dot. Quite often I lead the eyes the very last. But this just the way the layers work, I found it was better to do the eye a little bit sooner. But if there's no reason why you can put those eyes to start with, so if you're watching this before you start painting, and you always like putting the eyes in first there's no reason why you shouldn't. I'm going to put them, it needs a nice clean point, it looks a little bit rough to me. I will turn nice. Nice point. I'm going to pop it. Not too far up because that's going to look a little odd, so I'm just going to almost put it on top of the pupil just a tiny little dot. Then you can always make it a little bit larger when you pull your brush away. That looks quite good. I'm going to do exactly the same with the other one. That is your tiger's eyes done. 9. Stripe Demo: [NOISE] It's on with the all-important stripes. Now before we start painting, I thought this might be of some help and I would probably suggest having a go at these before you start with the stripes. Now, I've done myself, as you see, five, little swoops and that's the same colors as we've used on his face to this point. Then I've allowed them to dry then wet them down and it's at various points of wetness. [LAUGHTER] I've then put the stripes in and you can see this is really wet and you can see how the stripe has bled quite a lot. Again, this was allowed to dry a little bit more and you can see it's soft but it's lost quite a lot of definition. These two I said were sort of the perfect wetness. It was just that lovely gleam. Again, I'll pop those on. They've just bled and gave me a little bit of soft line. This was almost dry and you can see it's a really harsh line. It's not to say it's wrong and some lines up, yeah, it could be made up of rather harder lines, but I personally like these two. This is what I'm going to try and aim for when I pop the stripes on. Give that a go. I would highly recommend having a little play just to get yourself a feel for, even if you are familiar with putting color like this onto existing layers, it's helpful because the paint underneath also reacts differently to how strongly you put this on. Have a little play with the colors you've chosen to do his face. Then you can get started with the stripes. [NOISE] 10. Head Stripes Part One: We're onto all important stripes. What we're actually going to do, we're going to halve the head in half. That's what half means. What we're going to do, pick up your big old brush and we're going to wet certain areas down. We're going to wet the top of the eye, this white eye this time. We're going to try and leave this for a minute and the white underneath the eye, and the white beside the eye. Obviously, we're going to the next half in the next part. We're going to miss out the chin and we're going to miss out this white bit here as well. Hopefully, that makes sense. Start at the top, gently work your way around to near the all important outside black stripe. Work your way down. Go around the nose. We're not doing the nose either, so go carefully round the nose. It doesn't matter whether you go in with a little black in his mouth. It doesn't matter if you go into that or not. Don't worry too much. Then we've got that tiny little bit that I mentioned when we drew him out. Go into that as much as you can. Keep everything light. Try and let your brush just drop because what we don't want to do is rustle these lappy layers or layer. Only one layer, isn't it?. Go carefully around the eye. You can touch it because that would be ideal. CP should gently blend. We're missing out that part. Just for the time being, we will blend that in a minute. Then just run down center of his muzzle. Make sure that's all nice and wet. Again, no bubbling, but nice and wet. Just go very gently, try to just tap water in, if you stop moving the brush around. I've got some lovely effects there and I don't want to move those or rustle them around. Now I see that's nice and wet. It's a little bit of a waiting game, it looks obvious. Demonstrating that demo is catching the paint at the right time. But we can. If you felt there was certain area you wanted a little bit stronger, a little bit more color, I'm going to put a little bit of Ozzie red golden in here just to zing him up a little bit. We can adjust a little few bits and pieces if need be. If you're happy with what you got, then obviously you don't. You can see that that's bled quite nicely into that white eye patch. If it hasn't and it looks a bit stuck, just give it a little more rustle around the edges and just encourage some of that in because what we don't want is a very obvious hard line. I'm going to run that right up and this funny little bit there. I need a little to brush up there. Running right up to that eye. With white eye marking that wasn't very clear, was it? Just concentrating. I really don't want to put any more color anywhere else, I don't think, because I'm pleased with how that dried and went, but if you obviously come down to as much, here there's little markings beside the nose and that was your red golden, you didn't need a lot in there. You can just tap a little bit in there. If you felt you just want to widen anything, cool. Again, you could almost take a little bit color out if you've gone a little bit too heavy, but just be very careful. Again, keep your eye on how that's drawing. You might find that certain areas dry quicker so you can then put your stripes on the bits that you feel are ready. Interesting, that was beginning to dry up. I've got a little bit quite wet down here. I'm just going to suck a little bit up very gently, just that this painting is around along a little bit more. Again, if you're finding this is seeping and going down a little bit too much, just gently push it back up. We want that to be quite white since within your photo it's quite white. I'm going to start doing that markings around his nose first. I quite like this liner for this. I've got a got a number 1 liner. I'm going to pick up the CP here and I'm going to pick up the neutral tint. We're going to alternate a little bit the colors we use between these two for the stripes. If you've just got one color, that really doesn't matter. But again, you don't want your brush too wet and you want a quite a nice amount of paint on your brush. We can start going round that nose because it doesn't matter that bleeds a bit more. Got a nice little bit it goes up there as well. Only the silence of concentration here. There's ever present the sparrows in the background maybe you can hear them in the audio. Please add a little bit too much and you just clean your brush off. You can just gently push it back in again, suck it up or push it back in depending on how much you've seeped. If you've got too much then it's quite heavy, you can suck it up or you can just push them back in. I've gone a little bit heavy handy there with certainly how I wet that down. You can see it seeped into the nose, but don't worry if it has because we can tidy that up. The waiting game I can just see some of this is starting to dry quite nicely, but this is quite wet in the middle where I seem to have a bit of a dip. I'm afraid you're going to have to charge your own piece a little bit if I can see that starting to look quite good so actually, let's stop. I'm going to use a little bit of neutral tint. I found the neutral quite helpful. It didn't rush around too much. You want a paint for these stripes that don't move too much. Again, CP is always a favorite of mine. I like it for that quality. I'm just going to tap and I hope you can see where your pencil marks are. I can just about see them underneath there. Keep everything light, try not to panic too much, the scary part to it. I'm assuming it was the thing that I found hardest to get right. Again, I'm judging my own piece because I can see this is starting to go off here. Just go round, find the stripes that way your texture, the wetness of your paper is just right. Just tap, just try not to do any brushstrokes. I would advise just tapping. Again, it's going to move a little bit. Keep an eye on it as well. If you need to tap the nose, just suck that out. That's got a little bit messy there, you can see where the water is gone into the nose a little bit, so I wasn't very careful with my wetting down. What we need to do is keep an eye on this all important last stripe. I'm going to start getting that in there because it's starting to get to a nice stage. I want to quite a lot of paint here because I'm going to have to pull that out into the white. I want it right down, it goes right down to here, didn't it? Fairly with you're lining brush, try not to split this off. Then you're just going to use this and pull out just a little flicks. Try to keep brush nice and loose and try and follow the movement of where the hair is going to. You need to do this quite quickly. You don't want this to dry too much. If you flick out when it's too dry, you'll find it looks at the flicks are just stuck onto the stripe. So I'm just working way down here. Again, try to be random if you haven't got quite enough paint on your brush, also not enough paint on your stripe, then you always put a little bit on your brush. You can wipe down to here. Again, just look at your own piece. If you need a little more strength, then add it. It's really is timing with these. I'm trying to keep it all clean, but that again too messy. I'll work my way round. Keep an eye on that reference photo and start just filling in. Underneath his eye I can see, and if it begins to start drawing on you, you want to keep it a little bit alive still. You can just very gently tap in a little bit of water, mine's picking water, my brush is contaminated with color. You can add little bits of water if you want to save a little area here is it begins to dry a little bit. I'm just keeping an eye on this stripe, it's moved a little bit, I'm just going to gently push it back again. I know I started a little bit too soon on that one. You could be able to get going. Don't put too much water on your brush when you're pushing these back as you want it, you don't add too much water. You can see I'm still adding a little bit up here as well. There's some quite good night marks up here, a very strong one on top of his forehead. Be guided with how your paper is drawing, don't necessarily follow how I'm doing my stripes and the order I'm doing my stripes because I'm trying to judge how my paper is drawing, so I've got this big of a puddle running down the middle which isn't particularly helpful. Come down here a bit, I've got one under here. Just tapping, try not to panic. Quite helpful to stand actually, I must admit I'm not a fan of sitting anyway, but for these stripes it's quite nice to be a little bit away from your painting. Alternate the cadmium, if you're choosing to do a couple of colors then you either put the colors on your brush at the same time, but just alternate the colors through the stripes. Of course, you don't have to be exact I suppose, if one looks like it's getting a little bit too near another one then imagine tiger stripes are all quite individuals there so don't be a complete slave to it. I love this darkness underneath this sculpt a little bit, that white. If you want it a little bit too deep, you can close it down a little bit. Back into that stripe, the very first one, I almost edited a bit too much. Moving down there. I'm just going to use a CPA it's got a lovely from the eye socket, it goes in a little bit and it runs to the edge of the nose. I'm just going to try and tuck that in a little bit, it's not looking very obvious, is it? I've got a little bit of a puddle going on down here. Hope you can see that, it's very subtle, so you don't want to over your stripe. But hopefully you can see what I mean, it runs from the corner of his eye or at least the corner of these dark markings, it runs down and then joins up so that it will flick right outside his nose. Wet my brush, I should have a little bit of tiger's eye. I like this, he's got some really obvious whisker markings as I get eyes dried on me. The perils of having your leads of your paints, these have sat for a couple of hours. Well, they have back dried, so to wake them up a bit. It's nice to alternate your colors because it give you obviously the tiger's eye is very soft, at least, it's going to give me a very soft whisker markings. I'm just observing, seeing what I have done or what I haven't done, what I need to put in. I don't need to be a slave to every single little marking. If it's looking a bit crowded and you feel if you put more then it's going to look messy, then simply don't. Have a look through, get yourself away from it a little bit if you can. The reason why I've halved this is just to give me a bit more time, I found if I did the whole head all at once, it was too hard to keep a track of the paper and how that was drawing, so that's why I've halved it. I've got some really nice stripes going down here. I'm pretty pleased with that. I think it's very easy to overdo this and get a little bit too fussy with it. I've had a few pieces where I've done exactly that and it's got messy. The minute you're quite happy with it, clean your brush, pop those colors down. What we're going to do is just, hopefully, this is beginning to go a little bit tacky. I'm just going to close those other white areas down, the white underneath the eye. Just with a clean brush I'm just wetting it, and hopefully that will soften. Just keep an eye on it because some areas might get a little bit grabby, so you just want to keep an eye on it. Just put a light color out if it and just keep an eye. More neutral a little bit, if it needs to be closed in a little bit. I'm going to pop a little bit more, a bit transparent brown here, I'm just going to close that white in a little bit. You can just see why this was a little bit too wet, then tap the striping a bit stronger there, better. I'm pretty happy with that. In the finishing off section, we can tie some of this eye end and shape it a little bit more if need be, but I'm pleased with how it's looked. This little area, I found it was best to finish it off in the last stages where we can just wet it a little bit down, and that softens it. But as this is tacky, I love what's happened here. It's just a little bit too sharp and white for me, but I found it's best to do it in the last section, what I call the finishing off stage. Don't worry about that, it's going to look a little bit it's dark at the moment, but that will be done on the finishing off. That needs to dry completely, that half. Again, I'll be really cautious of putting a hairdryer that I would let it dry naturally because what you don't want to do is to blow those stripes around. Let it dry and we're going to do exactly what we did on the first half. 11. Head Stripes Part Two: Once this side is completely dry we can do this exactly the same, so wet a big brush down. Very carefully we're going to do the same. Around to that very important outside black stripe, very gently just let your brush fall. I'm going to go over that white top eye marking, and we're going to reserve at the moment that white underneath and beside, and then touch right up to where you wet on the first half and go carefully around the nose. Just off before I started filming again, I tried to do that nose where I was a little bit lackadaisical with my wetting. You wonder why the nose has changed a little bit, I just literally taken a little bit color up. It was disturbing me. Sometimes you have to make visual alterations to carry on because some things just catch your eye all the time and little things that I can put here make you lose your confidence a little bit. It's always worth sometimes altering little bits and pieces where you can to keep you around up. Make sure it's lovely and wet. The thing we've been very gentle which you end up having quite a wet painting so you can do when it has bobbed a bit. Very gently with your brush, just suck some of that up and you don't want it sitting in puddles. We can give this a little rustle here at the top of the eye for that white marking on top of the eye. If it's not blending, then you can give it a little bit of rustle. Add a little bit of [inaudible]. Tap a little bit at the top. This is where you can adjust some of your colors from your first layer if you weren't happy or move something around, strengthen little area up. But I'm not going to put a tone of amount in there because I'm quite happy with how that all looked especially this side, and those marking down here came down quite well. I'm happy, I just wanted to pop a little bit of this. It's important to put this on this stage. Because it's lovely and wet that should blend and move around quite nicely. If you left that a little bit too long, then it would awfully be a bit sticky. Some of this drawing; the bottom lower half is drawing. Just going again to struggle with my dip in the middle of the nose, so I'm going to just drive a brush. I'm just take a little of the excess. I'm trying very hard not to actually touch the paper, but just the top of that water. There's quite a lot sitting here as well. I'm just going to move the brushes a minute here to that kitchen roll, that will suck up some water to just the very tip. You just want to go very gently. Perfect. I'm going to use my liner brush again and I'm going to pick up the sepia and the neutral tint. This is exactly like you did in this first half around the nose, and is a little bit off shape that goes in, isn't it? If you can do that as well. I've got a vision of struggling in all the way round it and I make up for the nose. Join up there, the other half and he's got lovely flicks out. It's a little bit wetter at the moment, and so you see it's bleeding a bit too much but we need to hold far a little bit and that's what you're going to do. Put a white into that corner of that eye, so I'm just going to do that with my little brush. It will end up with these strong markings there, and again you can strengthen that a little bit. That was a bit weak. I'm going to pick up a little bit transparent brown, so I'm going to go slightly different way round this time. My randomness does. I'm drawing that line down that takes you to the edge of the nose, and you can see that's one of those important parts. There are always important parts in a painting, and that little line I found quite important. See how that's drawing now. I'm being impatient, I can feel it. [inaudible]. I wants to get on with the stripes. I just need to hold for a minute. Let's see if I can see, that's for me anyway. The top of this eye is drawn quite nicely, so I'm going to swap brushes; I'm going to use my little one. Make sure it hasn't got too much water on it. Judge your own. If this is wet for you, don't start. Just have a look around your painting and start adding the stripes where your paper is starting to dry at that right moment. I'm going to carry on waffling. I hope it's not going to put you off your painting if you're doing different parts, but I'm going to do it like that nice stripe; the strong stripe underneath that white. That's beginning to dry now, so I'm going to start putting that one on ; and that's strong one. This is the important one, so keep an eye that needs to be just about right. Main stripe to keep an eye on is that outside black stripe. It's looking wet. This one is very ready. We tried to join them up from the first half so they look like they're obviously joined. Be conscious of that. Seems that we're ready to go in this little part. I'm going to have a go at doing the whisker markings because it's starting to dry from me. I'm going to go back to the [inaudible] because I found them quite nice and soft. Going to get around that node white of a bit. [inaudible] blend it a bit too much. Lost a little bit of shape there a moment but I'm going to sort that out abit. I think when it's finishing off bits. Just tapping. I strike still quite wet. Just not put that one in there. It's quite a large obvious one there. I think I'm done with the rest of them. I'm just waiting for that. See if I can find a little bit kitchen roll to suck that up a little bit. Hanging around for me. That looks just about right. Nice and thick. If you can see that I have quite a lot of paint in there. I'm going to spurge it down. As soon as you put that down. We get rid of those for a second. Then pick up my little liner brush and then again, just pull that out. Need to do quite quickly after you've put that paint down. If you haven't got enough on there. Then you can always add a little bit. Picking these backup again now I have to putting them there. I just say keep the hair in the right direction as well. Try to keep this nice and loose. If you feel like you're dragging too much paint away from that stripe, just add a little bit more. Keep your eye on that reference photo. Keep swinging your eyes back and forth over it. I'm going to paint over there. Just to put a bit more color on it. Elongating little bit further up. Is so tempting to carry on and these little minute stripes in and it'll bit better. I think I am done with that. That's looking good. Again, that needs to dry completely. Oh, no. We haven't done that. Put those two down. We just need to soften the white beside his eye and the white underneath his eyes. I'm going to use my little brush. Let's make sure it's nice and clean. No, it's got a little paint on still. That's it. Not too much water. Just enough. Almost need the same amount of water. As a surround. It doesn't quite make sense, but you don't want it too wet. You'll flood the painting again. You just want it just wet enough just so you can get that bleed. Again, the side there. You can think over those stripes if need be as well beside the eye. Look quite good. I'm quite happy, but keep an eye, don't let that go too murky can be because there's a very small area of white, the color from these that lower stripe can quickly take over. Keep an eye on it. Again, just like I did with the other half, you can tap a little bit more color. If it needs to be in there, let me add a bit of transparent brown. That's beginning to dry now I don't want to fiddle with that. If I start, that's just going off. I've got various stages of drawing round here. This is still quite wet down here, but I don't want to. This is this tricky stage where you start getting certain areas that are dry, certain areas that aren't. That's almost completely dry now, so I don't want to fiddle anymore. I'm going to put my brush down and let that completely dry. Then we can do it's chin and his foot. 12. Chin and Foot: Right is on with the chin. Next, so I think I'm going to stick my small brush. We're going to wet that down. We're going to wet the brush and then we're going to carefully wet and go really carefully around this funny little. You can see it on the reference photo currently that funny little bit there. You're going to run right to the fluffy edges that you've created on that leg layer. Again, onto the other side. Again, this is a little bit about timing as well. We want to put a nice little dark underneath here to create that mouth, but we need to do it the right time. It's going to run up a little bit further up here. Use them all quite important little parts. I'm still retouching underneath. That's all important back stripe and front stripe. Again, you don't want it bubbling, but you want it nice with tacky stage waiting for. Actually that's dried quite quickly so I'm going to pick up. I don't want a color that's going to move a lot. Then use point-eye because I know that it's going to withstand the page and shift a lot. I'm going to stick to my stripe colors. I've got my sepia and the neutral tint. I'm going to use predominantly neutral tint I think. Again, I'm going to go up right under here and just add color to the top there. You can see it runs it got this very important little bit here and then you could shape that. Look at your own painting and the reference photo, and you'll see what I mean. One of the little things is that catching me out when I was trying to work this one out. Of course, you can then shape the mouth if this didn't go quite right and you went a little bit too far down on the low end is going to be jagged. You can then just shape. You've got plenty of time. If need be you can just wet it down again, if you still want to draw it. Although these are quite complicated painting is all broken down into I hope fairly easy to follow steps. So that I give it more color there because it has quite mood as much as I wanted. I going to add to that a little bit there. But just so was shaping we did that, would be his cheeks, I think. You can have a look at this area if that makes sense and focus your eyes on this part and have a look at this. You want that to be symmetrical. I'm not good at symmetrical, so I'm sure there's plenty of you that are it's why to do buildings, [LAUGHTER] on such things. I thought one of my stronger points is making things look symmetrical. Probably why I took so long to sort out with the stages. That's dried lovely. You can see that's given you a nice fuzzy look , so that's perfect. I just want to make sure this is dark enough here. These little tiny bit I suppose. Not his fangs, but somehow that gives him, again, it's one of those important little parts of the painting. I've placed my brush away, stop myself looking into it too much fun. I like that. I'm going to leave that for the minutes, let that completely dry. [NOISE] Then we're going to move down to this big old foot. Swap brushes, you can go back to your nice big brush. I'm using my painting, my picture. We're going to wet all these pads. We brought him back to call him pad to getting on top of the foot sections. Again, if you want to we're going to keep this very loose. We're not going to put too much detail in here at all. I personally I'm not going to. While it's still quite nice and wet, I've picked up the geo-light and just add a little bit of color to the top. I want that to be really soft, almost enough. But what I will do, put that back down again. Let's have a bit of transparent ban, little bit of sepia. Put a little bit of strength from the bottom as well. Just hint of it. If I look away, that's almost giving me enough definition of a foot without getting too carried away with a intricate parts of it. Just picked up my little brush again. I'm going to put a little bit aligned. These couple are not obvious, I want three straight lines. [LAUGHTER] A little bit of transparent branch, I might pick up the target. [inaudible] Fabulous spots I want there. So I don't want it too obvious, but I'm just going to pop. It worked I like that and that's enough. I'm not going to do any more to that, and clean my brush. I will do. I just wanted to draw. I was just going to use a hairdryer to draw that quickly. But there is a tiny little section, we can add a little bit more strength from underneath that chins. Quick hairdryer. Be careful if you're using a hairdryer, you don't go over that photo. I'm trying to get it to go. [NOISE] With your big brush, [NOISE] you can see this is obviously the chest area and that's obviously the foot. So we just wanted to emphasize that front foot or legs. As I do foot. Just going to soften it over to here. Although I'm going to wet this down, I'm not going to touch any of the leg is just to keep all of it soft. Then I can go, if you've left you ended up with a rather white line there darkened. You can soften that now at this stage. I'm going to use modeling rigor for this, so that it will do that night. All I want to do is just put a little bit of more shrimp underneath. Let's have a little bit sepia as well. Just a tiny bit. Then you can flick up again, and see where you can reshape the chin a little bit if your chin didn't quite work out. Just emphasize a few more of those strand bits or hairy bits. By just having that line there that will hopefully bring this leg forward. Then give us a little bit of punch underneath. Don't do too much. Look away from your painting and see how that looks. I'm pleased with that. I think that looks okay. That is your feet and your little chin done. I just want to strengthen that, make that a little bit more obvious. I could've done this in the finishing off bits, but as we are on the section of mouth and foot or chin and foot. That looks better. We are almost there so that the last bit is just to do all those lobbies to a finishing off bits. 13. Finishing Off: Right, we are almost done. The first thing probably to do is to take the salt off of the ears. I'm actually going to do that and just brush it away. Hasn't worked tremendously well as my salt doesn't normally do, but you may have a nicer result than me. I'm just going to scoop that away. Hopefully, it's given you a little bit of texture on the ears. Just brush it onto the floor. Then we got to the fun part of taking the masking fluid off. But be really careful, make sure your painting is ever so dry, because it's quite upsetting to rub the masking fluid and then find your paint still wet. Let's just get rid of those. All you have to do, obviously, is to a little rub. The whiskers should come out quite well. Quiet often find spots as you go along that you haven't already rubbed off. Let's get the majority of them off. Can't see any obvious ones, let's brush it onto the floor again. Lovely. You can see those whiskers really make a difference, don't they? We are just going to try and work, as methodically as I can, from top to bottom and just finish any other little areas of. [inaudible]. I think we're going to wet this a little bit down first and get that softened, then we know where we're heading with that a little bit, so forget that. I'm not going to start from the very top, I'm going to wet these down. They're quite harsh to me. If you like that look, that's absolutely fine, there's no reason why you have to do anymore. But personally, I've got my big brush. I'm just going to wet that down. Like the lines underneath his eyes, besides eyes, I will just soften and give you a little bit of substance. You could at this stage, I'm not going to do, I think I've got enough personally, but you could add if you didn't find that back stripe and lost a bit of volume and strength. With with sepia, you can add a little bit of strength there, so you're going in and just strengthening that a little bit, then let's do what I've suggested. Let's unblink here, unfocus your eyes and have a look. Hopefully, we find that helps. What I do find is actually taking a photo of my piece. I use that technique quite a lot, because for some reason I see areas I need to work on. I somehow don't see with my own eyes. Just a little strange. I'm sure there's a reason. Just adding a little geolight just at the top there, just where it blend in. But be careful not to overfill at this stage. Becomes a little scary, because hopefully you've got something you're really pleased with, and you don't want to, at this stage, mark anything up. Just do it mindfully. Just getting this line down here, the white. I'm pleased with that. That's softened that. Hopefully, you can see what I mean by doing that. Just back to my little eradicator brush. Just going to put couple of a little white lines in there. What really want to keep that soft, I don't want it to end up with a hard line here, so I'm monitoring it. It doesn't necessarily need to be the eraser brush. Do it on the other side as well. I'm going to winze a hair dryer over there, so it's nice and dry and then we can continue having a little shape. You can probably see where it's left where I've wet that down. Like I said, it's left a little bit of a hard line. So with a tiny little eradicator brush, I'm just going to pop a few little soft little lines in there, just to break up that hard edge there. I'm going to move more up there a little bit. I can see this is personally a little bit. Looks like I put my finger on it. I'm just going to get rid of that little area there. That's came with a nice clean brush, my large brush, I'm just scrubbing away a little bit of kitchen roll, tap that out, and it's gone. Then we can go round, taking any light off, there's a nice little bit of light just here where the ear is. Again, clean brush, very gently just going back and forth. Most of these colors lift off really well. So I'm just going to have a little tap with a kitchen roll, and that's just taken that tiny bit out. Again, a little bit here. It's got a bit murky. I think I probably put a striping where it shouldn't quite be. Just go around your own piece. You can lift little bits of color like this. Go carefully, because all his stripes are quite uniform. Carefully you don't take anything out you didn't intend to. Swap brushes again. I'm just going to use my eradicator. I just want to try and put a couple of little flicks up here. Very small bits, only very slight. It's a very small details and little finishing business, that as always, always pour these paintings together. I'm just going to go back. Back over here so we can flick a few up. Try not to obscure the camera. Tell me how well you can see that coming out. Just a little, little bits. I'm quite happy with all this, and I'm happy with how I've managed to keep most of that white. Well, what I might do is just to shape these eyes a little bit more. Let's see if we can take this white needs to be a little bit further down. Again, you have to just look at your own piece. This might not be relevant at all for you, but it's just going round and tinkering, really. I said in the eye episode, there's a silver line here where he's frowning, isn't he? That will give him a more intense look. If you can square as this one isn't quite so obvious. I want to just do a little bit. You can keep still flick your eyes back and forth to that reference photo, and there's another little bit white out here; it shows I've lost. Just going to take that out. On my soft brush, there's a nice little bit of light, just across here. We go really carefully. I would suggest to dab it with your brush. I'm going to use my finger. Let's just hopefully squish it a little bit and not take too much paint out. If you dab it with a kitchen roll, it can lift too much out. You've suddenly lift with a very obvious line, and it can be very hard to put back in. Now my nose got a little out of shape as well. I wasn't careful enough for going round when we were wetting the second layer for the stripes. I'm going to see if I can just reshape that. I've got my little eradicated brush. A lot of these little things aren't going to be necessarily relevant for you, so I don't want to spend too much time if your nose is perfect. [inaudible] that side, also, which we haven't put in, is a little line. I'm just going to use burnt tiger's eye, swizzle that round a little bit. Is a tiny little crease on the nose. Just join out, put that darker. I'm going to put the spots in. I'm not keen on his spot on each nose. I'm not sure if that's going to add or help. We'll give anything to the painting particularly. Somewhat, I'm trying to look around my painting and see what else I need to do. May try and take a tiny little bit of color at the top here. Just to give a little bit of light. Just a fraction. It really really is a say, go very careful not to squish that one on the seats. It looks like it's lifted a little bit too much outside. Try not to use a kitchen roll on that. I personally don't want to put any stripes in with a dry brush, but you may be more familiar with it and more confident. If you want to put some little stripes in where you think you need them, but be careful, it's very easy. You could end up with quite a hard looking piece. I would caution against it unless you've lost some of your stripes. But go very gently, if you do. I like this area where this has worked out okay. Looking at my reference photo to see if there's any light needs taking out. It looks like it might take just a little out here, though, it doesn't necessarily show on the photo. Quite light to lose some edges, is good. This is where I shaped the leg earlier. I Just take a little bit out here, actually, when I look at the photo that it swings a little bit, so I've cut it off a bit. I'm just going to soften that down again. That looks better. Sometimes it's a tiny little things and it really does make the difference. A little bit on top of his nose. Just where it joins his muzzle. Just pick up the kitchen roll. Just trying to take a step back and have a better look. We'll soften this. I'm not going to put any snow in. I mean if you are feeling keen and want to add some snow in little, but if you can do that but I quite like it quite nice and simple. Actually, I don't want to put any ground on him on this one. I've just taken that and softened that edge. Obviously, we've got some nice whiskers in there, but I might put a few. This is an ideal with a [inaudible] I'll see if we can get a few more whiskers going on. [inaudible] going mainly into white. A few up here. I think I got the masking fluid off there. Let me make sure that's drawing 100 percent sure that's completely dry, so I will get that off later. But I think I've tinkered little bits, is a little bit tacky, but I can see I haven't taken the masking fluid off there. That's my error there, but hopefully you've taken the masking fluid off yours. As the white's really not going to show very much. I'm going to pick up the kyanite, and just put a few whiskers on the outside. Can't keep everything loose and you can always practice on a little spare piece of paper just to get that feel of it or do it with a pencil. But let's get a few out here as well. Don't go too crazy. Have a cup out there. It's good to have a bit of movement, isn't it? Reshape a little bit. Say all these tiny things are probably things you don't necessarily have a problem with. I don't want to do too much, there's nothing very obvious in this finishing off part that other than just going around and doing any little tiny tinkerings, you feel you need to do. I'm pretty pleased with him. He's come together well. Anything I haven't done is taking the pencil marks off, but that's always a nice thing to do at the end, but I'm a little bit reluctant because I've got slightly damp places. I don't want to rub. But that's always nice to get those out. I think he's done and I'm pretty pleased with them and I really hope yours is pulled together. Well, let's say it's always nice to step away from it, give it a couple of hours. Go make yourself a have a cup of tea, with dough, come back and have a look and almost go through this finishing of process again and see if there's any little tinkerings, you feel you need. Just go round methodically again and have a look or pop it up, maybe on a wall or get a little bit of distance from it. These things will almost glaringly obvious when you come back and see it again. I would definitely have another look at it in a couple of hours and see how your piece is gone. But thank you very much for joining me and I hope you've really enjoyed. This was a challenging piece, but I hope the steps have been doable and you've enjoyed painting him. 14. Extra Tweaks: I'm hoping you'll find this little extra chapter helpful. As again, I stepped away from this chart for a couple of hours and came back to it. As normally happens, I can see some little bit sight that needed tweaking that I couldn't necessarily see when I finished. Also I was able to get a little closer to him off camera and have a little bit more of a fiddle. I'm going to hopefully show you a little bit, split the tiny little tweaks you may not even see any difference, but I think it helped him. I haven't done anything already to the top, nothing to the ears. I took a tiny little bit of color over the top here, but I don't think it probably shows, most of it has been around the eyes. Again, it's been quite difficult for me actually filming to get that close to the eyes. I just added a little bit more what I would call make-up around the eyes. I was able to really get close to my reference photo, and the painting, and tweak that took a tiny little bit more color out from underneath. As I did that, I did make-up to both both eyes, and this flick, just to think a little bit with that flick, tiny little bit of light out of here, I'm not for sure made a huge amount of difference. Then again, I soften this as you want to look back at it, it still had quite a sharp, hard lines. Again, I just softened it with my brush, and a little bit of kitchen roll actually to lift that out a little bit more. Then I came down to his nose, and actually painted that back, and it actually popped a little bit more color on because it looked a little bit anemic. I think that was it along here. This little line looked at it, this stripe hadn't got quite thick enough. I did actually add a little bit of paint, and then just soften the edges. I added just a little bit of stripe around and it almost doesn't show it. This stripe probably should have been a tad higher, so this would have been that leg stripe you see in the reference photo, but when I looked at it, I felt it just needed a bit of strength there. I just added a little bit of paint along this line, and slipped it in. Again, I've added a tiny little bit more sepia here and flipped it a little bit more out. Came down here, tiny little bit of light out of there and the foot. I felt that just in my initial sketching I didn't make the foot quite long enough, so I've just elongated at a tiny bits here, the original reduce was there I suppose. I've painted them back into somewhere down here as it were. Then just put more paint on the top, and then just softened it all back up again, very much like what we did on the leg. I came down here, adding more paint and then just wet and softened it up. Then just did it very much what we did on the foot. I didn't really alter the foot will do much more to it. I just made it a little bit longer. Hopefully you've drawn yours out a little more carefully, and got that right there. That's more of a thing really with tickling with my painting, I hadn't got this sketch quite long enough. To be honest, I think that is it. Like I said in the finishing of Chapter, it's worth stepping away and reassessing when you come back in. Don't be afraid to have a little tinker, I wouldn't try and add color particularly, but just tiny little bit of so, and that can be done. That just finishes him off I think. I'm really proud of him. 15. Final Thoughts: I hope you enjoy painting the tiger. He was an impressive character, and we used many techniques, didn't we? Did you enjoy placing that paint and allowing it to work its magic? It's a wonderful technique, especially when you get to grips with controlling it. How did the stripes go? I found them to be the trickiest part. It's all about timing, and to a lesser degree, the colors you use, as they all have their own character. It's well-worth experimenting to gain that knowledge. Did all those tweaks at the end pull your painting together? It's important to take your time, and really observe that reference photo. I often find taking a photo of my work helps me to see it in a slightly different light. We look forward to seeing you in the next class. [MUSIC]