Watercolor with Me: Fun & Fabulous Flamingo

1. Welcome!: Hello, My creative friends, Jessica Sanders here color be creative, are calm and welcome to my school Sherchan today I would like to invite you toe watercolor with me this fun and fabulous flamingo. Yes, you can do it. I'm gonna show you how we're in a practice from splatter techniques. We're going to practice some work making techniques and I'm gonna share my inspiration with you and how I go about pulling from that inspiration to create these painting. And so I hope you'll join me. Just click, say, start watching and come and paint with me. 2. Watercolor Supplies: For this class, you'll need basic watercolor supplies. So I have a variety of brushes, including a round number 10 a round zero, and these are the main brushes. If you don't have the others, don't worry. You can do all the activities with these brushes, and I also have a toothbrush in the fan brush. For the splatter activity, you'll need a paper towel. You will need water and you will need watercolor. I have two pallets here. I have a bright palette and a neutral palette, but use the water colors you have. You can always mix color if you need to, and then you'll need watercolor paper. I'm using Kansan Montee ball, but our color paper. It's a £140.300 GSM paper. It's nice and big gives very little warping when you're painting with it. Even if you use quite a bit of water, you can use other watercolor papers. But the heavier is actually better because it prevents the working. Okay, let's get started 3. Technique 1 - Splattering: All right, my friends, let's talk about splattering. Splattering is one of my favorite things to do when it comes to any kind of media, but especially in watercolor can be so much fun. So they're sort of several options. Five different ways. I'm going to show you. I'm sure there are others. Every artist has their own way of doing things. So I just want to show you some ways that I do it and you can choose what you like to dio, um, or you can come up with your own way. That would be awesome. That would be great. Um, OK, so I'm going to start with the round brush because I used this most often because I'm already painting with it and I actually have three ways to splatter with the round brush and you get a slightly different effect for each one. So I'm going to show you the three methods that I use. And so I'm just gonna load it up with this nice, juicy blue paint I have here that I have mixed. Just beautiful. Okay, so one of one way and when that I often uses to tap it. So these were the kinds spot you when you attack. Now you'll see this a lot in my painting, and I will do that quite a bit. And the more watery and the more you hit it, the big year squashes are, so that's technique number. What technique? Number two. It's similar. But instead of splattering you tap and you're going to get fewer drops, and it's actually a little bit harder to dio. You can see some of them are bigger, so that's tapping less drops. Um, I think most of these drops tend to be a little bit larger, and it's a little bit more difficult to just get the drops to fall. So if you want just a few drops, tapping could be the way to go. You sort of tap and go down at the same time, so you're sort of throwing it a little bit, okay, and then the next way is to hold your brush vertically and just sort of slowing it down at the paper popped into the other side. So you have a little bit less control, and you have to really have a lot of liquid in there for that to work, and you'll get really big drops that way. And you could do this with color or with water. Either way works. So those were the three ways that I use my round brush for splattering and you can see you actually do get different effects depending on how you choose to use it. So keep that in mind when you're doing your splattering effects on your painting. So, another way another brush to use is your family wish. I apologize. This is a very messy fan brush. I'm gonna wet it. And I'm going to into this nice, juicy pink here and you're Let's see what you get. I think you're going to get a lot more splatters and a lot short time I'm going to tap it. You could see there very fine, very fine splatters from this method and some bigger ones. So depending on how hard you tap it, like I'm gonna top it really hard, I got sort of directional spotter also, or tap it lightly and you get similar effect as you get here. But you can see it's just a little bit more directional, so the the pigment is kind of looks like it's going moving in that direction. So that's, uh, affect you get with a fan brush, which I love fam Russia's well. And then there's the toothbrush, which is used so much I'm going toe wet my toothbrush. This is often used with stars, so you may be doing a galaxy painting and you want to put white stars on their. But I'm going to use color this time and see, I just soaked up my pigment with my brush and you just use your thumb or your finger and you can direct this in the way you want it to go. So see, that went that way because I pulled back. If I want to be straight down, I can pull up and again. This is though much more directional than tapping with your round brush. So really depends on the effect you want to get, and you just put in some blue just for fun. That was a big so you go quick. See, I got a big splatter, but that was already wet, so that's one sort pulling up there. But I think you get the idea that you can get a lot of different kinds splatter, depending on the technique you use. You can get big drops and small drops and a wide array and directional splatters. So I would suggest that you play around aspiring. I'm not kidding. I love splattering. I could just do Ah, whole page of splattering and call that art because I just love it. And it's so much fun to do, and you can mix and match your colors. So this is all also I should mention this is all splattering on dry paper. So let me while we're here, you just get another sheet of paper. What? We're talking about spotters. I'm gonna tell you one more thing. So splattering on wet is a little bit different. It's flattering on dry, so I'm going to let me see you see. No, my water is very clean. Let me pick up just a tiny bit of color and went my paper and actually may pick up even more color. I'm just gonna with this area, okay. So splattering in tow. Wit. I want you to see what will happen if you do that. So basically, you use any of the same techniques and you slaughter in toe wet. And what's gonna happen is it's a wedding, the wet technique. So the pigment is going to spread out. So this is going to give you gives you a nice effect where the pigment blends in sort of a random way with the other pigment that's there. So completely different effect doing Splattering went in tow. Wit and our original section this'll is all dry wit onto dry. So what? I'm what what under I a lot of different techniques you can try. Just have fun with it. Don't get too caught up in how exactly you want your splatters. So look, it's just good to be aware of what will happen when you do different things. So get get out your paints. Get off your brushes, splattering. I'd love to see you try a different technique than what I've used and share with me in the in the discussion section of the project section. That would be fantastic. I'm always learning and growing as an artist and as a person, and I always want to learn new things that I can learn from you, just like you can learn for me. So okay, let's move on 4. Technique 2 - Mark Making: Okay, let's talk a little bit about Mark making. So Mark making is just one of my favorite things. Maybe everything's my favorite thing. I say that a lot in watercolor painting and in any kind of painting. Really, it's just a lot of fun to just make different kinds and qualities of marks. So let's start with our round brush and just see what kind of marks we can make. So we're gonna practice holding our brush different ways. So if you hold it tight and close to the feral, you could make very controlled marks. Very you have. You have a little bit more control in a small space. If you hold it further back, you may have a little bit less control. You may be a little more shaky, but you also you get a bigger range of motion because you get to use more of your arm or your wrist, so, holding it further back, we'll give you a little bit. Looser. Brush marks its drugs, so that's one way to use your brush, depending on how you hold it. Another mark making thing that I like to do is to tap my brush, so I may tap the tip with very light pressure. And if I use more pressure to get a bigger section, I like thes leaves look like seeds or raindrops actually used this technique for the seeds in the center of my Kiwi painting. On my has class that I made painting with fruit slices. Hm. So that's pretty fun. And then you compress even harder and get the whole big sort of petal shape. I mean, I could make that into, like, a little flower, but you notice most of the pigment is at the tip and not at the barrel, the feral, the papers. So you could tap in drag. You could just have you can create patterns and marks this way. This is actually this pattern will type of mark. We will also be using for our flamingo painting practice doing really light pressures. So you get very small marks. You can get really tiny marks even with this big brush, okay. And another technique would be sort of a dry brushing effect. So what we're going to do is is use the side of our brush. We're going to move, lay it down and move across the paper and flick up. So we'll do this sort of flicking thing and you'll get a certain quality of mark. But then if you dry your brush and you start where you are, really the pigment down and click it, you get a really light edge that has a lot of texture and movement. So we're also gonna be using this to sort of create a feathery effect and our Flamingo paintings, so you should probably practice a little bit. The other thing you could do is use your finger to sort of drag it out across. That's a little bit more difficult, and then you get your hands a little dirty. So those air a few different kinds of marks you can make with this brush. If you load it up with a lot of pain and go sideways, you get a certain quality and you get motion and energy and life into your painting when you do different kinds of rush strokes in different techniques. So this will help you in all of your paintings, not just your flamingo painting. Ah, are there any other kinds? We want to see what the small brush does. It's gonna make similar marks, but smaller in some cases. So a really fine line dragging it. We can do dots very tiny dots using the tip. This and this are very similar, except hold it sideways a little bit and you'll get Press it all the way down. You'll get these lines, these air great marks, too, to make in a painting. Or, if you want smaller, you don't press. It's hard, so keep in mind the pressure you're using on the brush and where you're holding it. When you need a lot of control, you're gonna hold it closer to the tips. When you want a more loose stroke, you hold it further away. You get just a bigger motion in your mark making, so keep all of that in mind you can do you use any brush for this and just for fun, we will do the fan brush. We'll try a couple of marks with the fan brush. Let's pick up the peak so we can pull. We can tap Um, we can turn on side had some fun marks that way, so there are a lot of different ways to make marks as many ways as you could think of I suggest you get your brushes out and you practice mark making, but particularly for this lesson, practiced tapping your tip very lightly and a little bit heavily to create these different types of soft shapes that we're going to be using toe add detail to our flamingo. All right, see in the next lesson. 5. Using Inspiration Photos: so I'd like to share with you a little bit about inspiration and how I find my inspiration and the things that I pull from that inspiration. So one thing that I like to do is Pinterest. Everybody's loves Pinterest and I have a lot of different boards. But if you go to my Pinterest site and let me see, go to our Inspiration Birds board. I'll leave that link in the information in the about information below. But you'll go if you go there. You'll see so many photos of different kinds of birds in this particular case and lots and lots of flamingos. So it doesn't matter to me like what the color are. I just I'm just looking for interesting photos of a flamingo, so I have a lot of different ones. I find this is really cool, how their neck just goes any and every direction. There's some interesting artistic backgrounds, flamingos and snow that would be fun to paint close up images. This is just their next the chicks far away images the show, how they look in the distance, how they look close up all kinds of things about flamingos, and so what I'm looking for when I go for four inspiration purposes is not something to copy exactly. I'm looking for colors that I can pull from. So you may see that I have boards, photos like this that that are really enhanced. The colors you see that lunges, the curl corals, light pinks. You can get a nice view of the I in this photo, so that's pretty cool. I like how they have this golden I. It's really, really nice feature of flamingos. This one has shows a lot of of this dark pink going into this sort of coral color. Really nice. It doesn't matter to me whether these photos are really or Photoshopped or anything like that. I'm just here for ideas, and I want kind of a mixture of both as inspiration. And so the way it works for me, as faras colors concern is, I found that if I just you and look at an enjoy color, especially when I'm working toward a project, I want to see lots of colors that are associated with that project. Because whatever I take in my visual memory, it comes back out again, so I can just sort of naturally gravitate toward the colors that I will be seeing that I've been seeing recently. So I would naturally gravitate toward thes pinks and corals and whites and thes beautiful blues and turquoise colors. I haven't All those things would draw me in, So flamingos air in water a lot. Here's one with water, so I'm just sort of also looking for those those other colors that tend to come along with flamingos other than just the pinks and corals There they're surrounding color, so to speak. So this is sort of this light grey blue. This is a very vibrant blue greens, Um and so I'm just really just enjoying looking at the photos, looking at the colors, just looking at their Maybe their personality, like I feel like this one show so much personality with the Flamingo. So I want to capture those things when I'm doing the painting. I'm not always successful when trying to do that, but I do want to capture those things. It's going to capture the lighting when it captured the mood. I want to capture the color, the range from the very light, the very dark, and then the other thing I want to do when I'm looking at inspiration is to think about the shapes. So when I'm getting ready first, I'm going to just look at pictures and just enjoy the colors, enjoy the scenery and just take it all in. Just absorb it and it's for me. That's a really fun process. And then we'll start looking for details. I'll start looking more details. I'll be looking at form and shape and all that. So what I've done is I have pull the federal into sketch the Flamingo, and so what? I want you to show you sort of the shapes that I see here and the ones will be doing in the painting. So let me just get sort of, ah, Mark making tool. You pick a color. What color do you guys want? E don't want to use pink. It's not gonna show up very well. Black is boring. Not always. Black can be have a lot of great impact. Here we go. I'll just use the deal. Okay, so I have my color. So no, I'm just looking for shapes in this particular photo and I'm going to just sort of again absorb that and take that with me when I go to my painting. So the first thing I really love about the Flamingo is there neck with that nice flowing shape? It's almost like a heart, but it isn't. Let me make mine a little bigger here. Here. Okay, so this nice curve of the neck I love that You see it on both sides. I'll just imaginary Aly bring that around. So has a nice curve and dip. Sort of a dip there. So I'm thinking about that, then the head is sort of this oval shape. Okay, So might consider that's ahead. And then for the eye, there's, like, a little triangle that leads up to it. Some thinking about this trying Let me switch colors here. Such this yellow, huh? Turned agree. Pretty fun. Something about Okay, there's a triangle that leads up to this sort of oval shaped I good to different color. Then we have the beak. The big for me is, um do that. Let me pick a different color. Sorry, guys. Okay. I'll just I'll go back to this yellow. So for the be just the general shape for me is sort of this sort of rectangle shape right here and then a triangle shape. There we go. And then we have the wing who goes like this, and then we have feathers that flow this way, and we have feathers that flow this way. So those are all the things that I'm looking at See how the feathers flow in all the different when they get here, They're kind of going outward here. They're going up. Me make the smaller So they're going, Uh, here. So this is things I'm looking for. I'm looking for lines. I'm looking for the flow of the peace. I'm looking for the basic shapes because I'm not actually going to copy this photo for my painting. I could and my painting would be drawn from this, but this could be a copyrighted image. You never know on Pinterest. And so unless I had permission, I really don't want to do that. But what I want to just do is think about those shapes. Think about the flow of the peace. Think about the movement and then take that with me to the painting. I still may look at this reference. I will go back and look at the Pinterest and find any image that I want to focus on, so I may focus on one. I may specifically look at how the eye looks or something like that. It's just a reference for me, but it's not. Hey, I'm gonna copy this exactly. So it's a great way to inspire your work without actually copying anything. We're not going to do a lot of drawing and painting or anything like that. We're just going to sort of after thinking about this and exploring it and exploring the lines in the shapes and and the color. Then we're just going to go. We're gonna start painting, and those things will begin to naturally flow out of you. Now, if you're not used to drawing, then that's going to take some practice. But the flamingos shapes are fairly simple. And even if you don't have a lot of drawing experience, I believe that you can still paint a flamingo without doing a lot of drawing. So that's how I use Pinterest and other image is whether they're my own or someone else's to draw inspiration by exploring the color, the line and the flow, and then the basic shapes off the thing that I want to paint and then I take those things with me and I go pain. So let's go try this out. Let's get ready to paint her flamingo. 6. Let's Paint a Flamingo - Layer 1: Let's paint a flamingo going to keep our references in mind, and we're going to just start pulling out some color from those so once and pinks. I know what ah, vibrant, bright pink. I'm kind of mixing two different colors of pink from my palette. Here. I'm a very almost almost neon color pink. I guess it's kind of an opera pink and another people next to it having in small water. I want to be loosened, watery and going to be adding more colors in his We go. But let's just start here. We'll start with a very watery light peen, okay? And now we're just going to start by thinking about where we want her flamingo to be and about the large shapes. So I want to start actually with the next shape of the Flamingo, and I want to think about making that motion, that motion of the neck, and I'm using a really like color. This is not written in stone, this water color, it's not written in stone, and so we can go back and paint over and make adjustments as we like. We're just going to have fun with it, okay? I don't see any point in making art if you're not having fun. So I'm just going to make sort of this backward as shape and drag my brush along. And now I got a nice, smooth curve. You want to do that all in one motion and then just start adding in some water and doing some sort looking here at the bottom and all this is very light color right now. And then we want to just blend out these edges here, this adding more water, lending out these edges just to suggest it's a flamingo. And I just like to make sort of, you know, loose and random marks just to get the idea. And that is the very beginning of our flamingo. So now we can just drop in more color where we want to me to drop some here along the inside edge of the neck. They're going to be some white spaces in my my paper, which is a perfect I want that I want lights and darks and all kinds of colors, and now I'm just also just dropping in some of those same colors. I don't want to straight lion tapping and see and dropping those colors in. And then I'm just gonna do some of those marks we practiced in the direction that I observed that the feathers fellow, they flow this way and then the other way is this way around. So now we already have sort of the body shape of our flamingo batting in a little bit more water. I should have protected my surface. What is there? Let me if you really pass, of course, you can tip your paper to make this flow however you like. And I'm just gonna take that color all the way to the edge of the bottom here and also invited to flow out in this direction so it gets a really soft effect. I want a very soft effective this stage. I'm dropping a little bit more water. I'm just tapping and clean water here. Clean water. So I see a little bit of puddling here. I'm gonna sweep that back and and I'm gonna do a little bit of just splattering. Pick up a little bit of color. A little bit of splattering here and there. Handsome movement in life are ready. I want to add movement in life. That's so important. Soft, not a little bit. There we go. Another place, any feel. So if you look and you see hard lines are forming that you don't want there. That's when you know that you need to go in and sort of soften your work. Okay, so that is actually stage One. We've got that nice, curvy neck all the way down to the body. We've got softened very nicely on this side. We don't have to let the striker work on the beak. So the beak we're going to use sort of a grey blue color really light a really light mixture just to get started. It's mostly water, a tiny bit of sort of a Prussian blue pigment. And now remember, we had for the big sort of a rectangle with the triangle on top into trying one bottom. So what I want to do is continue this line down in a sweeping motion and then turn it. And here's my triangle. I want to connect those and then again sweep down and then turn. So get that. I'm just going to touch that there is. I want that just all blend together. Now I'm just gonna fill the same with water. So now we have this idea. Overbey going to drop in a little bit more color and going to take sort of a red town. A more reddish pink color Still in the pink family. This is sort of a pie. Royal Red. It's really, really nice pink. I'm gonna drop in some of that color color we have There already. Is former Otpor properly peak and it's really nice. I just want to add a little bit more, not everywhere. Some places, maybe even drop it in a little. And I'm just gonna let that flow naturally into the wet areas of the painting. Okay, so let's let this dry and then we will come back to it. 7. Let's Paint a Flamingo - Layer 2: now that the first later stride let's move on to the I now. The I we observed was a very golden colored I. I'm gonna pull in some really yellowy gold pants can add some orange to that. Make it even more warm and golden. There we go. That's nice, nice and golden color there, but it's very concentrated, and we definitely need a really light version for the eye. So I'm just adding a lot more water. Here we go. It's a nice golden color. Regret will dry lighter. I thought my round throw or you could use a liner brush for this and I'm going to pick up sort of a concentrated version. This is the first layer of the eye, the eyes, a little golden circle. So we have remember this be shaped and in this V shape is our I at the very end. So here is where I wanna put my eye, and I'm just going to put very small gold circle, dropping a little bit more color, a little more off the yellow and drop in a little bit more of the orange. And there is basically the eye shape. Let's take a a clean brush, and we're going to just use a wet brush and really fine line just around that circle that we made leaving a little space. You want to touch it? Here, there. We want to leave a little space, and that's where sort of the eye lid, Gus. So now we have sort of a nice shape of an eye four hour flowing up. Now, we just We don't want to touch that right now. I'm gonna let that dry, and I want to move on to sort of adding some sunshine to our peace. And I'm going to do that by using the same color using the I in the other parts of Flamingo . So I'm imagining that the sun is flowing flowing, The sun is shining sort of in this way and catching the light the the flamingo will be catching the light in that direction. So when I put in some really nice light touches of our golden yellow to hint with the sun is there serving the beak right on top Me soften. That's just a light touch carrying it all the way down when it tap it in a little bit here some golden sunshine and then going out of here on the back of our flamingo, using those very light touch and using that sort of looking brushstroke and then maybe a little here as well, just to sort of bring this all in. And it's going to add a little bit of coral touch to our painting as well. I just want some golden sunshine here, and they're dropping a little bit more color in that water where you like. We don't want it to be even, but want to sourcing seeing to us and maybe live in a little bit here. So a little bit here, just very light touch is very light touches. That's also going to sort of add to that coral look that we want in creating our Flamingo. No, I noticed that my I sort of too harsh of a line around the top edge. So I'm just going to with the damp brush, just work, soften that a little bit. Just so has a hint of a line, but it's not so harsh. Here we go still want to leave those whites and lights if I can. But of course, we could always go back and add them in later. There's a little puddle here. We move that. Okay, Okay. Different directions. Sort of. Flick it down a little bit too. There we go. So now let's let's create sort of a coral kind of color. We're gonna take our pinks for both of them when we have our our red actually are pink, and we're gonna add some of our warm yellow. It's important to use sort of consistent colors throughout your piece. While that really changed that didn't that's to orange. We do not want it to be that orange. So gonna add more of our read. And I believe if we add some pink in there, it's going to really change it into that sort of more that Corley color that we're looking for. Yeah, Now we're getting there. Now we're getting there and even a little more pink. And we're wire really strong color there. So adding more water and I can't just want to reinforce areas of the neck. So I'm going to just place more of this color and soften it up, tapping around just adding touches. That's a lot of color. I just added so really wanna softened that up and let it flow. Maybe even let it flow kind of down and around the little. It's gonna float only where I had the water already and pull that down here just a little bit again. We're keeping with our feather shapes and their flicking of the feather ships and building up that color and little by little struck a little bit of that to that yellow still wet. It's kind of blend together. That's nice. So I think here I want a little bit more my neck to a little bit more body. I guess she was saying down now adding, in more feather shapes along the bottom Come along, the bottom is not gonna be is warm something to go back and pick up some more of my pink, sort of that purple pink. And at that in and then I'm just gonna just sort of put that out. There we go. Nice. Very nice. Very nice guys. Too much. I think I do actually want something a little bit. It gives the idea. Here we go hopping too literal, going to drop some water in there. Actually, let me add some poor walls were coral splashes here over. That's really strong. So that's probably more strong than I want to be. Something just gonna use a dry They're sti brush and pick up a little bit of that. There we go. OK, I think that will be nice. Still this color, A little more coral in this area. Be a little here, connect that. Nice sweet motion. Here we go. Okay. So now, yes, I am happy with that part of painting with this layer so far. Nice golden sunshine. And they're really like American Go, actually a little bit more. Okay, there were you. And now let's work on the beak a little bit. So the big has some shapes in it and I will up my when you pull up my pinches page so we can so we can look at the shapes in the beak. So let's start adding in some of the detail of the beak, but not a lot. So what I want to do is add in sort of, ah, blue gray color within the beak area and bring this lying down where it opens and closes. Let's just start there and go from them. So back to this blue gray. Very light, Very thin mixture. I'm just going to drop in. Well, I should say I'm going to just He's a line line that's going to sort of indicate the opening of the speak and it goes out and then it goes down and here at the bottom are beaks actually gonna be really dark. I saw that shape there and that it goes also dark here. Just gonna lay in some of that color just to begin giving that idea of that beak. And I'm sort of reshaping it as I go, but not too dark right now. We will go back in with much darker. That's all we need for right now. Again. I see that my eyes sort of got a hard line here and I don't want that. So I'm just going toe the dam. Lightly damp brush softened that up again. We're gonna have all the details later. So there's no you to worry. I just want that line to be very soft. Okay, let's work on the beak a little bit more. We can bring in a brown, a brown color sort of a and number. That's sort of ah, let's warm that up a little bit with read. Serve a warm brown again. Very light, very loose light color. Pick up a little tiny bit of that yellow. I want everything tied together, and there's sort of a shadow on the week. So I just want to hint that there is a shadow here. Have a little space, and I'm just going to soften that. Maybe drop it a little bit more that yellow wanted to be sort of golden round there, living up to the I drop a little bit of that yellow here, too. Not really touched event together. Okay, so have nice, Nice, nice color. They're nice colors. I'm in the mood mental to add a few more splashes, The few more splashes here and there. All right, there we go. Now guess what, guys? E I only see one more area I can work in before letting Mr I. So there's this little area of the beak, Celeste. And in some coral on this section, we're gonna work from here or to be most intense, dropping a little more pink in there. I really want that contrast. It's OK that it touches who very vibrant there and then We're just gonna pull that color, sweep it up over. That's too dark. I am so sorry. Too dark. Gonna pick it back up too much. It was too much. But as I'm picking it up, I'm actually also laying down water. It's been a dried my brush and then bring it back. Pull it in. Pull that in. Okay. Now, I feel like I can let that sort of bleed out into the water and will be in good shape. Will be checked with that. And I'm gonna add a little more quarrel. Just de even that a little bit. Okay, Perfect. Perfect. Okay, guys, we gotta let it dry again, so I'll be back. 8. Let's Paint a Flamingo - Layer 3: next. Let's put a little bit of focus on the beak, and then we're going to move on to mark making. So I have a very Derek. I'm back to that very dark blue. This is sort of oppression. Blue. You could use an end to go. Um, very, very dark. Add in a little bit more pigment there. And actually, I have a black I'm debating on whether one now I think I'll just stick with Indigo. OK, so here I have been to go pretty thick, and I want to focus on getting that beak really dark here, where it touches but leaving some light space there. So you more dark here. I want to leave a little line of light color and I want to carry that all the way. Sort of around the corner here. Written it before. There we go. I want to be a rough edged. I'm just quit going. Teoh, I want this to be a ref edge. So now I'm just going to get prints. My brush get a little bit of clean water in sort of work into that a little bit that that color will pull up in there and give us sort of Ah, natural gradation there. Okay, I kind of want this to be a little bit more pointed, so I wouldn't really use a light touch there. There we go. Dropping a little bit more dark right there. Knows everything is dry. Except where I just laid down color. That's important. Or you'll have this start color really wicking into your other space. Okay? Like you, Matt, a little bit more dark, just adding really strong pigment here. And this sort of lightening effect that we're getting is going to just feel sort of like the light is hitting it and looking a little bit later, I need to soften that little bit. There we go. Okay. All I did was add a little bit more water there. Now, that's good. That's probably the main part of what we're going to do for the beak. For now, we may go back and add a little bit more pink. All right, now let's focus on our adding some details and so much some brush strokes. So let me get my detail brush a little round zero. I'm going to take, pick up, pick up. Let's pick up this thesis or in jingled and yellow Have a little bit This brown make it really dark. I want to be really dark. Okay, there we go. And we're going to add in a little bit of definition to our I just just a little bit of a circle for a lid, not a complete circle. And I'm gonna drop in some really dark color on this bottom part. You go drop in even more of this orange next to the edge of the lid. There we go. And then we need a little people I will make out of the same color. It's a very small I thought there we go. And actually, let's add in, we can add in really dark pressure blue for that fluent, it's gonna be almost practically black. But we don't need black there, William. Maybe add a little for the bad there too, All right. Not going to soften that. This is the detail that I want. The level of detail that I wanted this to really bring that I the life. Okay, so next back to my home again, we're going to focus on mark making, So I have already these two colors this coral color. I think I really feel that could use a little bit more orangey color. But I'm not getting the color that I want. So let me work out a little bit more. There we go, That's what. That's pretty good right there, right there. Okay, It's pretty, pretty thick picture of a little more. We're maybe going back and forth between these colors. But I just want this to be that cult coral color, and you may be able to find a coral color that's pre made, but you don't have to do just what I just did. You add your pinks, you add your yellows and oranges and keep working until you get the color you like. Here we go. OK, so we're gonna work on some mark making with the story of darker colors, and I want to just think about now. Remember how we looked at the feather? So I want to think about that now around the eye there some very small feathers, and I'm just gonna just be lightning lightly touching my brush and adding a few of those. It's okay if some of them touch and then adding even some a little bit bigger marks. And they emphasized this little bit of the triangle here. I dropped in dark, and then I want to make a very top of the head. There we go. Very nice. A little bit of splatters there and then kind of worked my way around with smaller mark making and then a little less much making. I'm gonna grab some of this pink. When did you support that? Just using the tip of my brush. Now, making a little bit bigger marks. Just the idea. All we want is the idea that there's tax to their feathers. That's it. Just the idea. So we need. And then maybe a little bit more down in here again. Just some mark making. And I work back and forth. Be careful not to touch that beak, You know? Want to touch that? He quotes wit dropping in some different colors. Okay? And now, as I work out, I had it's more water to my brush, and I'm just gonna add some bigger shapes. Andi, I want this to be more watery here. Cattle, more water, and again working in those sort of bigger feather shapes. Now, by dragging my brush and pressing it down a little bit and overlapping those shapes and just getting some marks in there. Just movement life switching back and forth between the colors. Remember, we can do that. Dr. Rush techniques with a dry brush get clicks outside of our brush. There we go. And then more of this coral again. The brushes. It's okay if you go over where some of the white is from before. For connector shapes, it's important. What really watery. Over here. Add in this sort of, I don't know, like this shadowy. In fact, I feel it's like a shadow, but it's not a shadow and definitely some splashes over here. You see, Now I'm working pretty fast. Um, I wanna not think too much. You want to work very intuitively. Here they have different colors and splashing that, Clocking some into here. I want, uh, we're different splashing techniques that we did. You can even drop in some random water splashes. I want to do that. I want my flamingo to be very watery. I love it. Love it. Work on that shape just a little. All right? Yes. Very watery Flamingo splashing around more water over here, and that's just too much pigment. Let's just pick up this pigment here with thirsty brush picking it up all right. Economic. Add more splashes of water and there to make that move. What I wants movement and and there a little bit more of the pink. Now it's sort of have a surprise color for you, and that is to you or turquoise and all I'm going to do. Put a little bit there so you can see it's really nice, bright turquoise, blue color. And it's just going to just be like a little surprise. For some reason, it makes me think of sort of, ah, cutting candy Surprise. I'm just gonna Sprinkle some of that blue, and it's also maybe it makes you think of the water a little bit. Just a little surprise of that turquoise again. I'm not really happy about this section. You pick that up a little bit. It's too boring. Never you. This little part is boring. So he added more splashes there after drying it off a little bit. Okay, there we go. A little more brush strokes there of color. Okay, so for me, this flamingo is finished. I dab that off a little bit. It's a little bit dark. I would call this finished. I have enough detail that you can tell that this is a flamingo, but I've left out enough detail that you can use your imagination. What is the slimming of doing? It's playing may be playing in the water or something like that Just so much fun. You might let this dry. Take one more look at it and see how you feel about it. And I probably will, um, do one final step. Except once it dries, I'm going to go in with a white joe pin, or you could use why quash and an in just a little bit of highlight off white to the I. 9. Let's Paint a Flamingo - Finishing Touches: So just taking a look at my flamingo, I decided some of these shapes were a little bit two defined, So I'm just There's still a little bit wet just going to dry my brush off, and I'm gonna use the side of my brush and just get use a flicking motion and just pull the color and adds some texture. I don't know if that's gonna show very well in camera, but basically given that more feathery field right there and then a little here, it's not really showing up very much. But I think you get the idea. I really want that flowing feathery look. So you hear, There we go Like that gets, um, move. They go in there. Yeah, Perfect. Okay. So far. Last step. You want to make sure everything's dry? I have a little bit of witness, but it's out to the sides. I know this area is dry. Amron take our white gel pin. Or you could use a liner brush and some gua sha, and we're gonna add just a little bit of white detail back in and that we lost when we were painting. So I just want to add a little bit of hi light there on the I to bring that up. But on the bottom, it's sort of a little bit here along the beak. I have faith that in now one thing I do see that I'm just think this is a little bit too much. So I'm going to just take my golden yellow and just sort of town that white down this a little still a little bit wet in that very darkest color. So that's OK. And then maybe just a few other small highlights. Like I think I want, like a little highlight here. Maybe a little here. I mean these air feathers. So just add some little scribble Lee highlights and marks, and you can tap them out. If you want Teoh a little bit here on the back ad. It's a little just highlights. I'm kind of making little scribbling marks. I kind of like to do that AGs and depth and texture to that area a little bit. That's just a personal preference. You don't really need this, sir. That level of detail This is a loose and free style painting. I don't want a lot of detail. I want action. This flamingo is playing in the water. I want a connection. That's why focus on, um, making sure that the I was was nice and defined. And then I just want just a flow and just a feeling of for me a feeling of un a feeling like this Flamingo is, you know, playing in the water like maybe I want to do. 10. Thank you :): Now that you've finished your fun and fabulous flamingo, I hope you'll share it with me Blow Don't forget to ask your questions in the discussion section I'm happy to answer. I try to be here for you as much as I possibly can. I really enjoy this process of sharing techniques and seeing how you are interpreting them and using them in your own way. And I would love to see your work. Thank you so much for joining me.