Abstract Impressionism Owl Class

1. Introduction: Hi, everyone, and welcome to my class here on Skillshare today. My name is Beatriz Jay and in this class, we are going to be working on an artwork based on abstract impressionism. In the class, we're going to go through the layers that are required for this class. We're going to go through the tools we're going to need. Ideas, approaches on how to work abstraction simply and easily into our artwork. We're going to go through what tools we're going to use and how it's a great idea to change up your materials, your tools, to give more interest, texture, and dynamic to your artwork. Come along to the class. Let's spend some time see how we can work around with different mediums to create a piece of artwork. Yeah, let's have fun in the studio and make some thing. I'll see you in the class. Let's get started. Mm. Yes. 2. Artist Intro and Class Description: Hi. Hello, and welcome to my class. My name is Beatriz Jay. I'm an artist based in Scotland, and I love to share the art processes that I use myself in my studio to create artwork. In this class today, we are going to be painting this character here and I'm going to show you how we get started on that. Let's go along and start the process of painting this character. Now, let's discuss the tools you're going to need for this class. I went about using collage first to I have a bag here full of papers that are painted papers or scrap papers from, you know, scrapbook papers as well. So you can glue those on using let's see what was it? Can you use your dell medium. We can use gel medium or we can also use the glue stick. I started off with a glue stick because I couldn't find this at the beginning, but it's best to use the gel medium for a more archival artwork because this one is fine, but it depends how long you want the painting to last. We also went through a whole bunch of different colors that we use and we mix to create this piece. I will list those in the tool area of this class. I also used two different actually just one palette. I used one palette knife, so I will show you where that is. I'm just cleaning it off. I use this palette knife for putting in some of the details in this piece as well. I use a pencil a coloring pencil and an ordinary pencil, these two here. Once a prisma coloring pencil, you can use whatever color you want and whichever pencil you want and an ordinary pencil. It was just more of a demonstration to show what you could draw with, as well as using the charcoal. These were my drawing elements, aside from the coal sin. Once I got all that down, I also had an acrylic pen. Which I've dropped here an acrylic pen that I use, but you can use black. You can use whatever color of acrylic marker. Those were the things I used, and then I also went ahead and used my black acrylic paint and drew out the character in the painting. What I did was do it upside down. You'll see me discuss that in the actual art piece as well. Yeah, we just go on with it and mix the paints I've got in the paint list as well below. So yeah, the substrate wise, I used an A A one piece of mixed media paper. You can use a canvas if you want. You can use an A four size. It doesn't have to be this big. I just wanted to make sure that you could see what I was doing for the way that I've laid it out. Yeah, I just go on with painting it. But it's a lot of fun to paint this owl. Also, I wanted to show you some examples of other pieces that I've done so that you can get an idea for what it is that we're doing in the class. So this one here, very characterized artwork that I've been working on that I've been doing, very characterized artwork that I've been doing this one as well, and there's a lot of marks made in this as well to get the textures going. Um, here is a better example of the palette knife being used in the art piece. With palette knives, they tend to have really big sudes of smooth areas that you just put on with the actual palette knife. You'll see that as we're working along. I scratched into it as well, so you get different details on it as well. This is some of them that I thought I would share. Let's see. Another or two. I've got quite a few here and another one here, very colorful. These are all still works in process. I've been doing this a little while with these different backgrounds, different skies, some are gray, some have trees, and different colors of howls. This one I went a different way with it. Let's get into the class and see what I actually did and what I shared with you and it'll be a lot of fun to see what you create as well on the other side of this because I think it's a way of being able to take off the barriers to painting is in the process. For me, the process is the key thing to creating whatever it is that you want to paint, whether it's landscape, portraiture, animals. Just be free and think about the technique, the process, and that will get you to your end result. Yeah, let's get started in the class. 3. Collage Layer: So I have a whole bunch of scrap papers here that I'm going to be using. So let's just get started with a class. I don't seem to be able to find my glues stick. I mean, what do you call it, my doll medium. I'm going to use my glue stick is what I mean, to get some of these onto the paper I have here. This is maybe like a one paper. I am just going straight in, not wasting time and just sticking this anywhere. I'm not thinking. If I have my gel medium, it will take longer to dry, but it is stronger than using the gluetick. But the paints will go over it as well. Also, I have over there, I have, what do I call it again? It's the modeling paste. You can always do that as well over your over your pieces that you have glued down so that the edges are not so sharp or so obvious. But that would be you taking your time and just informing you so that it's ways that you could fine tune and elevate and raise the quality of the work that you're doing for more of a what's the word, a lifetime for the artwork. So mediums will allow for things to last a lot longer, though I would say that if you are starting out, don't worry too much about that at the moment, get yourself into the process, as the most important part is the process of what you're doing. Here I am just gluing down a whole bunch of pieces and in all sorts of direction you can do this. Then we can go onto the next stage. So here, I don't have a pencil as such. Oh, yeah, I do have a pencil. I actually wanted to use my charcoal, as well. Let's see if that's in here somewhere. Yeah, I can see my charcoal. I wanted to be able to use my charcoal to do some drawing, actually, so I will probably do that. Let's put the rest of it. So what we're going to do is play around with sketching onto this. So next what we're going to do is we're going to sketch onto this. I've got a pencil and the color and pencil. I've got this red acrylic marker here if it works, if I still have some red on it, and we just go in and we could just so I think part of this abstract class is to teach you about the mark making and the layering and basically ways in which you can create artwork that the process takes away your hesitation of touching the canvas, of doing anything with a canvas. It is the foundation for building the actual artwork that you're going to do eventually. But initially, this is how it's going to go. But when we're using the glue, when you're doing your work, I would advise to use the gel medium because that is the better option. If you want the standard to be as high as it needs to be, that is the better option. I don't know why mine has disappeared. I'm going to use the pencil and the two different pencils, color and pencil, which is the prisma color and my honorary F pencil here, DerwintGraphic. I'm just going to draw both of them, scribble over everything and just make a design. You can make any design you want. This is just to get you to start putting something onto your substrate, whether it's canvas, whether it's this. The process, I think the process with acrylics is the most important thing. I mean, with abstract, the process is the most important thing because we don't always work with familiar subjects. It's not like it's something that you can go, Oh, yeah, that is that. Whatever it is, whether it's landscape abstracted, animals abstracted, portraits abstracted, whatever it is, the process I feel is the most important part of abstraction. I put different layers now on this. I think there was one more thing I wanted to do with charcoal. I want to use my charcoal. Let's see, I've got different sizes in here. But I might use this to actually draw out a little bit of my character or maybe not. Let's just go in here and just do whatever. Maybe I'll do circles for this. So just big circles. Because you can pick shapes. You could pick triangles if you want. You could do circles. Triangles, oblong, whatever it is. Lines, whatever it is, it could be lines straight. You just fill your paper and look at the progress already. Then I'm skipping through these parts because I want the main part of this class to be 4. Drawing The Owl: Fine tuning of the painting itself at the other end of this conversation. I want to go in here with some black. This is black gesso, I think. No, it's Mars black. It's acrylic paint. I'm going to go in here and just start drawing. What do I want to draw? I can start actually drawing my owl now. One thing I've been doing with the owls, which is really interesting is I've been drawing them upside down deliberately so that I don't control the way it looks and how it sits on the paper. You can sometimes do this even with your portraits, your landscapes, whatever it is. If you know roughly how your character is supposed to look, it's almost a perfect circle here, then you know that it has a beak, you see that? I'm just spitting that over it's upside down. I mean figuring out that its body goes in like this, just like a little curve, a cute tummy curve here, then it goes to its feet, its legs there, and there it has its wings coming out here a triangular motion. Now, painting with this black does multiple things. It gives you a difference in value on your actual artwork. And places that you can use as shadows. This is me remembering what my owl looks like upside down. I'm going to do a considerable amount of work with this upside down. That is my little owl already drawn, but it's upside down. Abstracted, as I said, you can see the difference here. I'm now putting the generic spots we put on our owls as part of its pattern and its feathers and things. Then there are other marks that I put onto my characters. It usually has a little bit of a triangular bit coming up fur here on its head. It makes sense when I turn it around. There are other marks that we can use smaller brushes and detail in when the time is right. This part maybe I will join together. I'm painting that black. You can see this layered now. We have the colash, we have the drawing. You can have drips because what I can do as well with the different tools you can have to hand is spray it as well. I can spray it here and what happens is that it's going to drip. Spray. Let that drip. I'm still going to keep going because I've just realized I want to pick some more colors down there. I could bring in another color actually. I'm going to bring in burnt umber. I shouldn't close my black. I might need it later, so I'm going to leave that slightly open to the side. I'm going to bring in for an umber. I had a red the other day that I really loved using as well. Let's see if I have a red here. Red orange, this one is ciumRd medium. I've got a few different colors I had from earlier on. Another project I was working on those colors are going to come in as well. Whatever layers you put underneath, the initial layers, at the beginning, doesn't matter because they will be covered. If I want to cover a lot of space here myself, I am going to I'll start in the red first with the red, what I want to do with the red. I want to go down here with the red and fill in an area that I'm going to call the sky. I'm still doing this upside down. The area I'm going to call the sky is where I am working on right now. I'm painting that. You go ahead and do the same painting the sky. Right. It doesn't matter if your brush doesn't fill every space. Every single texture on this is amazing and it's important, and it will add to the painting. It doesn't matter if you don't touch the edges, we're going to come back. We're going to layer. And I'm just excited to get to see what this is going to look like because it's upside down. As I said, abstract way to work, the techniques, the processes are the most important. I'm going to go up now and start painting up here and what would be the actual floor for what the owl is standing on. I'm using burnt umber for this part. I actually like to use a lot of cool colors. I'm starting off with these warm colors, then I'll be using a lot of blues in there. I am just putting a background layer so that we start to form something. You see that a lot of what we did in the background is covered. So is still getting through on the owl itself, which will help with just giving you something when you get to the point of painting the owl. So what I'm going to do is turn this over now. So we could let it dry a bit more and then we turn it over, I think. But once it's turned over, you will see what I'm talking about. 5. First Paint Layer: So next we're going to start trying to do more fine tune it. As you can see, I have turned it around and the sky is the one that's now red and the landscape is here and we're going to start working on the art piece as we go along. While I basically adjusted the painting, I discovered my gel medium that I was looking for. I might squeeze some of that out and use it on some areas that I think need some of a gel medium. I might use my squidgy my wedge tool here and actually go in and in some of those areas at that. Let's just work on that a little bit. Different tools, the techniques, these are the things that really matter in the whole painting process. As I'm doing this, it is moving some things around, but that is fine. Going over the areas and trying to make sure I seal it in. Is there anything else I want to go over? I can just rub this in. All this welcome to the abstract world. Let me try and organize myself here. I'm going to go in and just start adding areas of paint. Now, it depends what you want to put in here for your actual character. But I am going to work with what I have on my canvas already and bring in some drawing in some areas. Another thing I was going to say that you can stretch into your paint. When you paint areas you can scratch into. Some of these are still wet. As I'm scratching, that's going to give a texture. I'm bringing in some of the paint I have on my canvas here, on my palette. This is olive. It's like a light olive green color. I'm just mapping out some areas. These colors will travel through my character. Just putting it in areas. Like that. I am using some of my white and going in and starting to build. What happens is that you pick which side you think is your light and your dark and you can start adding all those elements in. If you think this area is the light area, for example, here, you can add in some more. I'm using quite a small brush. I could use a bigger brush. You can go in and start working on areas that you think. So that whole light and dark, making sure that you give variety in your colors. I am going off the reserve right now and I'm just introducing this color into different areas like the sky. Starting to work in the sky a little bit. Bring it in some turquoise against that red. S. Bring. Actually, it's a teal color that one. Golden teal color, blue lagoon. Let's see. I'll keep my paints up here so I'm not bending all the time. It's just going back and forth and adding white into colors that you have on your palette. I've got some ultramarine let's see, is that ultramarine a pale blue? What blue is this? I just check that one. Ultramarine blue that I've got here. I'm mixing some of what is on my brush. I'm not cleaning up that teal. I've mixed in some white as well. 6. Paint layer 2: It's a gray as I was saying, Scotland, the weather is a gray green, this is. I start to introduce colors that I think are interesting for the environment. I'm using a brush right now. I will go in with my palette knife at a different point. But for now, I am using this. I'm just going in with the fully saturated color here. There's still some areas that are wet, so they're blending in and I don't mind that. I'm going in full ultramarine here just to outline this area. I have a sienna brown here I'm just bringing in here because I'm going to start building the landscape a little bit. I'm bringing in some different browns. I'm going to get my orange that I have. This is let's see what is it? Red orange. This one. I will put it on my palette. Things just mix on this palette. I'm not bothered about that because you can always make the final layers slightly different. Still with whatever is on my brush that brown I was using some extra of the white, yeso and the orange. I can go in and start bringing in some colors blend in it. I'm going to start bringing some of that color also into my Owl. There is no one way of doing this. I am just going in and doing what I want to do. You can do the same. You can bring the colors into your owl in whatever way you want to do it. Also, you can wait for some areas to dry. You don't have to put it all in at once. I know that I like making tan areas, the orange is always a great contrast. As I said, abstracted Owl here. Whatever painting that you are doing and it's abstract, it's the process that is key, I think, because the process really gives you that lee. I'm going to scratch into this now. Actually do have I could use my palette knife here. I use the slimmer like this one here. I like to use this palette knife for scratching into things and you can use the thin side, or you can use a bit more flat. So here around the eyes, it can scratch into that. We're just going to do a whole bunch of scratching into the sky, bringing out some of those reds in the background. We can then take off the bit that you scraped and rub it somewhere. This noise might be a bit annoying to some people. On the wings here, I'm doing designs that look a bit like the feathers. Drawing in the whole idea of feathers here in the body. I actually like the green here. I'm thinking that might be this owl is going towards the green side. You can't really see the owl that easily right now, so I'm thinking I might start highlighting some of the sides a bit more. So some green. I'm going to get some more of this. When I'm putting on one side of the I put on the other side. This is the deep green and I'm thinking I want to put some more deep green. So going to put this on my palette. You can see it takes time to build the layers. You can scratch. You could always collage on anything here again if you wanted to. I'm just seeing this here and I like this green gray color as well. I'm going to squeeze some of that out on my palate. Green gray. Let's go in here somewhere. Is it sad some Iris is still wet. 7. Highlight layer 1: The way you use your brush, this is a flat brush that I'm using. I can't see the size of this one. 11 or something. I'm starting to bring in even that splash there wasn't deliberate, but it's doing something. This is the green gray going in. I love the way it looks. I want to highlight this feathers a bit more, I'm bringing some in there. Mm there's going to be some blue added into this now, probably. I'm just going to add some blue because I like the shadow areas to be a cooler color, it pushes things back. This is shadowy areas that I am now coming in to put. This is supposed to be light, but let's see. Right. So dragging my brush. Is that working for me? I don't know. And the textures so exciting. Is the textures, the lines and the background of this whole thing it's so much fun. I've got to get the eye of this right, actually. Just remember that I've not really done the eye of my owl very well. I think I'm going to bring up some more of this light olive green color. It just pours out of us. Almost finished, but just going to dab straight into that. Some of these I use straight on how would I say it is saturated and then I push back with other colors or I blend in I'm going to do something about making it a bit more obvious because the background is blending in too much. I've got my green cut with the green straight into this background here. That's not how I was going to stay. I think I want to make this hill a bit more prominent. There's a lot going on here at the same time. The landscape, it's like if you're doing mountains and things in there in the background, they tend to be a bit grayish. It has got some green in it. This is why sometimes I've been quiet in the background because I feel like it's too busy. So Sometimes you can go in and start making it a bit more obvious where areas are going to go around and do stuff. Then the scratching to areas as always. We'll scratch into some stuff in a minute. Scratch. Where's this one? To use this. See if I can stick with the I'm trying to think about it too much. Here, I can scratch into this to actually clarify where this bit is. Let's see. I'm going to add some white to some of this colored. You can start building areas. I don't have to go over this over and over again, but 8. Highlight layer 2: I'm doing that? If I wanted to make this scat a bit more, I don't know if I would This area is not very clear. I'm thinking, This is green. I'm trying to think what colors would stick out here. I'm trying to whole bunch of other things here to make this scout. You need to just take your time with this because you can end up not really making it work. I'm using the palette knife now, mixing in things. This is not clear enough for me. I'm going this is the green. No. I still don't feel like it's clear enough for me. It might be that I have to bring in purples or reds back in here. Some of this sometimes you have to wait till it dries because I'm mixing white. I'm mixing the deep green, mixing in some of the burnt umber. That's what I'm getting all these greeny gray speckled color designs. There's a bit of the orange in there, a bit of the green, the blues. Everything is mixed in here and then the white. I'm leaning towards the grays now to make this a bit more visible. The greens are still really prominent in this book because I put so much there. As I said, the collage underneath gives you a different structure. I don't know how to explain this. When you see the close up, when I show you the close up, you understand some of the reds are still coming through. I'm tempted to leave them it could be that we are building this right up aside, trying to make it so that you can see the owl. All this background stuff is not as relevant. I'm going to put the deep green in with the light green and see if I can make a color. Let's put the greens in. We'll go back to the whole idea of the browns because it is looking like a real struggle to get this As I said, we came onto this and drew this upside down. We then worked with starting to put the paint on. The collage first sketching, scribbling with charcoal, coloring pencil, pencil. You can use a gel medium to do your collage. You can use glues stick, which you saw me do there. Then we go into the painting, painting with the brush, then painting with the palette knife like we're doing now. We can scratch into this. I actually have a variety of palette knives that give you different results in the designs that they do. That is in my abstract class here on my Skillshare classes. You can find that and take a look at how that works. I show you the different palette knives you can have to create artwork. I'm building and building. There's a lot of blue going on. I can bring some of that turquoise on my palette knife into this as well. You could go back after looking at this and think about what is, for example, the complimentary colors. Then you can start to knuckle down on that. I'm going to go in here and start trying to work on the eyes of my 9. Adding Details 1: Of my owl here. I'm using the burnt umber, I'm using the green, which green is again, the deep green, and that is what I'm using here because I don't want to go into the black. You don't always have to go into black to I'm thinking I'm going to come with a bit more white and things in areas, but I am really trying to see the brown at the bottom will need to change. Actually, I'm thinking I will add some blues as well in a minute. But let's put some of the green because this animal is in nature. It is This one's sitting on the ground, I think, Jose. You can always wait for it to dry at certain levels. This is also on paper that I'm painting this. You could use, like I said, Canvas. Whatever substrate you have, you can use an old book page. It doesn't matter. Practice it. You can do smaller than this. This is like I said, a one. You could be on a smaller piece of paper. Can take your time. I'm doing this so that it outlines a character. That's what I'm doing now. I'm just going in and I will lighten it up a bit because it's too dark. As I'm pink in other areas because this is acrylic, other areas will be drying. I'm going to bring in some of this lime, this olive green and mixing it with what's on my brush and start to put that in some areas here. Let's see, I'm always looking at the camera to see what that looks like. Right. So I'm going to go back into the orange because now I want to build up the Biji color that I'm going to be using on some parts of this owl, but I still have the green and I still have some brr umber on my brush. I'm just going to add some of that color in here. Start warming areas up. Mix in mix in. You can see what it looks like now. I mean, it's really different from what we started out with. I feel like I want to still lighten this up. I don't know if I should. I might go back in here and start trying to mix with my palette knife for the actual face of my character here. Just dry off my palette knife. I might want to add some more areas. Let me hold this. Go into my turquoise. I go in here. So layers you put and it doesn't look as you would like it to. But you just keep going. I'm going to just so 10. Adding Details 2: Pallet knife and I am building some contracts because it's too much the same, I feel. So I'm going in here and my aim is to bring some areas up that are too blended in. Let's see if I can get some more here because this area is supposed to be lighter, so the pink doesn't have to be even, showing texture. I like that. These areas will still need to change. I go red. Trying to mix a beige, like a really nice light beige color. Got some of the cadim red here. I've got some of the orange, mixing that in. Then some more white. Let's see if I can get some of that going. I'm going to go with what I've got now, I'm going to use some of that because that's a color. Then I will go lighter. I'm going to go. Some of the strokes, it's really important to have some really interesting strokes. That's what I'm doing here. You can add some more drawing in some. Let's see. I think I might put some yellow in something in a minute. But I'm going to do some extra highlighting. I'm going to put some more white in here. My beige. Let's see if I can get it. I think this is closer to the beige color here. I've added some more white into the color you just saw me put there, and this is more of the beige. Let's see. I don't want to fill in every area. I'm trying to show So you just play around with that, build on it. Let's see. Some more here. Over that. Some more of this beige over here as well. And then Let's see, maybe mix some more orange into this Some more red into this, but I'm just building the layers into it. There's a shadow area here. That beak needs to get brought out. I think I need some more blues or purple. I love this actual background. That is quite nice. I might want to push it back a bit when it is dry. Um, trying to think. I wanted some more blues in here. The blues I have ultramarine blue note. I think a Pala blue. See if I can find that. I checked through this. I got different paints in here. It's a pal blue, there's a manganese blue note. Pal blue is a greeny blue, so that's what I'm thinking. I'm going to use in here. If it's in here at all. I just use it so I feel like it might be somewhere very random. 11. Adding Details 3: That is inaccessible. I might have to use the I want to use more yellow. Actually, let me go for the yellow like a lemon yellow, cut off. I'm thinking about that Tala blue. Let's put some lemon yellow down here. This is the open acrylic as well. I want to work maybe in the face. It's just clean. Let's not bump. The camera. Let's put some yellow into this cream that I've been using this whole time and see what it does. So interesting kind of yellow color coming in here. Yellow creamy color. I'm going to put around here. Because I want it to be brighter. It's just a really cute little owl I light in some areas. The light would go on this side, wouldn't it? So I'm going to tell myself. For my owl, I'm trying to get some little hints of its feathers. Let's be sun on its chest. I like that dotted. I'm not quite sure how to help you with that. Like dotted look here maybe I get a bit more. Specific. Here's maybe a bit more chaotic, put some of these dots in places. So it's very interesting. Um, more green. Let's see. I'm trying to mix in some colors. I'm quietly thinking how to mix in a different green into this background here to give it some kind of It's come back about alive, but I'm going to put some more yellow into this green. You're going to go back in. It's a little bit of orange in there to dull the saturation down a little bit. It's taking it more towards a sage brown and green. I really like green, not as saturated probably as that one. Let's put it over again. To push it back a bit. But you can get bigger also bigger palette knives. Then this. Going to bring some of that in here, some of that green. There's so much that you could do in this. I think that we could go in here and mix in some white with some of those blues. You can basically start making some different marks So yeah, 12. Final layers: Do you think of this? I am trying to think of where to add some other colors, always to dolt. So I think that should be it for this class, just to show you how we can create an abstracted artwork piece with this owl and then basically just going in and adding as you go along, you can use your brush. As it dries, you add more, you work more in, you blend. I'm thinking of highlighting this owl, so I'm going that's the sky and it's very what's the word fromatic? And then you could spray it into it and So, yeah, I love that the way that looks. So yeah, let's go over this one more time. Again, it was to let me just take this and show you what it is closer up. So we sketched on the paper. We collaged on the paper with a pencil, colouring pencil, we drew this character upside down with my acrylic paint. We did in the red sky, we did in the brown all around with the burnt umber, and then we turned it around and we started building this character. Yeah, I hope you have enjoyed the class. Please do let me see what yours looks like. And obviously, you can have a look at owls. You could see what they look like, their stance, but I really love the posture of this one. I could have done more. I can add more white or things, but I wanted this area just to be in the shadow. Can kind see that pattern there that this is in the shadow, then it's getting lighter and lighter, and that is what we're getting. The areas that are blue are in shadow. So yeah, I love it. I hope you have enjoyed this class. The bare minimum that I can see adding at this point before we finish off is here on my palette. Let me just get down to this. Organize myself here. Is taking a little bit of this turquoise mix that I've got here and going into the eye area and giving them a little bit of a dog. Which way is it looking? And that makes a huge difference, doesn't it? But yeah, I am going to tidy up this mess now, but I will see you guys in the next class here on skill share. Thank you for taking the class. I do have other classes here on skill share, please check them out. This hopefully going to be recording a whole range of new artwork processes with you for you to get your own ideas on how to create with an abstract impressionistic way of painting. I'm hoping to do landscapes or portraits. Different things with this technique. As I said, we've got collage here. You can't even see that easily yet. If we come closer, you can see it here. There's the paper under that. Is just adding the textures, you can use different shapes. But that was very simple way of approaching it and already you have something that looks beautiful. Once it dries, you can frame that and have fun or give it as a gift to someone. I will see you guys in the next class. Bye for now and thank you for joining my class. My name is Viatris Jay and I will see you next time. Bye. Oh 13. Extra Details: So this is an extra video just to show how I added to the piece we worked on in the class. I went on to add some more details with coloring pencils in the background and more colors, more blue in the shadow areas. I just scribbled around with a lot of contrasting color pencils. If it was against maybe the green, you could use a red or purple and I really went in to put some more of the feather details, scratch it into the face, added more colors. I moved the beak up as well in this piece. But yeah, I just wanted to show you what it looked like. I signed it at the end, and I'm looking forward to seeing your artwork. Thank you for taking the class and I'll see you next time.