Blooming, cauliflower and a curled up cat - watercolor painting and introduction of the technique | Agnes Bodor | Skillshare
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Blooming, cauliflower and a curled up cat - watercolor painting and introduction of the technique

teacher avatar Agnes Bodor

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction and project description

      7:11

    • 2.

      Introducing the techniques

      7:00

    • 3.

      Introducing the techniques continuing

      11:11

    • 4.

      Tools and materials

      7:06

    • 5.

      Drawing the cat and using the masking fluid fluid

      7:22

    • 6.

      Start to paint

      8:27

    • 7.

      Continue to paint

      9:58

    • 8.

      Generating big blooms and adding small details

      10:07

    • 9.

      Adding details and finishing up

      13:47

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About This Class

Blooming, cauliflower and a curled up cat - watercolor painting and introduction of the technique is a class where before we start to paint the cat, I introduce the details of the wet on wet technique I use here in details. I strongly encourage you to do those exercise with me. After we paint a cute curled up cat using all the techniques I explained before.

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Agnes Bodor

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Transcripts

1. Introduction and project description: Hi, my name is Agnes, and I am from Hungary. I moved to Seattle in 2007, and since then I live here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made doing origami, photography or whatever occupying my mind. My favorite technique was always water color and I love to paint landscapes and portraits. But nowadays I mostly band gaps. And I paint cats. I wanna catch their, FOR their beauty, their movement, not just and the copying of hot all what our Alice calculations. Also, and I use watercolor ink. I wanna use the potential of these materials that their own UT, I don't wanna use Euler anthro. I wanna, you've done a watercolor. I think soon be used very slowly, very free. Let us cuz this is enabled on paper because to make a good case, it waterfall are very, very important. Understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorials, this is a cracking lifespan. To make you understand this very complicated math area, the water colors, and be able to use its beauty. But be it Master. Hi everyone. Thanks so much for watching my next newest cat tutorial. It will be as usually a rat on that painting. And I want to put up a big stress on this tutorial dust for the technique. So the first two times ten minutes approximately, we'll be all about the technique. I highly recommend. To watch it before you start to paint, unless you familiar with that. So the techniques I will explain we are be the pushback or device back, which result cauliflower or blooming. And I will talk about lifting and adding 30 Techstar. So this is the cat. We will paint. It's again our cat. Although I posted projects that I'm looking for cat photos of your cat if you have something which fit the description. So take the screen shot of this cat. This will be what we painting. And you can see this is the ready painting I made. You can see the beautiful blooms and Kali flavors. They are the same thing. So beautiful blooms, eco carry flowers in the middle. And you can see the texture everywhere. Many places, at least on the edges, or especially on a top and a head a little bit and around the tail. So these are the technique we will clear up and practice with this Spain Tang. It's a very easy drawing. It's almost around. It's not a difficult drawing, but to make this texture right, that's not trivial. And need experience. Good paper, good, pained, and patient. And the unfortunate truth that each paper can behave differently. Each paint, each pigment can behave differently. So I will tell you what I'm using. It's important to use good watercolour paper on this tutorial. Have a separate section about the tools and the materials. If you use different one, it's fine. Absolutely fine. Just maybe it won't behave exactly the same. So just be aware. Some paper dry faster or slower. And here drying and how much liquid it can take. It will be crucial. The paper which is not watercolour paper, I'm almost certain it won't work. So I think it's very important to have a watercolour paper for this tutorial. So after this, I start to explain the technique. It will be two times ten minutes approximately. So I think if you're not familiar with the technique, I really suggest to watch these two times, ten minutes and even take a piece of water colored paper and practice or do it with me. It's not painting anything, we just understanding the paint and a paper. So I will use my old bad painting. And this is what I'm suggesting to you. You don't need to use a brand new paper. So I actually don't use a brand new paper because it's really pricey. Just use one of your old painting you don't like. If you have one and, and use the surface of that paper with arched or arche or she's paper. The side is matter. So arche paper when it's 140 Albi it, the two sides are not the same. So tried to do it on a side or just use your regular watercolor paper you're using to test out this technique. 2. Introducing the techniques : Again, just try to use a damaged, a bad or a paper you already painted on. So don't waste a good paper. So you can see, just ignored the thing out of the painted. I'm using my old paper. I'm not wasting the good sheet on this. So I'm using spray butter and my big MATLAB brush that the paper. And I will try to show everything early, good timing and lay it so you can see the difference. So I read the paper weight one to three minutes just to let time the wetness to go into the paper. And I use that time to dilute up my watercolour paint, which is Lam black, too, heavy cream consistency. And I started to paint. So as you can see, I'm not painting anything. I'm just painting test lines and what its need to be watched here, how the inferring out, in this case the paper is very bad and a paint is a little bit more diluted than I usually use. You can see it's furthering very far, but it didn't keep the structure as well. And it will kind of change by, by time, it will lose the, the lines in a file and it will be more like a smooth edge. It's really good when you want to use this. But it's not exactly the dance short-term paper, but it's nothing wrong with it. I'm just saying you need to understand how your paint will behave in different circumstances. So now I was waiting a little bit more and i cutting out this week wait times. So it's not exactly the time you can see on a video, but I'm labeling how much I missing and my paint is down, sir. So watch differing. It's very different when your paper is a little bit more dry, your paint is a little bit more dry. So dancer. And so it's, it's different. And make some line, wait a little bit later, half a minute, a minute between and you will see the differences as, as it's drying up, it will behave different. So you can see the for also very, very important this technique take time to develop. So what do you do? It will change in the next minute, five minutes, and even in the next half an hour, because until the paper has wetness in it, this paint will move in the paper. So you never see the end result right away. It's, it will take time, so you need to able to predict. So here now I want to just push back or wash back technique, which means the same thing. I'm adding clean water and menu edit too early. It can the rotor get just came, go together with the water on a very wet paint on paper and nothing happens here. Something happens, but it's too early. It's just do VAT and the carry failover or blooming, which is the result of the pushback or wash back. If not generating beautiful, it's happening but it's not nice. Although if, if this effect is your aim, it's good. So I'm trying again, after some little wait time. And this is like much better. So the idea here, your paint need to settle down and start to dry. And that's when the caliph over or blooming. Same thing will happen. So it's still a little bit to that. So it won't stay like that. It's developing, but it will change too much. It's, we're not keeping the caliph lover as nice if it's too wet. So it's all experience. You need to learn your paper and your paint. How humid is your environment at all important? It's all connected. So it's again, you can see it's developing nice when I put it down, it's just too much too wet or too much spreading. I'm sorry that it's not visible or my camera, how the paper is that. I don't even know how to how I would be able to show that while I'm the timing is kind of communicated during the video. So you can use the watch back or push back technique on the edge. So you putting clean water on the edges of your parent. And it will start to push back the paint on the opposite direction. It will take again a little time until it is developed, but it was too early. It's developing. You can see it's happening but it's not nice. And I'm trying here to its again a little bit too early. It's happening. You can see the front of those water line. It's coming down, especially in this middle on the corner, the middle bombs. And you can see it developing is just probably, you will see the result. It's probably too that steel. So I'm trying on different places and that's what I'm suggesting to you, play with your paint on paper. You can see the early caliphs clover, which I put it on the left side on the top. They got huge because it just to that. But look at here. Now the last I did eight, just look really nice. Although the question if it's too wet, it won't stay as nice and it's all experience. Maybe it will stay because it's settling more and more and it's dying more and more. So it's developing, developing better. This cauliflower or blooms is just really nice. And these add perfect edges for furry animals like cat. And I'm doing the same thing just in a middle of the of the paint. So everything is timing here. You have to time to your drying drying process. It's the truth. So everything depends on the drying process. And few minutes in drying make big differences how the pain behavior. So you can see it's, it's everywhere. But I am doing now when I'm putting the minimum, Trying to do pushbacks, it's developing nice everywhere. 3. Introducing the techniques continuing: I vetted the this side of the paper about four or five minutes ago. So you can see it's much less spreading than on the other side where I only wait in one or two, few minutes less than than 4-5 for sure. It was about one too. But if you wait, it's neat time, but you can see how beautiful for developing, especially on this round one, look at how Prayer Day that further effect. This will be the effect we want to have on the, on these black and white cat on his spots. If you don't want for effect. There you need to have a dry paper like on this round. On the right side. The right side of the round it it was on a dry paper, so it's not furthering. I'm showing another thing which we want to use in this tutorial, but you can diffuse into each other two colors when the paper wetness is right. So this is what I'm doing now and diffusing the red or the orange Into the black. And it's working really nice. Also, it will take time until it's developed. But if you see all the black marks I made in the beginning, they just have beautiful furs on everywhere. It's like it will be a perfect gut for. So this is how you can make the edge smooth if it's to shock. You just add water carefully and it will pull out the steel that paint to that water patterns. So you just use clean water next to it and it will it will it will make the pain diffuse into, and then you lose your sharp edge if that's your aim. So I'm turning back to the other side, which is I left untouched for few minutes. I think it was 34, but that it was on the it was written. So you can see how those previous voyage back or push backward, then I'm adding new ones. And I expect them to work better because it's a little bit more settled. But you can see some places it's pretty dry. So I think like here now it's too dry. Nothing happens. So you see, I'm just pushing and nothing happens, the paint dry. So this is what I'm talking about, wetness. So it would depend on the web drying process and the wetness of your paper. So as soon as it's through the eye, it's not working again. So I'm back on the other side again and I'm trying wash back or push back again on this very settled paint. And it's a dancer paint and on the first side. So watch what happens. It's especially on this laughs the most left side, the, the push back is just beautiful. You can see I added just clean water and the water front moving, laughed. And you can see the beautiful furry effect. So now I'm showing you how to make new Ferrari adage when somehow yours is too too straight, just add water to the ad. And if it's if the paint is enough, dance and wet, it will goes into the into the fresh clean water. If not, just add new paint on the edge. Just new line. Repaint the ad with, with dance but not dripping brush. And let's see what happens. You can see the first growing into the water. Didn't really Brady. Well, it's a really nice feeling. So another was back effect happening right now. So this paint is a little bit too much settled, so I need a little bit loosen up and it's it's almost on on a true too dry side. But on this orange black spots, it's still really good. It's, it's beautiful. Actual is probably almost like the best timing. See, it's really working really well. It just it happened. It's it's actually around just before too late. It's a good timing. You can see the previous watch bags on the edge. It's just great everywhere. So the edge, even if it's not round when you add the water in the middle of the edges. This is what we call carry Flaubert or blooming. This edge. Where I did the pushback would abolish back on. Although you can do it in a middle of the page envelope like I did with the drops. The the little round ones. They are the same effect. Just one is only edge and another reason in a middle of the paint surface. So now what I'm showing is is called lifting. This is nothing to do with the previous one. This is eliminate paint entirely. So how you deal with that clean water, clean brush, and you loosen up the paint and you wipe it off either with paper towel or with your clean brush. What you dry on a piece of paper. So you can suck up those dirty water with your brush. But maybe it's just easier to read paper. And I'm showing now dry paint remover wall. So that's something which is really hard. So if you know you want to remove, lift pained earlier, the better the more derived a paper in a paint. It's, it's getting harder and harder or almost impossible. So where the paint is wet, it's working really well. I'm showing how to remove with a brush. I always clean the brush and ride up on a paper. Before i using the brush to take off. Now I'm using the paper. So the more that paint is much easier to lift. So if you want to remove something tried to decide earlier, earlier the better Sam or lifting on the other side. So clean water, clean brass. And you loosen up the pain. I'm adding some extra water to those cauliflower so day keep growing and making the ads maybe even nicer. This guy, clovers On the left diary, God, and all the edges wash backs in this side day, most of them are nucleic good. And look this new, forbid they'd before on the corner. That's new for us when we when I said, okay, let's see what happens when the addicts to sharp. So this tape was very, very dry. You see, it's really hard to lift. I mean, they add not even coming off no matter how hard I press it in the middle where it's more wrath, it real lift way more. So that was lifting. And I'm showing now I've added those two area a little bit, just a tiny bit. And you see I just, I'm not using the brush. I'll just add a little water and barely coming off many dry. But on a wet area, even without loosening up, you can you can lift paint, but it's better if you add water, you loosen it up, it's easier. So look, these affects is speeded up. Just to show it's perfect timing for Blooms or carry flow works. I hope it's sound enough interesting to staying with me. 4. Tools and materials: So now I'm introducing the tools and the materials I used. I used exactly these are paper block, watercolor block. But I used not the size, not the 16 by 20, but I used the 18 by 24 inches by exactly the same one at 300 GM, sorry, 300 GSM or a 140 Albi and cold press block, watercolor block from arche or Archie's. I really like this paper. This paper is, is a really good, never disappoint typing paper. So I have paper I like more, but this is one of the best paper you can buy. My absolute favorite is long-term prestige, but it's not what I use. It's hard to get, but I love it. Stone hand, really good. This one. And probably a cheaper paper which is a good alternative to ash or Archie's is Kilimanjaro. But from Kilimanjaro you need to buy probably that, the ticker, that 300 Albi and probably even that, that at that point it get more expensive but need to test. Unfortunately, I don't know. The thinner Kilimanjaro is also good, but it's just buckling a little bit too much. So always have many, many good big white or transparent water battle around you to is a minimum. So it needs to be large, Y dot transparent to see the degradation of the water. Just room temperature water nothing special to is a minimum. One always needs to be cleaned. So too. 45, better than two for sure. But if you have to, when you see the second one, you start to use the second one, clean the first one, you always need clean water around you. I think it's crucial. So regarding the brushes, so are you ordered this so I use this big no-name modeller brushes for wetting the paper. I will use them during painting too. I like them. And so I said just to have it, I use now drug court or this is grey here. Watercolor pencil to make the drawing. And I used please storm brushes. Either prints, don't acquire Elliot or Prince dawn. Nap dawn. I think you need at least from round at least 16 to 20 twenties even better. Or if you buying not round but the Quayle type, it's numbered eight, which I suggest the exact really take four basic painting. And it's good to have some smaller VOD. Which would be from round around 16 or 816 is not that important. But if you have like a 28, I think you are good. Between the two. The Neptune or the ACO Elliot. I like both and I cannot tell you which one to buy, few buying. Now, they are very different than the aqua Arab Spring year. More precise for drawing and nap, dawn is very fluffy. And holding a lot of paint and water may be. If I need to suggest a nap, I would buy the naps torn. The big one. For the big ones. So like 20 or if it's round and eight, if it's cool. And I would buy maybe the other one that the smaller brush from the aqua Elliot, probably I would suggest eight. Or if you buy 2816. And I'm using Drawing gum or masking fluid, this brand here and sticks like this Asian bit stick and, or actually I'm using chopstick where I made the TPP sharper with a blade to you to apply the masking fluid. And I'm using Kim vibes, which I absolutely adore, but its prices, so probably kitchen paper towel would be the good alternative. And I have a water spray butter, the paint. Any artist quality paint is good. My two favorites and Haram, Danielle Smith. And in this painting I only use the lamp black. So any brand can be artist's quality lamp back, I'm suggesting the tube, the half bandwidth, the pan is just way too small, I think. So. It's hard to work from with these big brushes and this density of painting. It's really hard to lift enough pigment from a half band imagery and how time is a half band? So I'm suggesting tube. And what I'm doing, I'm putting out about an inch or two paint in a little ceramic dish. And I deal you teed up to heavy cream consistency with a little water and brush and you get, just make sure you don't have clumps. It's important because when you paint and you pick up a clump with the brush, it it's hard to believe it, so it just better to deal. You tap very well. It's only a few minutes. If you just use black, you can use any color ceramic dish or even plastic. This dynamic is better. But if you scholars, I suggest, right, just to see the color clearly. And I think that's it. So if you have all prepared, I think we can start to outline with the water colored pencil on the paper. I hope I didn't scare you away. Yeah. So see you in the next section. 5. Drawing the cat and using the masking fluid fluid: So as usually, I use this Notre color, light colored, water colored pencil to outline my cat. It's not necessarily, you can start with the painting. I only doing it for placing the masking fluid properly. So if I have this outline, it's just easier. So if you look this cat, I mean, if you did the plane screen in the beginning and you look this gap, you almost need to just draw a ball shape that I think obligated. And so it's almost perfectly round with some modification. And since the shape periods, so not important, don't worry too much. Probably the only important thing, the head ratio to the body, approximately right. So I don't have a too big or too small I had and other than that it just a little round third ball. So, so if it's not exactly that shape, it will be fine. It's, this tutorial is all about generating the for much better or very detailed. So I'm outlining their head now. Just I a little bit. And I'm doing this the face in a little bit in more details because I'm using the masking fluid there. So on the eye and the ear and a little bit on the draw few whiskers. So this is why I'm growing a little bit more detailed on ahead. So another thing, what, during this drawing, you can think about that this cat had it has a 3D shape and how those black spots are currying on this 3D shape. They changing shapes also. And when the cat body has a bump, you have like a bordering continuity so you won't see all the flow. But there is a further you don't see and then you start to see another part of the body. So it happens for example, when the hind leg tie or me, or I don't even know how it's going to, for a cat is, is coming up front of the body and it's covering a little bit the cat body behind. So those are the points where you need to express this 3D shape a little bit, at least to suggest with how you painting it. And it's the same around the neck, which I'm kind of drawing now. In an AC is also curving and has a big it's not a wrinkle. I don't know how to say it is a big bump in the surface of the body of the cat. So around the neck, around the hind leg goes up and actually the tail goes tail, also not continuous with with the things behind. So, so these are what you have to keep in mind when you paint. So I'm adding the tail and It's getting close to the finish. And so the next step we are adding the masking fluid. Maybe another thing to check is again, like a ratio, like if you take the height of the whole cat body varies the me and varies ir. So don't need to over-complicate when I read the paper, it will mostly disappear anyway. It's, it's more about where to put the masking fluid and to have some outlines or when you paint, you have a little helper. It's like helper lines. So I'm kind of shaking, not like with a lot of it, a viral movement, but I'm shaking up the masking fluid and amusing that chopstick with a dip. And I draw the ear just a little bit, the ear on the right side. So which is the left ear of the cat? It's very useful because you don't want the paint spread there. So the other ear is in a black surface, so it's much harder without the to keep it right without the masking fluid. But I'm telling you you can do this painting without a masculine fluid. If it's just black, where the right ear is, it will be still god. It just much easier if you, I'm asking fluid and the I again, you will see on the end I almost it's just telling me where the eye, but it's black on my paintings. So I'm not doing any special painting, they're just helping me when I'm painting to shape the black pattern on a face. That's it. And here it's kind of useful there. So what I'm doing right now, it's useful because it won't allow the paint to spread. When the paper is too wet. With the other ear. It just much harder without to leave, divide out. And on the other ear, you can draw the, the top line two. On the, on, on this year, you can draw the top line too if you want. I didn't do it, but if you want, it just happened not to spread the paint there when it's wet on wet, but also if you just careful enough and not start to paint that too early, it will be fine. So it's your choice if you want draw line on the other side of the earth to. So now just make sure the masking fluid is completely dry and make sure you have the pain diluted up to the heavy cream consistency and see you at the painting sections. 6. Start to paint: So venue or masking fluid is completely dry, completely a 100% dry. Then we can start or you can start to paint until that point, don't try. So i using the spray bottle to spray my paper. I add water everywhere. And then I'm using my big mod lad brush, no-name MATLAB brush to do. It's also that I dipped in clean water to equalize the wetness. Kind of don't push the branch because it will eliminate all your outline. And maybe you don't want that. And make sure your paper is wet everywhere and add more water if you need to. So don't don't worry about it's really need to be rat everywhere. And it takes a few minutes, but only few minutes to the wetness sink into the paper and then we can start to pain. I hope you have already the diluted paint, but if not, It's maybe better to do it before vetting the paper. So because the debuting partic few it's definitely take few minutes and the paper can dry to watch. So yeah, I have my paint and they diluted to very dense heavy cream consistency. And so I'm waiting a little bit for the paper to, to setter. And then let's start to paint. So it's good to be very self-confident at that point, because that's when your mark can express the cat very beautifully. Take your big brush and start with your, with the big confidence. Starts to put down the black areas of the cat. From the time I was cutting out about a minute from the video. So just to make sure you wait a few minutes to for the water, not just to swim on a paper surface but sink into their paper. As you can see, I'm using very dense lamp, black watercolour paint. And I'm putting down all the main large black areas. Of course, if it's not exactly the same pattern as the cat has it, ok. So don't worry too much if it's not exactly the same shape or whatever of the black dot. So I put down the head area, but maybe honestly it's maybe a little bit, especially on the ear, on the right side of the paper. And under face, especially the forehead area. It's just better to wait because it will spread and then you have to find a spread spreading. So I mean, it's my habit to go everywhere, but it's probably better just wait until it's drier there. So if as, as I showed in the technique tutorial apart, if you want to remove something, it's much better now. It's just much better now because it's easy to remove that pain from wet paper. But it's not easy to remove dryer paint from dire paper. So if you really want to remove something or modify something, it's now, it's better I bank. Or the earlier, the better. This is what I'm doing with my big bottler C, I'm almost eliminating this this complete black area there. When you binned, always watch your photo and not just what I am doing. So so go based on a photo. Where to put what because I'm maybe not going exactly by the photo. And like nobody going exactly by the photo. This is why it's good to have a common ground, which isn't the photo. I'm using a force Fs to removing brush here. If you have this issue that a good way to do it. So the paper is really in a good wetness. It's just the first are coming out so nice. And so it's good to put down the main or the main Blackboard. I would suggest to keep their head on the end because that's where you wonder less figuring out. So make the body first and then later the head. Because you want more sharpness around that forehead area and the ears. So those painted later or last because you want less folding there. Also around the neck where many. So, so the body is not smooth, not not a same plane, but you have those wrinkles around the neck. You don't want too much flowing. So actually when I remove those first black area from there, I dried up the paper towel so that area is dryer. You can see it's much sharper there around the neck. So it's good to dry up there or around the forehead or around the ear with a clean paper towel if you want. And then start to paint there around the ear and Affairs. So unfortunately, I have to stop here and start again because of the video size limits. But I'm not stopping the painting or anything. So it's all continuous. 7. Continue to paint: So as I mentioned, I have to cut this video to parse, but in real life, I'm continuing right away. So there is no time gap between and that is kind of important because you don't want the paint or a paper dry too much. So just to continue the same taught as before. So if you want to append the forehead or the ear, or the area where too much furthering is problematic. Just use a piece of paper towel and dry up the surface first and then a paint. It. I didn't do that. So you will see I continuously have to coag that the overflowing of the of the parent. So this is a good suggestion I used in a knack and it's working. It's just better, it just easier. So just use a clean paper towel and touch it gently and it, it will dry it up a little bit, wait a little bit, and then you start to work on or with further than in a process when it's more dry over there. So I'm constantly fighting too much flowing as you can see around the face especially. So I'm using clean blush, clean brush, clean water to to changing those lines and clean and important clean paper towel to to dry. And I'm not trying to say try to wait with the correction when you want to correct. It's better to do it a little bit later unless unless it's very dry. So I'm doing the same thing with the forehead. I'm removing lifting up paint actually. So that's lifting. And there I start to add push back. So I'm adding clean water and I'm start to generating a little push-backs on those edges by just adding clean water and around the neck where it's pretty dry. I'm just using my team bras to to express those wrinkles, those neck wrinkles of the cat. So again, I'm removing a little bit the over floating on a head and below the ear so that I don't want the black clothes together because it's it's it's flowing so eventually it would close the gap. So I want to avoid that with adding drying between or adding water in between so it can push the paint to the two sides. But again, the best way to do it with a head and just started too early. And it's my habit unfortunately, the wet it will be just easier. So I'm using my big mouth layer to make modification of this to tick tail. So I'm using clean water, clean brush, and loosening up the upper edge and using the paper towel to to remove a little bit of the of the wetness. And I'm still lifting on afford head because it just spreading tumor. So I need to go back there a little bit later when it's drier. But I didn't really retards the outer lines. I just loved the learning, developing. Its look really good. I think most places, what are colored them to dry, lighter color or so when you sense it's too light, just add pigment in a middle, it still enough wet. So the pigment we'll melt into the first layer of pigment and it won't leave lines. If you do it later, it will leave lines or borders. But if you add now, it's still enough that to to melt without a border. And I'm adding more water there to have the SAM literal blooms. And that's saying you should add exactly to the same place is it's kind of test question how much you add. Also, it's important what you see when you add. It's not the final result that water will move into the paper and literally spread into the paper and lead to real change shapes. And it'll be a good or in the next, well it can 20 minutes until it get drier. Everything Tenzing. So the white part of the cat, I'm starting to paint that. I'm using just dirty brush. So just lightly dirty bras to paint the right areas where the paint is spreading too close to each other. You can add just water's doing the push back or the watch back. So both side we'll go to the opposite direction. So the white area we are bit bigger a little bit. Here too. I'm just using that brush to to push back paint or watch back paint. Here around the ear. I think it's, you can see if you look close, it's giving a really nice good result. It's really pushing with the nice cauliflower age. Now of course it's, if it's duet, it will kind of disappear later, but I think it's kind of the right wetness. It's not too wet probably. I hope at least had overflowing. I don't know I mentioned or not. When you vibe with a paper towel, Make sure you turning around and using the clean side always. Because if you touch your water colored paper with dirty paper towel it stains. It's sometimes stays much stronger than when you use the brush. I don't know why really, but it's it's happening. You can stay in the paper very badly, probably because you pushing it or I don't know why. Or maybe it will divide power movement. You hurt the surface and you you put the paint pigment deeper. So I'm changing a little bit around the tail. And the beginning of the tail you probably saw that just stunning. Still fighting the overflow on the forehead. I'm lifting again with the red bras, removing the paint. And I started to draw draw it a little bit like a drawing with dirty it's like a dirty brush. It's not black, it's just Gray. And I have to break the video again. So see you soon on the next one. Don't stop. 8. Generating big blooms and adding small details: So I am back and unfortunately I forgot to start the the record button for about 2-3 minutes. But I only painted you can see just a little dark shadow below the phase above the feed and the slit or beauty dots on the face. And I was waiting few minutes, changed water, et cetera. So just make sure that it's a little bit drier, but it's not dry. It just a little bit. It was really just few minutes. So it means that it's much more ready to to make big blooms. And that is what happens in this section. I'm adding the big blooms. So the hard part, if you're not using the exactly same paper, the exact same paper and and paint. And maybe your environment is much more dried and mine, the timing is a little bit different. So you can see it still believe that you can see in some shininess in many places. But it's it's, the paint is very subtle and is no water flowing on a surface. So it's a really good time for a big blooms. I also just adding more pigment on Affairs. And like you can see, it's honest state when it's not leave borders. So it's still melting into the old Paint. Mostly, maybe not everywhere perfectly, but mostly. And so it's like it it had lot of wetness steel in it. So I'm just adding pigment on head and tail, just make it darker. So I'm looking at the difference between the blacks and that I think it's morning shade or shadow, so it's darker. Within the black, I just add a little more pigment. And the face is in much better shape. It's not anymore blooming that much. So I could do those pattern on a face more. It's more reliable now, more stable, it's not. And not blooming to much more sharp. So I'm drawing those black pattern, black dots curving down on a body expressing the, the shape of the cat. So it's, it's, it's followed their cat body and it's showing the three-dimensional shape under it. And I'm adding water to the edge to where it's not melting nicely. I just add a little water so it clean water just it's washing together. It's washing the edges of a later bath. I just did on the top of the neck. So now I'm working with a big bras and lot of clean water. You can see. And this is what we really blow them out in a large scale. So it's, I found that the state came to do those big blooms. I'm in the stadium within the wetness, dryness. And while I'm watching those bloomed to develop and to see what going on. I'm adding and making the details around the face because it's drier now, so it's much better. You can draw with a dirty brush. It's much easier to, to do precise line now because it's land blooming or not blooming at that I mean, not flowing. Sorry, not flowing that much. As before. If you aren't happy and you wanna correct earlier the batter until it's not drying up entirely. So if you want to change things, it's many places, it's a last minute now before it completely just die. Because in many places it's very close to dry. So, so it is the time for both the big blooms and making more precise areas where you don't want too much bloom. And if you want more furthering or blooming, just tried to keep the area of that a little bit, at least. Even just applying water with clean bras, greywater scenario. Also keep eye on things because sometimes things can thus unexpectedly bloom out in a place you don't want, so you have fast reaction to before it's dry that way. The caliph lowers or bloomed, developing really nice, the big ones in the middle. So I'm quite happy about that. And I'm doing some shading on the feet. And I have to cut again the video to a smaller part because it's about ten minutes. So see you in the next section. Don't stop for a long time. 9. Adding details and finishing up: So I'm looking at this for a while now. The face and body went too close to each other. Those two black area just diffuse too close. So I am lifting there. It's still lifting very well. I'm using my, mostly the, the sharp edge of the modeller is really good to lifting this line shape. I'm just using the clean bras and I'm really seeing or drying a little bit to not don't use four dripping brush. Just clean the brush with clean water and then wipe it off with paper towels. And then use the edge, the sharp edge for for lifting. If you need this dinner line type shift lifting, you can use normal brush tool. But then you have to like go back and forth on the line area. The Bloom's reliever relieves. They have beautiful edges, I think. Very fluffy, furry expression I think. Oh, I didn't mention this tool on the on the tools and materials. It's it's it can be just a thin brush, that tip of a brush. But it is. I need to find the incredible neighbor. That's how it's called. And the brand name is graphics. Don't bother to buy it. Just use the tip of your bras and amusing Tim bras there. But it's again because I have tons of things around me. Sometimes I just automatically pick up, but you can totally do this with a brush. That tip of the brush eight. Don't need any specific door. If you interested. What was it? It was pretty stern. Art brush. Round 0. This is this is the one thing in my hand. So I'm removing masking fluid on the I I checked before there. It's dry there, but the whole area is not ready to removing masking fluid. If you do that, be very, very careful. Otherwise, just wait until you sure it's dry. If it's not dry, you tear off paper, you will make mass not worded tourist skin. But I knew there is that area there is dry. So I just removed because I can use my thin brush and just make a little drawing there to align. As I said, I'm not really using masking fluid. There. It's only labeling for me. What is where I'm not using the whiteness there. I kept it right anyway. So it's not about that. It just it just taught me and it's the same on the other side. I completely when black and that line there, just tell me where to curve and how to curve the blackness, which is the pattern of the face. So I know I need to pull it much more into the nodes direction. And actually at this point I see that it's a little bit even misplaced. Its two outside, its needs to be closer, the I need to be closer to the nodes. So when I remove the masking fluid, I will be back. I just cannot remove and died now because probably not enough dry. So you see I pooling much closer. The blackness. This GET has an asymmetric button on Affairs. One eye is much more covered at least on the photo. So I am drawing the line of the face and then smooth ended up only on one side. So the paper is dry that so it's not flowing on the other direction. And I'm doing little shading around. So the, the idea here is I'm not expressing the edge of the face with a straight line, but with the difference between invite and dirty, dirty color. So so that's and even I lightening up a little bit with the paper paper towel just Touch it and remove a little paint on top. So I'm still pulling the blackness closer. Why are we doing this? The blooms and everything drying up very much, but hardly percent Dryad, but there are now just not a continuous wet area. Just different areas are wet and if some in-between them more dry. So the whole painting is drying. And I don't really want retards there anything. I don't think so. So I'm using that litter pain there to again, to to express the head of the fairs and a feat. So I'm just putting a little shading there, drawing the nodes to the bottom of the nose. And I wasn't happy with it was too dark. Also, it was too low, I think, too long nodes. And a little bit. I'm correcting the drawing around the face. And I think I will finish up very soon. So when I finish up, the only thing left is to remove the masking fluid. And I usually like to correct the the whiteness coming from where the masking masking fluid were applied because it's usually just brutally too sharp, right? And I just usually gradient it up and make it more reasonable to not like some kind of cutouts, sharp, wide cut out. So I think that will be the last part. But between the two, you need to wait to have dry painting. That's very, very important. Especially around I, where it's really wet, at least on my painting. You can't remove the masking fluid yet. It's just it will destroy everything and your finger will be black. And as soon as you move it, you will just make math, I think so. Make sure you wait until it's dry. So I'm stopping now. And and whenever you feel it's finished, tried to stop and make sure it's dry at least an hour or two, but maybe overnight and then see you again for finishing up. So I was reading a lot and I remove the masking fluid. I already covered a little bit there. I just with the light gray. And then removing the rest of the masking fluid. The whiskers not really show up. Although I hope that this little shade around the face where emphasized the whiskers which was labeled by masking fluid, but didn't really happen. So I will use a Sharpie pan. It its size small. And it's called Farber custer pit artists. You can it's not necessary. So you can you are good without the whiskers, I think. So also used for signature and that's it. For the year. I will use brush and paint just to make it gray. More grades. You can see it's just weird to white. Make sure you remove before you start to paint all the masking, foodies gun and I paint and black layer over and I'll lighten it up with with a paper towel until I'm kind of happy with the result. Same with eye, brow. And if you want, you can correct a little bit. Now without the masking fluid, you can see exactly how it turned out. So you can make small correction if you need around I of course, in the end. So I hope you liked this tutorial. If you do it, please upload your result and ask questions or comment in the comments section. I hope to see you in the next tutorial.