Cat in movement - wet on wet watercolor painting

1. Introduction and project description: Hi, my name is Agnes bought out 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 ink. I love to paint landscapes and core threat. But nowadays I mostly band gaps. And I paint cats, I wanna catch there FOR that. But their mood land, not just copying Apata all what our Alice, hey, play. Also an AI, you water. Or I wanna use the potential of these materials that their own UT, I don't wanna use. Euler amphora. I, when I read them as watercolor, I think soon be used very slowly, very really. Let us go IS between ME lose on paper. Because to make good piece it watercolour. It's very, very important to 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 material, the water colors, and be able to use its beauty. But be it Master. Hi everyone. Thanks so much for watching my tutorial on scales share. In this class, we will paint a black cat, where we will specifically we'll focus on the movement of the cat. This will be a Ratan wet painting technique which is particularly good to express movement. Because of the flowing us and, and very good ability to change sharp and, and more loose and areas which is really good to express movement. So I choose the photo, this photo, particularly for this class. First because you can really see this cat is moving so you know, the previous second and the next second body posture will be different. And it's really expressing this movement. You can see a lot of changes in tolls on the body. Where the changing values, especially sometimes sharply, sometimes more in a more gradient way. And if you can get that right, that will express a movement really val, the, another thing is the silhouette of the cat. So even if you just screamed with your eyes, you will see that silhouette. Already telling you that this cat is in movement. And the last good things about this photo is that there is, there are no complicated details like face for example, or I or stuff like that. So we can really concentrate on the movement and the volume changes and how those values change suddenly or more gradient on a body. So that will be the important part. This is what we trying to express Today. We will use somewhat techniques which I explained in previous videos like pushback or watch back technique with the result of the blooming or chi, flavor. If you absolutely don't know what this verse means, maybe it's worth to check out previous videos because I want to concentrate on this and it won't be that important part of this painting, but I will mention and use a little bit, at least during the painting. So getting the movement right is not trivial. Not for a cat, even for human, it's even maybe harder. So it's good to have a little practice session. And what I can start justice, to look the videos where catwalks or playing, stuff like that. And you can either just watch, but even better if you just tried to make sketches. If you want just to understand a little bit more the cat body and the movement. But you can do this class without that. To my plan is to do this few more times because I think this is one of the most essential thing in cat painting to get the movement of the cat tried. So I'm showing few more examples here, which probably will be a class. This is one of them. I already made the painting and recorded, and this is the second one, probably the easier one where we concentrate on the silhouette because the silhouette can be really good to expressing movement. Here is not much data saw. These classes are coming up in this topic. I hope you found this topic interesting enough to try and see you in the next section of the tutorial. Thank you. 2. Tools and material: So here with the tools and the materials, unfortunately, I cannot say anything new about that compared to the previous tutorials, but I never know who's watching what. So I have to give some overview of the tools and the materials are used. So my one of my favorite paper or arches that what I used, it was a 140 Albi 18 by 24 inches water color block called press. That's what I use. Of course, there are so many good watercolour paper on the market. You can choose almost any artist quality watercolor paper to paint. In this style or this cat. They're the only paper I found too much buckling is the Fabriano artistic or in a block. So other than that, any paper I tried almost an artist's quality. A 100% cotton paper was just fine. So I can suggest Kilimanjaro as an alternative. I'm not sure it's cheaper because with Kilimanjaro, I had better luck with 300 LB papers. So the thicker ones. So maybe if you buy the ticket or when it's more expensive but need to track the thinner one would work to it just a little bit more buckling. Beside the Kilimanjaro. I'm very happy with the stone hand cold press. Or actually, I absolutely love the long-term prestige, although it don't have this kind of block size, just, I think the largest block they have is 14 by 20 inches. Which I found a little bit too small for this painting, but I think it would work. But not it's already on a border. And other than that, I only found the full sheet from that paper. But I absolutely love it. I think it would be perfect for this painting. So after that, you need water bores. I told many times I like the big transparent water boils or white because you really want to follow how your water get dirtier and dirtier as you wash your brushes and as soon as it's getting grayish or obviously diary, I sat just to change it. The more water boil the better because then you don't need to run for water all the time. I suggest to have always one clean which you didn't touch. And when you need to touch that clean one, tried to make a water and with the other one. But you can really use 45 around you. It's worth it. Brushes I saw, I thought I'm using this big old school no-name bottlers to wetting the paper and a little bit in the painting too. I loved them. I don't know. I don't know what is the brand or anything. I don't think even me and I didn't find any label on them. I bought it in an, in an ancient section of an app store. I use watercolor pencils. Any brand Notre, mine is great, but any Notre color will be fine like okay, or brown or light blue grace. So just to outline before painting, I like to make the lines disappear. So this is why I'm using watercolor pencil. When you read the paper, it's almost disappearing and YOU paint is disappearing. Regarding brushes, My favorite brush is add the print Stone, our quality and which is the green one here. And the other one is Princeton Neptune. Both are great. The Princeton Neptune, fluffy holding water because it's so fluffy the pointer is not as it has a sharp point, but it's not as strong as they acquire. Elliot is much more springy, much more pointy for more detailed work. For big brush, I would suggest around size 20 if you buy the round or size eight, if you buy the quill from both type, I would suggest an 84 maybe. And I also use masking fluid, which is this blue stuff on the bottom. I don't have too much experience with other other brands. I am quite quiet happy with this one. And I usually use chopstick with the tape I made with the blade. Or the Asian style read stick to apply. So you can see those below. Nowadays I'm starting to, starting to use the CLL, brush black well, but I like them. I don't have too much experience. But if you don't want to buy those other two, I suggest this. And if I need very tiny, it's Princeton at this brush size 0. I have that one and don't think I used in this painting, but this is a very thin one for verifying things. And the alternative for that if you buy an ink pen, a sharpie kind of stuff, but it's, it's with ink and this is mine, Farber Casta, pit artists pan. I have the size small for signature and tiny lines, but you can still use that little brush. And for painting, I really like the Daniel Smith's paint. But any, any artist quality watercolour paint would be fine. I really suggest the tube, and that depends on a half bands. It's much harder to work. They had really small, you can't pick up enough pigment. So 2b. And what I'm showing is the Daniel Smith's 238 or so coloured test sheet, which is about 25 bucks on Amazon or in Blake. And I really suggest because you can test all the colors and it's enough paint to paint several paintings. And it's all the colors. So it's just amazing, even just to play with. So you can, you can test and tools what you like or not. And there are many similar colors, so you can choose to not have too much repetition. And you can also see the structure of the paint which can be very different, even within similar colors. So I will give some suggestion for the colors. I use this for this painting, but you can use any paint brand you have. Don't buy a new set or anything because of this painting. Every artist's quality watercolor brand have the same set of colors. You will find something which is good for or very similar to what I am using. Other brands also have test kits. So I suggest that my other favorite brand is the whore Adam. I definitely used a lamp, black in this painting. So for black, I really suggest non-black and you can find lamp black in any brand again, but many other paint names are we're worried about within brands, so won't be the same, but l'm black is the same actually for almost every brand. I checked for for reddish color. I use a load this transparent orange from Haram, but in this painting it wasn't domain. Dominant color. But I used this three color is around me and usually picked up from these. They are very similar. Vanity and read garden. Genuine. I'm sorry about the pronunciation or Luna read rock. So they're not exactly the same at all, but very similar. The lunar rock is darker than the other two. So if you have or by one of these, I would suggest the vanity and read or the Gan, genuine. But I'm sure you will find in your watercolors set or brand something very similar. For, I used very, very low amount of blue. And these three blue are again very similar in appearance. So if you have anything of this, it's fine. Especially ultramarine is super common in paint SAT. You only need one of them. And if you don't have any of the specific one, I'm sure you have something very similar. So don't worry about and there are other few colors around me, which, which is useful for this painting. So if you have some kind of dark brown sepia or one Dyke brown, That's great. But again, not necessarily because with the black and orange and brown, You will get the same color. And for blackish blue. Again, you can use the previous blues and the black together. But if you have or you want to buy against solely for the pronunciation, pines gray, or now trout ain't are the color. Black is blue, which is really good for this painting again, for wiping IU scheme by its pricing and it's not easy to get. So kitchen paper towel would be the probably best alternative. And I use a spray butter and it's provably everything. I hope. If not, I will mentioned on tutorial, but I think with these tools and materials, you can make this painting as some. I hope to see you in the next section where we start to draw the cat with the water colored pencil. 3. Drawing the cat and using masking fluid: So I'm starting to paint a solid draw the cat. What I would suggest, go to the project introspection and make a print screen of the cat. Or you can use something similar photo with a black cat. So I'm watching that that photo on my monitored and this is how I am drawing it completely free from any any method where I copy the outline or anything. And this is what I suggest, it makes you it it has to be a better artist regarding to getting the ratios and and placement and things right? Also, if you do it a little bit differently, if that's fine, because everybody has their own distortion. So usually I, I, I always end up with larger or very light compared to the paper size. I really fill it out. Some people likes to make smaller and every people distort in a given way. So that's unique and it's a good thing actually. So if you want to use some kind of helper, I uploaded outline of the scat so you can somehow use that too to just printed out in larger size than an adult. No, cut it out and draw something like that to your paper. But I'm not suggesting that. So I really just lightly outline, it will kind of disappear. But at least you place the cat, right and it will fit saw. Another aim is to make sure you know where to put the masking fluid, because the masking fluid is very precise, so you need to know exactly where you want to pull the ear or the whisker. So the head area need to be very like that will be after you use the masking fluid that we stay there. That's the, that's your 0 in your coordinate system that what won't change. I mean, it's very difficult to change if you use masking fluid after you start to paint. So so that kind of we'll stay wherever you put it now. So I, I must die the whiskers and the year probabilities is what you will do to that area. Need to be drawn out pretty well. As you can see, I laughed more space front of the cat then on the back side. I'm doing this because if the nodes too close to the edge of the paper, it kind of suggests some kind of grabbed or just have an extra meaning you don't want. Probably. I chose this scatter again without a complicated face and staff. And the main thing why I choose it's the movement. You can see all those muscles and bombs in a body and you can almost feel what is the next step, the scattering though in many to interact with this other one. So it's really in a movement, you know, in the next second it will be a very different body posture. So I want to concentrate on that to give to this painting a good movement. So when you're done with the drawing, we will need the masking Floyd. And so if you use always the same tool for masking fluid, you need to clean. If it has tick dry or unmasking fluid because your line 1B nf fine. If it's building up, it will be a ticker line. Also, masking fluid need to be completely dry before you start to paint so it can take even half an hour or more. Just make sure you're not starting to paint anterior masking fluid is entirely dry. The another thing I want to Mel shown before, you will have this little time for the masking fluid to dry. And that's a perfect time for for dealing with up your watercolour paint too. To heavy cream causes Stan say. So. You take a little dish, ceramic the bath, but you can use plastic dish or you can buy little dish for that in US stores. But honestly any ceramic dish is good. If you use a lot of colors, it's much better to use by it. But if you just use, let's say black and brown, You know the color. So you can use any color, little ceramic dish or this. But if you use many colors, it is better to have rights or you can drag down the color. And so because I'm using tube and that assume you will do to I just put an intern to paint from the tube. I mean, inter too is like as it coming out from the tube. So the the paint length coming out from a tube, it's in R2. So that I would just add a few drops of water and started to deal. You tap with your brush and add little more water until it's cream consistency and don't have clubs. If you start too much water, first of all, you don't know the ratio. Second, then you need to add paint and you end up with leftovers. So I suggest to go with a little water and adding more. So as you can see, finally I started to add masking fluid. And I draw the whiskers just with a very fast movement. If you're not sure, you can practice this on a piece of paper, I think just fast and confident movement. You can redraw the direction of the line, but don't try to follow the cure with your stick or whatever you're using to apply the masking fluid just just you just draw the direction so you know how to pull your hand and follow that direction. But don't try to just go over the line. If you go too slow, it will be very take and you cannot follow precisely and it will be shaky. So just tried to do the fastball went and use your credo line is just for detection. And that's it. See you in the next section. 4. Start to paint the cat: Okay. So my masking fluid is completely dried. And that's the point when I start to add water from my spray butter. Or you can use just a big brush and more land to adding the water. And then I have the clean waters next to me. And I dip my modeller into clean water and I start to equalize the wetness and adding more. And that's I just do it few times to make sure it's wet everywhere. And you really want to let this papers so kinda solved. But then you need to wait a few minutes and then the papers start to see sorry, the water start to sink into the paper structures. So it's not just on a surface, especially arche or ashes paper has this sizing on a surface. And in the beginning it will come up. So you will see like when using them, you're not lead and you dip it in water like cloudy, whitish color come off that the sizing, you loosening up the sizing on a surface. You don't want to remove that sizing entirely. This is why I said you just do it a few times. And the sizing make the water a little bit thinking much slower. So that, But that's why they put it there. It's important. So that's make available to lifting paint and lot of things. So it's good thing there. Don't try to remove it, but yeah. Need few minutes until the water goes through on the sizing and start to soak your paper in the structure. So you just wait really few minutes and take your bigger brushes, which is around size 20 round or if you buy quill, it's announced size eight. And usually I start with the lighter colors. So oh, okay. I forget to save and you deal. You tap the lighter colors. You need less paint provably. So you don't need as much as from the black, although this scatter used more brown them black provably. So I start to add my my dorm orangey brown color first. And then going to the darker colors slowly. So you can see I'm working very in a very large, with a very large bras enlarge movement. So I'm not trying to go into any details or staff. I'm just looking for the big structure. And so I just tried to put those lighter brownish color everywhere where I can see it on a cat. Then I start to add a little bluish undertone, which I really like in a black cat, especially. It's not necessary. So you can go with black if you want. I like the bluish color in it. And when you have the big structure with the lighter colors, that's a good point to start to add the, the black. Again with a very large brush and movement. Although my bras is not the biggest one right now in my hand. But actually, you can really work with at that point, I, I usually work with a large brush. I think I just didn't wanna remove the brown color from it and I wanted to save the brown color. What was on the brush, and I just picked up a smaller brush. At this point, usually everything flowing flooding out. But when this cat is not exactly, it wasn't exactly the aim to generate first structure, although it happening and it's beautiful. And we need to be happy about it. But it's more about those structures on a body, those bumps in muscle structure under the fur. There was lots of dark and light changes because that's what will give you a movement. Also the good silhouette. If your silhouette is right, that's really can give you good movement. The another thing is with the water color, your, you can really change or very sharp and unsharp area with the water color. And that's again, a very good expression of movement. Because where it's unsharp, It's such just a moving part and where it's sharp, it's just more still part. So the body part which is moving is usually if it's a little bit more, Smirnoff, suggest it's moving and when it's very sharp, it's suggest it's steel. So that's again something really helpful. And I'm putting the SSH some kind of lighter color, the shadow, some like dirty brush color. That's what I call dirty brush color. The other thing what furthering out and not falling out or more like more outlined areas suggests is the first structure. So usually face or leg, which is not fluffy at all, usually sharper and area like the back on its tail and depend on a cat of course, if it's sharper it such as that, that first structure. So that's also useful thing to keep in mind when you, when you let the paint flow and further out or when you try to generate more sharp outlines. So you saw in this first section, I barely did any details. I just really went with the big things, nothing else. But if you did it right, you already have a working cat, you already see the movement. And so just if you have that good basis, it's just easier to follow up if something falling out too much like you see, I am removing paint because that point is extremely easy to lift paint. Because everything that and it just very easy tool to lift paint. So think through if you don't like something, it's the best time to lift it up with the wet paint with a clean paper towel. If it's if it's getting drier or two to dark color, I suggest to loosen up with clean brush and clean water just to massage it a little bit, just a tiny bit, and then then wipe it off. It's just easier if it's too dense color or to or getting its it's more settled colors. So I mean, it's not super wet but it starts to dry, then just loosen it up first and then remove it. If your rotor get diarrhea is Mine, the bottom one. Start to think about switching. Also a good tactic to wash your brush first in the dirty boil and then in a clean one. It's just make water degrade slower. But it's a good idea when you start the colleen ball to get another clean ball around you. Also don't forget this is water colored and until it's wet, it's moving in the paper. So anything you put down, now, it will develop for awhile until it's flat. So it's flowing and moving in on a paper and inside the paper. So and so you don't know the result right away, how it will look like. You need to have the experience to anticipate what will happen via the painting. Because the watercolor is like that. It's changing a lot during drying process so until it's not writes changing. And I always keep eye on where it's flowing too much. I don't want things the earlier the better if you remove it because as soon as it's trying, it's much harder to remove. So my video is cutted many, about many ten minutes parts. It's not means I'm stopping at all. I just have to do that because there are there is a size limit or for applaud. So kind of starting now, I can because it's not as vectors in a beginning anymore. It's still wet, but not through flowy as much. I can start to add areas with darker colors on the edges and stuff like that because it won't fit out as much. And also just dark to add smaller areas, scholar, smaller color patches. So actually, I'm going from this larger ones to the direction of the smaller amount, the more detailed things and also the paper wetness come to ready to make Kali flow vars or blooming effects too. 5. Adding details: So now when you have colors everywhere, there are two things that you worry, you adding colors and new removing. That's the tutoring you doing it side-by-side because now it's everywhere covered by paint. So now many times correcting myth, not adding pain but removing paint. And I always have a paper towel in my hand and I always turning it around to have clean. And so that's important kind of keep in mind to always look. Take a quick look on your paper towel and not try to wipe it an early one because it can be messy. Or so many times I'm just adding water as you can see, and the water will push and wash the paint and generating those doors. Master structure are those bumps on a those those light and dark areas on the for. Also those lighten dark areas are relate to the body, muscle and bone structure. And so this is why we're doing it to express that. And you can see I use the paper towel almost like a huge brush just to lightening and darkening, but like lightening up so you can wipe off areas and it gets much lighter with just one fast movement. Just wipe. Almost like painting but on a lighter detection. So when you use oil paint or whatever other type of paint, either acrylic or temporal, or even Guassian, you can add lighter colour and you're painting will be lighter. But with water color, your light is a paper, right? So no matter what color you add, it, always getting darker and darker. So if you want lightening, You have to lift pain. Imaging colored glasses. So when you have, let's say a blue colored glass and when you put another piece of glass front of it and let's say it's yellow. It won't be lighter. The color will change, but it will still block more light, so, so it will be a tiny bit darker even if it's a bright yellow colored glass, because it's just blocking out more light. And this is how water color works. Divide the light is coming from the paper, right? So any colour, oil layer you add, you, you blocking and blocking more and more the paper white and Even if it's, even if you add the Aloe or super light color, it's the same. It, it, we block more and more the white of the paper. Unless it's a very, you know, the watercolor have properties which is called how, how much it's trans, which is referred, how much it's transparent. And there are some color which is really not transparent. And when you use those colors, it's more, more like washer or tempera. So you can't use it very dance. It can, of course, it can be lighter, but this is not how watercolor traditionally used. Watercolor traditionally used in a, in a diluted state and layered and layered on a, on a paper or, or just so you're not using it as a template are like covering the paper's surface entirely. You always just put like tin layers, very, very thin layers. Since the, the, the paper is constantly drying during the process. I am able now to paint legs and stuff. So it just not it's just not flowing anymore. That much as as in a beginning. It's more stay there. I'm still wiping the edges when it's filling out too much and stuff. But it's, it's much more precise now because, because it's a much dire, it's not dry at all but much Dian Dan in the beginning. So when you add details, you can use small barrage, but also every watercolour brush r must have a really good tip. So you can just use your TIG brush and the tip of fealty, thicker brush. It's almost the same. So you don't need to worry about just using oil ways. Very smart branch because you can see the watercolor brush always have good depth. It's still firing out a little bit. I can fit, but not as much. When you can see I always I always honor Watt and remove stuff when I have to. Like now. Melamed trying to do on other places where the furthest fluffier. Adding things or color in the surrounding, especially the shadow, is really helping the cat to popping to a 3D space. So it's not anymore look like a flat silhouette on the paper. So it is, it is a good thing to add. Not necessary, but it's usually helping. But when you add you add lot of water to the papers. So if it's close to the body, it can start things to further again and flowing again. So just keep in mind, it's not a problem or sometimes it's a problem. Not always. But just keep in mind this can happen if you put that wetness around a cat close to the, close to the darker, black, blackish color, especially it can, it will loosen up that color which start to flow probably to the direction of the newly added water. I just added that little lag behind the other. Front power is important. Otherwise it's really look like a three-legged cat. I always use the photo for making decisions and what to change. So what I'm doing is just take a quick look up and down between my painting and the photo. And I tried to search for the most different or annoying area. And that's when I'm going next. This is how I decide what is next. The company isn't very, the most bothering area. Try to obtain that. You are standing on a street and your cat is coming. And where, what is real? And that's the area where you need to touch. So if it's if it's weird, then tried to decide why it is VMD. And that's the area where you have to touch it. See you can make even big big wash box with a big modeller and you have to have a clean water. And my second clean water is getting really dirty. So it's good to have a clean, another clean water for this kind of situation. Because if you need fast, just good to have something you can go for. This is why I said just more than two. So I have to cut the videogames, so but I'm not stopping. I just have to cut it for smaller parts. So go to the next one right away. Kinda. 6. Continue to paint: So I am continuing ride away with clean waters. Lining up. You can see, for example, on the leg, I mentioned that when you add the shadow, the shadow, you adding load of water with that and actually it did backwards so it flowed into the lag area and it washed off the painted. It's not like the paint ran to the other direction. The direction is always depend on bitumen is drier. And if, if the lag is drier than paint, can't start to move to the vet direction. Also, sometimes its depend on the color. Which pigment is the heavy air that which color will flow into the other one. But here it was just water and painted like area. And you can see both front and back pause that the water flowed into the leg area. Sometimes these accidents are really nice, sometimes really annoying. Sometimes it just neutral. So you can see now I am adding smaller areas usually. And I tried to work out the more realistic shape and size of of the light and the dark area and their placement compared to each other. So, for example, the neck area just behind the ears. It's really important because a lot of things happens there. If you look the photo, you can see it. The face is quiet, simple, not much happening actually on the fair. So if you've got the beginning the drawing right, and masking fluid, right? It's not much work there because it black and a tiny bit of lining. But you already kind of covered that in the beginning. And we will cover again on the ad when we remove the masking fluid. But during the painting it's, it's quite simple area. But right behind the ears, it starts to be very interesting and exciting. Or those shading changes everywhere. Bought on the back, on the side and on the belly area, and around the neck also, and the shoulders. That a lot of things you can work out with the paint. It's not a very easy painting, actually. Black cat tend to have really reddish paper where the sun hit on it. And sometimes blue. It's just so interesting here. You can see many places are really like cold black, so blueish black and the area are warm black, so brownish, reddish. And when you paint, you can emphasize these colors a little bit more so you can go a little bit more, brighter blues or brighter red. But it's making good or bad, is that the relationships between the colors and tones. So the whole thing needs to be adjusted to each other. Using a lot my paper towel as a brush. Many times I I I I I roll it around my finger and I just use my finger to like draw lighter areas. The important thing you've switched the surface a lot because as soon as you wipe once or twice, it will became almost like a brush. So it will release Spain next time. So it only wiping the first one or first few times, maybe one or two times. Only. 7. Finish the painting: So I'm still using my paper towel around my finger to make like lines like drawings almost. We buy wiping off that paint, lifting paint. And also you can see I'm painting with just clean water right now. So when I add the clean water, it also lightening up and make blooms. You can see how the Bloom's develop all around behind the ear. That line the middle line on the back or between the shoulders or I don't know how to describe cat body parts. So I'm looking at other areas like the lag. I have to remove overflowing again. Unfortunately, this is harder now because it's pretty dry that area right now. It's harder to to just wipe off the back and the side is still very well, but the legs and the head is really driving. Now. Actually I can imagine when you pin this cat, you have different issues because the watercolor is so unpredictable or hard to plan exactly. So even if you pretty much trying to do exactly the same I am doing, you can end up with Very different flow and staff depend also on paper or pain, but it's just also individual. If I would repeat, this, would go very different. I think maybe none the result even just the way how I have to interfere it. So I tried to explain what I'm doing and you can do the same thing when you are in the same situation, but if you if you are not in the same situation, like for example, my the back of the cat Overflow too much. So it just became very high. And I removing now with the remote lab so I'm lifting up the pain there. But if you don't have the tissue, don't do it. It's had to suggest exactly what to do because this painting is wet on wet, it's way more free and and unpredictable. Then. I don't know, like painting pre drawn shapes or forms. So you only do, do what I'm doing exactly the same issue, but if your paint may be overflowing in another area, but now you know what to do if it's happening because you can see how I am interfering with this problem. As I tried to explain what I'm doing and why. And you can try that way. And then of course you will keep whatever useful for you and not the one which is not working for you. So just really had to do exactly the same thing for everybody, even looking the same video because the paint will do other stuff provably on other people's papers. Because also environment can be with watercolor. If you paint in a desert, It's very, I'm living in Seattle, but I painted in a desert a lot. It's just so different. In a desert, everything dying right away. And it's just a very different experience. I mean, Seattle. Nothing. Just drive very slowly. So it's really hard to know what's happening on your paper. And actually I'm getting close to the end. I like the movement. I, I think the movement is really in this painting. And I am now just preparing to finish. And of course it's not the final and I'm just preparing to stop before removing the masking Floyd. So I'm just looking for the last minute little changes and just be aware. It's really hard to stop and you think you can. When you want to stop, you always will find something to interfere. You like it just tried to leave it as it is. Because it's very easy to to, to go in a direction you don't want. So if you like, you just try to prepare to stop and only make those small changes and tried to not make big changes because it just maybe it won't turn out how you like it. So when you like it, it's really worth to preparing to stop. And that's what I will do very soon. And keep your painting on a flat surface because it will flow for a while, keeping your eye on it just if overflow happens or something and put paper under it if you put it on a floor because it can pick up floor pattern, the VAT, watercolor paper, so it will generate lives if you, for example, put it directly on a floor and make sure it's dry, like completely completely dry, probably several hours or overnight or even a day. And then come back to the next section where we will remove the masking fluid. And we will just do some final touches and we are done them. 8. Removing masking fluid and adding finishing touches: So my painting is dry and I am back and I'm just using my fingers to remove the masking flow is make sure your finger or hand is clean and don't use lake had cream or staff before you're doing this. And just gently rub off the masking fluid and makes sure you remove everywhere. It's hard to miss little pieces, but just make sure if you if you touch the surface, you will feel it. If it's still that. So when you remove all of them. So usually what I do, I I repent around some using some part of the wide, but I'm not keeping everything and I also don't than even the part-time keeping because there is nothing as bright white on that cat phase. So so I am doing very little at that point. I think just relate dawning Dan and correcting some of the area come off under the masking fluid. If you need to change bigger area, just use a big moat led a clean brush, and very, very fast just to revert the area with the big MATLAB. Just only pool your brush to the area once. Because otherwise you will loosen up the next movement you would loosen up the paint and, and you will start to move the paint. So if you need to do anything like that, just UK revert and an unchanged things. I'm not doing big changes, but I'm adding pigment on a, on a had a little bit and you can see on the back. So i'm not doing those huge changes at this point. So I'm adding little dab Tina and I am not riveting big areas, but you can if you need to. I showed in several videos how to do that. After the whole painting is Dr. still king or back and add new layers. My painting came out a little bit lighter than I thought it will be. So the black is not as deep as usually on my cat, black cat paintings. But I think again, when you compare to each other, the colloids and the value is i, I'm happy with it. So it's not like it's bother my eye that it's too light. So if you don't have a problem, you don't need to add those bigger black washes or whatever I'm doing. It's really depend on how is your painting and what it's asked for or wished for. So just probably just look the painting for 5-10 minutes and and and the photo before you start and just decide what you would like to change. And if it's nothing, then just just play around a little bit. The bright white where the masking fluid was and stuff and then don't really you don't need to do just if it's needed. I'm adding few shade in the area. But that is really detail. No details on ads. On the original photo. Neither. So I'm using my bit pan for the whiskers. If my shadow come out darker than probably you don't. I mean, I would leave it to light, but since the shadow as super light, the mask include didn't leave too much mark there. So I'm just using that Penn also around I little bit to make some line where a little bit. And the signature or so I usually do with this pit at the Big Bang. I think that income-based. So I feel I'm actually, I don't feel I need to change too much things anymore. And so I'm preparing to finish. So these are just the final little touches. I'm really happy that you did this painting with me. It wasn't an easy one. I hope you'll learn from it and you enjoy that. Thank you for staying with me and doing until the end. I hope to see you in the next tutorial.