Dog Portraits: A Free-Flow Watercolour Masterclass with Jane Davies

1. Introduction: Welcome to this class, where we're going to learn to paint dogs in this beautiful, loose style. We're going to paint two models, Lily and Marco. That will let us paint both a hairy and smooth coated dog. For those that would like to. I hope you then go on and use the techniques that we've learned to paint your own dog. Don't worry if this all sounds a bit daunting. After the main doggy subjects, there's an extra lesson for you that will help you to achieve this. I'll show you some examples of how I tackle other breed types and how to get the best photo and how to greet some your workout. I'm Jane Davis. I live, paint, teach and walk my lovely spaniels in the beautiful South Downs National Park, England. Over the last 15 years, I've taught myself the free flow technique that you see today. Not having been to art school, finding my own way has been fun and sometimes daunting, but it has allowed me to develop my own style. This has led me to teach the others, either on a one-to-one basis or as part of a group in a wonderful studio in the heart of the South Downs. Also run a successful commission-based business, painting pet portraits and wildlife art in my own homes, GDP. In all my classes, you will follow along in real-time. I can guide you to keeping your work loose and fresh without over fasting. I have over 20 classes available on Skillshare. Now, if you're just starting out, my three beginner classes will guide you. Then you'll find over 20 masterclasses covering a wide range of beautiful subjects. In each one, I shared the techniques that I use in my own professional work. We have a lot of fun together and you'll gain the understanding and confidence to incorporate everything you learned into your own work. Plus our share a few of my tips and tricks along the way too. I provided you with two beautiful reference photos of the modal dogs along with their templates. Templates give you a stress-free drawing so you can just concentrate on the painting. I'll be demonstrating that simply placing paint onto wet paper, you're achieved this beautiful, light-filled portrait without too much fussing. I'll also show you how to create some beautiful eyes using two layers which will capture your dogs. All important character. Of course, our share many of my professional tips, tricks and usings. As we work our way through these two dogs. This is going to be an amazing class for you. If you'd like to learn more about me, all my work, please pop over to my website at Jane Davis watercolors.co.UK. This can be found on my profile page, along with links to my Instagram and Facebook pages. I'm very active on my social media pages. I love sharing my art, especially on stories with many ideas, works in progress and tales of student life. I really hope you will share all your paintings on the projects and resources pages. As I love senior most PCs. And don't forget, I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in his liberating wet on wet, loose style. So come and join me. 2. Smooth Dog Materials: So welcome along to this rather exciting class. It's, it's been really fun to put together this for you. So yeah, I hope you're going to enjoy it. So before I start waffling to let let me run through all the materials I'm using today. So I'm going to start with my paints. I've got collection of Daniel Smith's. Quinacridone, orange. Burnt orange, quinacridone, burnt orange, quinacridone, magenta, lop-sided lazurite, genuine CPA, and a little bit of white gouache. Now I tend to use the orange and the magenta, mainly little bit elapse eyes, you can see little hints of blue. Better than my main two. Cp is wonderful. To get those really strong. Detailing around the eye. I like CPU. It's good. When I pop it onto wet paper, it doesn't move too much a little with control. So if you haven't got a CPAs, it's well worth investing in one BP. Haven't got one. A dark brown will be absolutely fine. Now I appreciate you might not have these. You might not like the colors I've chosen. So don't feel you have to stick to these. This portrait will work with any color, any three color combinations. Obviously, this isn't a natural colored dog, as you can, as you can see. So don't feel tied to those. You may be painting this. You may be going on to paint your own dog and you want to pop it into a little room or something, can use a color combination you particularly like so There's a blue, your blue, we would tie in very well with that room, then use that, or maybe you're doing this for a friend and she has got a favorite color. So I think those examples are endless. Don't, don't panic if the, if you haven't got these colors and you're wanting to paint it, right? My paper is blocking food and it's a £140 naught. And it has been stretched. Now if you can't be bothered to stretch it or you haven't got time, then it doesn't matter. I've done lots of examples and lots of practice. Pts, some offset in the garden is all being on unstretched paper and they turned out absolutely fine. And in some ways where the paper has buckled, it's the paper, the paint to run and lift some unusual marks. So it's, it's actually quite, it's actually quite nice and it's a little bit more freeing sometimes, isn't it? Just to paint on a piece of paper out and painful than waiting for a stretched piece. But I did stretch it because I was just gave me a little bit more confidence than when I came to paint it and teach it. So it has been stretched. We've got a little pot of water. I've got the hop size me here, but it's not needed for this class. It's a hairy dog class. I've got a paper towel, rubber, I've got my pencil, I've got my brushes, which I will pick up. I can run through them. So I've got a I've got a number eight round. Number two. That's for doing small details like the nose. Just, just sometimes you feel like you have a little bit more control with the number two and say, it's not a big painting as you can see my hand. So if you want upsides this then obviously you've got besides your brushes, I have got another note That's for doing the eyes. And then I've got my trusty little eradicated brush. And if you haven't got one of these ys are amazing. I'm just takes out light really beautifully. Particularly, particularly good for the hairy dog as well. So that down. I've also got my template. Then that can be, that can be found in the projects and resources pages along with a list of all of these materials. So it's all there for you. And this is a printable PDF. So if you're feeling a bit overwhelmed with having to draw, draw her out, don't feel the template is cheating is just kick this about painting. We're not more snow during exercise. So again, if you're not confident, use a template. I I have got a hairdryer beside me. It's not not necessarily helpful. Probably that's not very helpful for you. But I think it's nice to allow these, these little dogs to dry on their own. We're relying on a lot of color just to blend and just draw in its own time and leave us a nice patterns. It's just helpful occasionally just the things begin to join. You want to move on the eye. You might be waiting for the layers to dry and you, Jessie, it's going off in a hairdryers. Sometimes quite handy to speed the process. But if you haven't got one, it might actually be helpful for you not to have one because it's always tempting, isn't it? To width over hairdryer and you're like, Oh, I wish I hadn't done that. So I'm, I'm looking around Sufism, Elsa think I've explained, I think I've told you all of the materials, so I think we ought to sketch her out and get painting her. 3. Smooth Dog Sketching Out: Okay, now I've already sketched out the very beautiful lilly using the template. Now if you've joined me hoping to do your own dog portrait, I would suggest making these two dogs really nice and simple. Don't worry too much about the drawing. Because I'd like you to be familiar with the technique of putting this color down. But equally, if you're feeling brave, you can either hand or her, or you can use a technique that I go through in the gridding out. But this class is important. I have used digital template that I provided and that's all in the projects and resources pages. Now, the thing with going round of templates, you can end up with some rounded edges. So he had a UTI template. Once you taking away, Take your time going round the edges disk because it can leave you with a blunt, sort of rather looking outline. And especially with a smooth coated dog, you're really relying on these lovely shapes that we've managed to take our time with the taking photos and getting the right dog model, etc. So you need to really make, take your time, get this lovely and crisp and how you, you're happy with it. It might even be a K2, draw it, step away and you come back, have a look at it again with fresh eyes. Because I can't emphasize enough how important the outline is. I say, especially with a smooth coated dog because this technique really relies on that outline and it's just we're adding colors. So there's not going to be a lot of definition in this color, it comes from your outline. So say Take your time. Again, make sure your eyes in the right place because that's obviously going to be a rural focal point. So get that spot on. And I would suggest you can see she's got some lovely sort of eye makeup. Include that I make up in your drawing if that makes sense. So that includes the dark room. And again, little bit on the nose. Just, you can just sketch out this. Just a little mouth crease. I've sketched this out because that's a would be sectioning certain areas off and there's a nice line that runs from her. Just this one here. Because suggest again, just gently put that in again, no heavy pencil marks because ideally you want built above those out. I'm might've gone a bit heavy. Just see you can see what I'm doing. Is there anything else I need to mention? Looking at her, I'm looking at the reference photo. I don't think so. I can't emphasize enough how important it is at this stage to get the drawing right. Then we can get on with the fun bit and get some paint down. 4. Smooth Dog Ear: Let's pick up your bigger brush. And really we're only going to use the magenta and the orange. Mainly. Obviously we're going to use a bit of blue, but it's the state. These are the two main colors. So get your brush nice and wet. And wet the inside of the year. Just the year. And again, we've taken the time to go around these. Make sure your silhouettes lovely and neat. So make sure you stay within the nice silhouette as well, because it's a bit annoying when you've taken the time to get it right and then you go out it or you drop a drip. It's my favorite technique, isn't it? So I get a lovely and wet so you can see not paddling. You don't want to send your puddles, but you want that paper nice and wet, so it's really good and saturated. Then we've got two colors. Whatever you fancy, maybe a bit of both. And we're just going to sum up skewing a painting. We're just going to double that along the edge and say take your time, get it nice and white. And you'll be amazed with this technique. We're not going to put a lot of color down. We're really relying on just a hint and it keeps it very magical and loose and light. So be patient if it doesn't look like enough. You've added a little bit of water, just added a bit more there, just to encourage it and you'll be surprised how much it, it does move. And I'm going to add a little bit, probably the orange, but a little bit She's got quite a dark area here, hasn't she? Add a little bit there? And we're just going to allow that to work its magic and not do it anymore. She says with some confidence. Because we've got another layer. We can just add little bits and pieces, but I really want to keep this beautiful, loose and light. And by, just by not adding so much color, we will hopefully achieve that. So that is your ear. So you just need to let that completely dry. Again, you can use a hairdryer. I want it starts to go a bit tacky but but don't do it while it's wet. Definitely at this stage of dryness because you're because we're allowing that to move. You can put the hairdryer, you're just push it all around and places you don't want it to go. So let me try to be patient. I know it's hard, but just take a step away and gametes have come ti, just go and do something for five-minutes and let it dry. 5. Smooth Dog First Layer: Isn't it amazing how they, how that changes is that dries and how it moves. And it has pretty much filled up that whole ear. So it just goes to show you don't need a lot and just allow the, allow it the time to do it. And now we've got the one little part done. Partly why I like doing an EFS is you've got a little bit done. You can have broken the back of it. And it feels less scary and wants a little bit it's done, doesn't it? Okay, so pick up your bigger brush again and we're going to wet their head down. We're gonna go around the eye and we're going to follow this jaw line to all needs to be wet, so don't let don't leave any. It'll dry patches. You can do. If you duck your head up and down, it'll say bob your head up and down. You can see if there's any dry patches? Usually go around. I first, I was just walking. I know it's nice and wet. And again, go really carefully. But to right up to the ear and if any of the color leaks from the ear into this as absolutely fine, we're going to wet that down in a minute anyway. Not quite it. Say Take your time. No. No hurry. This wetting down stage. You could spend as long as you like, so make sure you got it all nice. Right around the nose. So pulling those lines, I would generally say people don't have the paper wet enough. I mean, you may he may be you might be an outlier. You may have it really wet, but generally, people don't seem to wet the paper as much as it will make it a lot harder for the paint to then move if your paper is wet enough. So an equally the brush actually, if your brush is very dry, when you apply the paint, you'll find the paint won't move as much. So I'll just pause there for a minute and I thought I'd just drop to splurge or water. I haven't. Okay. If you have taken your time wetting it down, just say bob your head up, make sure the parts you started with answers aren't into dry summer here in the UK at the moment, it's quite warm in the studio. So I'm gonna just re-wet that. I see All that. All my edges are nice and neat. I gotta pick up my magenta and my orange. I'm going to start on the nose. I give it, give a little bit of a squeeze to talk that paint right up the top of the surface. Now taking the excess moisture off my brush, it's not not too wet at this stage. We're going to have a nice, good old Dibble. I'm just going to plunk it down on the nose. I like to use very technical terms like plunking. And we're just going to work our way along the jaw line. I'm not gonna go too much into the center because I just want like the year, I just want that paint to move really. It's very easy to do too much in you find you've got it, covered it all and you haven't got any, any white reserved. And I think it's the beauty with this very easy technique and very simple technique. It's just so nice and fresh. And if you put too much down, you find you've lost that. So just try to relax, be loose. And we're going to discontinue. We're not going to worry about colors or any of her lovely shadow. She's got to almost ignore that. Just look at the outline. One up to here. Are going to try to resist adding too much color. Just want to point it out and see how much that he's moving. Sure. That's nice and neat round there. I'm gay numb. Like to get a little bit nearer to that because I can see my outlines a bit ragged D, but equally, you don't want to see the top of my head, so I might just tidy that up just as it as it starts to dry, but that's that's me. So make sure you note outlines and nice and neat. I'm going to pick up the left thigh. Squeeze. I'm going to focus a little bit of the top of the head and just again allow that to move down and it will be here and squint your eyes. I think that's looking really nice. I can see that we're going to run some more paint down in a minute. But I think at the moment that's looking really nice. A little bit heavier here. Okay, clean your brush, you got your water's. Your brush is nice and clean. And we're going to touch the edge of this and this is where it all starts to run and we're going to run down. But you just have to find some sort of natural lines. And there's a nice, nice long natural line that runs down here, doesn't it? When that down for a minute, you can see obviously the paint has now that's sucked it down to this area here, and we're going to lose some of that strength we put down on the jaw line. So we're just gonna go back and just tap in some more color. And if you squint, you can see where the darker areas are. Just very gently, just everything's loose. Just tapping a little bit more color. And if you find, I have had this couple of times, people ask me if you find it little areas and starting to draw on you and you still wanting to work as long as it's all dry or dry or wet. As long as it's all wet, you can just tap a little bit more water in there. It just gives you a bit more time if you're struggling with it drawing on you. Yeah. Makes sure it's everything is lovely and wet still. You'll find dm. Some odd things happening. One parts drawing, one parts wet to make sure it's all nice and lovely. She's looking good. I'm going to continue now just to pull some of that color. So it's nice clean brush. And we're just going to run that down again. I might leave tiny little white line. You see where there's a nice arc there. Again, make sure these shapes are loving your foreknown blobby shapes. Okay, I'm going to pop a little bit of blue on the back here. So sometimes if you're using slightly different colors and mean, just try. It's lovely to stand if you have the confidence or the ability to stand, that's really nice because you can get away from your work a little bit on DC at school, a little bit there. Um, you can, you can kinda see where you think colors may be helpful to beef up my kinda makes sense. So try to be guided by your instinctively think something needs to go there and then pop it there and put a little bit of a bet on top of the blue, the orange, and making it a little bit green. I think she's looking good. Of course, you could do this hundreds and hundreds of times. Every single one will be slightly different, but that's the, that's the joy of watercolor. Just going to fill that in. I'm not sure if I like that in there. You can do with a spare cleaner piece of kitchen roll now, it's just a little light. If you've done that hummingbird, he's not a dissimilar sort of technique, just going to pull some of that and dry. See how again, that's, that's pulling that color down. Just we end up with a lovely sort of loose disappearing, sort of Lost and Found edges. And that's just done by just pulling. Really. I like sometimes you just have a little look, see how it's going. So you have the lines are following how the, how it's drying, how you've watercolor can be a little bit of go with how it's going to go with the flow of go with what you see in front of you. I know that's not always that helpful, but she's looking nice. I'm pleased with that. I don't want to touch it anymore, but what I do need to do is I'm going to fill in this ear again. So I'm just going to re-wet the ear down. Gave carefully following those lines. My intention with this OR thinking with this is we hopefully will get away from that hard line. I don't really want a line here. So if there's something that needs adjusting our ear, maybe you felt a little bit wishy washy or something wasn't strong enough. You can add a little bit of color. Now, I'm not going to do too much because I like what I've got there. But in theory you can add a little bit more. But a little bit of strength here. Just because he's got a nice, if you squint your eyes is a really dark area because the ear join and that will hopefully just that will soften any line that's naturally a dry line that we would've created by separating those two. There is always if I section areas of a will generally re-wet them so they all join up again. That really like to see those joint. But it's really helpful when you're painting it. It's nice at the end of this stage to join them up again by wetting, rewetting. I can see she joined quite nicely and I say I love how this is sort of flowed down. I don't want to touch that. I think with this technique, the less you can do the better, because it just relying on the paint making some nice patterns and your lovely crisp outline. But what I would do want to go round will be a bit too wet brush. Number two, just want to put a little bit of color. I don't want to do too much of markings necessarily, but I do want to she's obviously got a lovely eye patch, so we kinda wanna get some of that in, but I'm not gonna get too hung up on the shape of it. But this is just starting to dry or drying. It's got a nice tacky stage. My hopefully my paint shouldn't move as much. So that's a lovely way to control. Way how quickly your paint flows. If you just hang on a little minute and let things dry, you'll find hardly moving. So I'm just tapping. I can oh, I could almost get that shaping sort of correctly because that's just giving me a little bit of blood or blended edge. I'm flicking my eyes back and forth. You don't want to get your brush to wet either. Because again, if adding too much water at this stage, push pigment around again. So you want your brush nice and dry and you pay not too wet either. If you're working on pans, make sure they're quiet. You're picking up the color like dry amount. Trying to see from where I am. Little bit of too far away. Really. Just going to say I'm just trying to make that patch. And this is sometimes just something that's pleasing. That's looking nice. Say Her lovely makeup will be done mainly inside the eye. So that was important to include that in the eye. I like that. I think it's looking nice. I just want to like I could still see you that joined. Just going to have another drip going on here. B stage. I could quite a dark area. Dennis, if I squint, I can see a kind of a using both colors here. Same time. I can see there's a line there, isn't it? I don't want to do too much detail, just want I just want this to be so lovely and light. Pop a little bit here. I'm just going to pop that down and then pick up my bigger brush. Although I don't want to get too carried away we doing shadows, but there is this lovely light here she's got. So that will just very gently taking some excess color off my brush. My brush is just falling on the paper but no pressure. Very carefully. Again, everything is very light. I just wanted to take a tiny hint out too, so I can kind of get that. All lines. It's a lovely She's got some lovely aligned. I'm going to take them to get too much out. So say, I like the eye at this stage because it's starting to dry. I can get a little bit of detail in just by just tapping too much. And so you don't get it very easy to put too much paint on this one. I'm on the stars had to go very, very easy. I like how she's has his drawing, so I've just stepped away a little bit so I can see a bit little bit more on top of her. I'm going to leave her as she is she is and let her dry. Because I want to keep this lovely white reserved. And if I keep fiddling, what happened? It start disappearing. So the minute you look, you look at your piece and think, oh, that's looking quite nice, as nice and fresh. And try to resist over fiddling. So I'm just going to see some water sitting here. Just gently second and write down your brush, let that completely dry. And then we can do the AI. 6. Smooth Dog Eye: She dried beautifully and it still amazes me how little you need to do and how gentle you can be and still create something so beautiful. So it's a really good, It's pretty good learning experience for me just doing this so simply. And you can see by getting a good outline, we've almost got ourselves a dog. We just need to do the eye. And obviously we're gonna do it a little bit of minor detailing. But when you step back, nearly a little dog, ****. Yeah. I'm following a waffle on it anymore, but make sure it's not being dry before you start with the eye because it's very easy to me when you're doing the little details and if anything, it's still a bit wet specially two bits that are set. I can knows it's very easy to pull out and I'm painting a bit disappointing light. Okay? I'm not normally a great one for mixing, but I really wanted to keep this color palette nice and simple. I didn't want to start adding lots of different browns in, so we can obviously make them quite easily. So I've got just a little tile here. Just a little towel. What we're gonna do say, obviously depends if you may have some lovely browns that you've got, you can use. So obviously use those if you're familiar with some browns you've got, but I'm going to do a bit of mixing. Forgotten Vitamix, sepia. I've got a bit of the pink obviously. Unless you've got exactly the same color, they're all going to be slightly different how they mix better, get a nice shade of brown and I'm sure you're equally knowledgeable on how to mix those up. So say I'm not a great mixer, so I'm not that familiar with mixing colors up. I'm gonna get a brown. I like looking quite good. Yeah, that's a nice, kinda nice, rich color, isn't she's got some lovely sort of CPOE, obviously. Some burnt sienna color that will be lovely if you've got a burnt sienna, I'll probably go for that butter. Say, I'm trying to, trying to keep my paints to a minimum on this single class. Okay, and what we're going to do is you can see I've got that pupil line there, so it's worth you haven't sketched that in just getting that pupil line because you can see she's got a lovely makeup that goes around Hawaii, which we will include in the eye and also the eyeball. So make sure you've got the eyeball kind of drawn in as well. And you will see is a little bit here isn't a light pencil down. Town cons I need to touch me. Don't need to touch my paper like a security blanket as I normally do. You see those a bit messy you don't make but that way. Okay. Right. I'm just going to pull my balls of water. Just going to wet that. Now it's got a pink below the pink in. It. Doesn't really matter. I'm just going to wet the eyeball and again, make sure you stay within the lines. Try not to go outside. I'm gonna do my best I can for my little distance I am. Okay. And then you'd literally just going to tap that coloring. Nothing fancy. Just tap it in. Make sure you nicely edges. Make sure you're saying, make sure you stay within the eyeball. It's very easy to woman started to do it here. When you wet, you stop, you almost make the eyeball sort of fall out of the socket. So we see this. This is the socket here. And that's it. I bought. It's very easy to overlay the, I bought over the socket and new. Probably one of those things I would do quite often. I might not write about it. And it was a little, little, tiny little thing I was doing. As you go along, you you learn these don't. Okay, It's a nice bit of color there and we're going to pick up C Piano might actually switches quite a small painting as they could have made this a little larger. But just for the sake of how I got my filming set up, She's a little bit small. So I've got a very dinky little number not going to do. There's always a bit of shadowing as well as their makeup, but there's always a little bit of darkness underneath the eyelid. And that makes a big difference if you put that in. I'm just going to drop that in. And as it begins to dry, we're going to, to the, she's got a lovely dark part to the pupil. We're going to put that in a minute, but I just need that to let that dry a little bit more, I think because I've mixed my colors aren't as strong as they normally are. So used to just mixing lock. Can't get enough color up. Now, I wanted to put more more strength in there. Again, keep your brush nice and dry. If you're doing very detailed bits, we don't want your paint to move too much. Keep your brush nice and dry in your paint nice and thick. Vice versa, if you want it to move. Especially keep your brush nice and wet and your paperwork. But we don't want too much wetness going on now with the eye. So very carefully in the eyeball will be a lovely place to be sitting. But I'm not. Go outline that. Lovely dark areas she's got there. We're going to tiny little bit in the front there and we're going to get, let the rest of that dry and we'll do another layer over that. So the best thing really is to let it dry naturally. You can use a hairdryer over, but again, just be careful, make sure it's just got that tacky stage, which just the last little bit to drawing off. And then we can add the next layer to give it a bit more depth. 7. Smooth Dog Eye Second Layer: Okay, I've done a little bit more mixing there so you don't have to watch me mixed my colors up. And what we're gonna do, we're going to rewet the eyeball. I'm going to keep them my little brush because I just feel I have a little bit more control and try to avoid doing a nasty drip. Often run I don't know if you can see it runs along here. Okay. So vary because you've already got a layer down here. Go very gently, just tap it in. You don't want a rustle that nicely. You've already got underneath there. Because you have to tap it in. You quite often find you end up with a little bit of a bubble of water and a bowl of water. You don't ideally don't want that. I've managed to avoid doing that. But if you have the NDA little bit of kitchen roll, just a little corner of it and just pop it on top of the bulb when you'll see the bubble suck up the kitchen roll and then you've got something that's workable rather than a big bubble and if you have, they needed the paint just sits on top. I'm all about getting the wetness. Just write sine because it was a bit wishy-washy. I'm going to tap a little bit more color in there. Again, I'm going to emphasize along the top, underneath the eye lid. Obviously, we've got to put that in a very dark makeup on as well. As good as a mini, mini you like something, stop. It's very easy to keep fiddling around butter. Minute you look away and go. Good. Stop. Okay, so I've got picked up my sepia for competent now I've gotta get a cheaper paint in my hand. I'm going to keep a lovely so gloopy and thick. And I'm going to keep an eye. That's an eye. There's a pond somewhere. I'm going to keep an eye on this. I just want it and it's probably little bit too wet and just see if I put it, put that CPU will now though I've got it quite tacky and quite thick, it will just run a little bit too much. It will be six seconds between being a little bit too wet and a little bit too dry, so it's catching. It is quite good. Now, let's go ahead. I want to do. You can see when you're in that reference O2, she's got that nice dark eye makeup, isn't she? So inside of the eye as well. We know actually I make up inside. Just going to keep adding but it don't try not to. When you put the paint down. Obviously only go so far as they don't keep trying to move the same little bit of paint around. Add a bit more. Just go over here a little bit. And it runs down to this corner here doesn't weaken, soften this in the next layer, or the outside of the eye can be softened against if it looks like it's stuck on at the moment which you will do will be rectified. Just want to get that just concentrating on the I read it. It tucks, just goes over, doesn't it just keeps her I love as a poor your brush back. Look at it and say, it's literally to flicking your eye back and forth to that reference photo and getting that shape, just write. Just worth taking the time. Let's bit better, isn't it? That don't want to make it? Because either it sometimes it's nice just to leave a little bit. So you just put a little bit of color. That's a sort of make sure that eyeballs popped back in into the eye rather than sitting on top of the socket, if that makes sense, Like I was saying earlier. If I outline the whole lot, it can look a little bit childish into stock, so I'm just going to keep it at that, even though you may have a darker area. If you step away and look at it and it looks nice to stop somebody, you have to just be a guide of what looks nice and don't be too much of a slave to the photo. If you caught something in the course, next question you like, then excellent, don't just stop. Immediately, stop. So again, that's just wet enough to put an eyeball in again, you just want it a little bit tacky. Popular watch off. But not wet. Just going to start in the middle and move out. And this is where it always go and quite often go a little bit freaky. Bear with it. Just tapping these dots in the middle and kind of workout. You should get something here. That white. Okay, I think for that, that is about as much as I can do. So. Pull a little bit of a light out. So that's where the dry brush I'm just dragging a little bit out. Just just, just take a little bit out of the light out and it's quite nice, at least stage it won't leave such a harsh if you wait too, it's completely dry and tight. Take it out. You can leave a little bit of a hard line, but that looks quite good to meet. Again, you can do a third layer. If you feel you haven't got enough debts, you're going to let that dry, go back over and tweak. But if it's starting to dry and it's mind, I can see mine's already to a critical stage. It's some bits as beginning to dry it and It's best to let it completely dry and restart again. I'm not restart, but just add another layer. Rather than keep playing with it. You can get, we'll get a little bit messy quickly. If you're unsure about it. It's best to stop, step away. Go make a cup of tea. Just sometimes you can look at a subject or a little bit you're working on so much you almost don't notice what your painting. So, um, yeah, let that completely dry and we'll we'll finish off the last little tweaks to it. I'm pleased to have that's dried because okay. So the last little bits we need to do, just to quite stark white at the moment, those little bits which we've reserved. So I'm gonna do a tiny little brush. I'm just going to go in and I'm going to wet it. And just by wetting it, I'm gonna be touching some of those other colors either side of that white area. And they're just blending. That this stage. Almost if you can. If your eyes, if you feel your eyes got a little shapes, you can cheer us. Jenny, Sculpt if need be unwise to, right? But they said, not a bad stage to do that. Again, a little bit the same here as well. Just a little bit too stark. Gupta. A palpable of water in that saved it. You see how that's just just soften, didn't, hadn't made it look a little more natural. Now, again, if this is moved, i've I've managed to take enough light out of there. I'm quite pleased with how that's done. But if you're if you feel your eye color has moved in and you've lost a little bit of light to reach I take out and the last layer again, you can just very gently just almost lifting the paint brush on the paper and just gently wipe it away. The rest of that is looking alright, um, I'll say, I'm pleased, I don't want to fiddle anymore. We need to do a little of white to catch light. But I'm again, as I said, if you felt something gone a little messy or you didn't feel there was enough strength in there, you could then, before I would suggest having done the little white bits, you could rewet that down again and just tap in a little bit more strength or a little bit heaviness and underneath that eyeball, um, but that's, that's looking alright. So I'm gonna go pick up my little bit of white, get a nice creamy mixture going on in here. And light can fall on, on, um, she's got a nice light source, but sometimes light sources can be in different directions. So I tend to ignore where the light source is a lot of the time I will normally, whichever way the dogs looking, I will put a little white catch light, which is the catch light is just a little white dot in the direction she's looking. So she's obviously kind of looking at it this way. So I'm just going to put C That got me. I'm just going to put a little white dot. And that makes all the difference. That really does make it come to life. And it's quite a nice at this stage, although we haven't finished her. I feel like she's she's here she's here with us. And any outside, it'll be it's that can eating green overseas got a little bit more make-up around here, which will be done on the next layer. But that's looking, looking nice at the moment. It looks a little bit stuck on. But that's to be expected at the moment because we haven't really soften anything else down. So don't panic if it looks like you've got this sort of stereo, weird. I it's all part of the process. Make sure that's nice and dry. And then we will do the last little layer. 8. Smooth Dog Adding Subtle Structure: Okay, so onto the last futile to inquiry bits and say it's not quite a layer, but it's just going to put some watery areas of paint down just to sort of bring up a little bit of bone structure in the nose and a little bit of the mouth. At this stage, if faced with more than one of my pet portraits that take me hours and hours to do this would have been the first layer and I would just wet and keep building that. This is slightly different. We're not going to do something so labor-intensive and I wonder whether it's lovely, keeps it a lot fresher. So this is, this is going to be the last little bit. Pick up your big brush. I've just changed my water because it is nicer workmen, nice freshwater especially with we don't want anything tainted on this. If you've got a very colored water, it will give you a color. Although Raphael, week one. So what we're going to do, I'm going to first probably addressed this. I although I like it, we're gonna put the little makeup bits around that. So I'm just going to swap brushes, tool, it's a bit chunky. If a brush feels a bit chunky or not, write, swap around, have a play with a, something that feels comfortable. So we're just going to wet round the I just want to get some that make up a little bit soft, softened. And also there's a little line that goes over here. Just very Jenny's is the wash is very, very weak, so it's not, it's not a lot of color. It's just almost whetting. And then allowing. Got a little line at kinda wondering here. Go back to my big brush, suddenly feels a bit small. She's got a nice little cheek bone. I'm just using the pink. But you can use whatever which uses the two colors or a bit of blue if you feel you haven't added enough blue, just re-wet. If you pop a little line of color there, you can just re-wet the edge. So all softens down. Back to my little brush again, I'm going to pick up a sepia, just want to get an eye makeup on. Dry, just a touch now. Proper, which is just a little bit of a double. Save. Anything I feel like needs just tucking in a little bit. You can just gently adjust or she's almost like chiseling and I'm sculpting tiny little bit more on the edge of the eye. We will take a little bit of color out. We'll do that in the next lesson, but there's gonna be a little bit of color taken out there. But there's a nice thin line that I've just give her a little bit of character states. Because this painting is very loosened, minimal, you're gonna be drawn to the eyes. So it's worth getting the eye and the areas around the eye. Just right. Okay, let's go and go back down to the nose. We're going to wet the area where the nose is. Almost. If you've got a lot of color and the AND or knows, I haven't, but if you have, that can almost be enough. It would just section in area off and give you a line between the dry and the wet. Mine's a little wishy-washy, so I'm going to use I don't want to use CPT much you want to any any of this. But from around that, I said I'm gonna go back to my two colorful colors. I'm just going to put a bit of strength in that underneath. Usually generally that'll be under the under the nose and the light will be on the top. I'm going to see she's got that. Just her mouth coming down here. Just see by just putting a tiny lines in how it makes changes the whole picture in the whole kind of expression. Don't need to do a lot. It's just the tiniest little marks. And that is probably enough, I say because this is so loose you don't want nothing needs to be too intense or too obvious. Now I still like that nice line running down there. So I might do going keeping more, not adding too much color. Just almost painting that little V in their wet my brush. I'm just going to pull and then I can I can then try and get obviously, you know, we we wetted that area and we did the face and then we pulled further down. I can almost forget that jaw line back in again. I don't want to make it too obvious, um, and I don't want to put lots of color underneath that, that jaw line, but that will be enough, especially from a distance you're viewing it. Um, it can almost feels like it's a bit too much, then just, just just wet it. And you can use. Kitchen roll off camera. You can just use a little bit of kitchen roll if you feel like you've got a little bit too too much going on, that'll be too much wet. Just soften it with your fingers. Always great. It's always good to play around a bit. Again, look at you, look at your reference photo. I'm gonna keep an eye on that nose as well. I don't want it to be too harsh or too sort of lining. So I might even just soften. They're the top edge. Just pull it out again. And can you use your finger? Put the nostril when in a little minute? Um, it's a locative watching, seeing how things dry, pouncing on it just at the right time. Again. It's about right actually again, it's a little bit with the eye getting getting the just the right wetness. So I'm going to try and get a little bit of strength on there, the two colors. And just get that Nostoi. Again, we can take some of the light out in a last little section, classic lesson. And this is the joy we doing a profile image. You not having to say today, you're not having to worry about the nose of angles and it makes it a lot easier. That's why I kind of follow me on Instagram, the model competition twice stress high end. Obviously, if you're taking a picture of your own dog, why I stressed that it needs to be a profile because it makes it a lot easier. I'm whispering that one, like it's a secret. Write that down. There's a nice it's still that nice crease and I know I put it a little bit of color on there, but I'm just going to that's a little bit more obvious. So careful, I'm probably working as I do randomly around the picture, but just be careful. Now we're going over to the ear. You don't put your hand on the nose. You can still see me. I'm just gonna put a little line down there. Very watery amount on my brushes, hardly anything there. But you can see that's just giving us a line and we can then soften that line out if need be. I don't although she's got a very obvious line down there, I don't want to meet you too strong. I think it's going to make it look a little bit disjointed. So sometimes say you have to look at your own reference photo or, or make it up, but leave some things out if you think it doesn't, he's not going to look right. I'm saying this is just a loose sort of impression of her. Let's see. It's trying to add the bits that make, make E term give her character, but not, not everything. You don't have to be a slave to all the detail. I'm just going to see where her neck comes here. I'm just going to pull this down just a little bit further. So her ear sits in her body a little bit more so it's not quite sitting on the edge. Soften that edge down again. Again, almost a mini ease. You think you've got something new like it's well-worth stopping and looking at mine. She's obviously got a patch over here. So what I might do is we're going to wet roughly where that patches and I don't want to get to slavery that her colors are, I'm going to put tiny amount of paint. Don't put the orange in there. I'm literally doubling the two. I'm not being too worried which color I've picked up. So that should give us just an idea that is a patch of color which is a tiny, and just the fact that we've wet something down there, b over two, a watery line. Just like you see how that's how that's dried now. And you can see there's a little align the tricky when you're looking at shades and you're also looking at color, It's just deciding what to pick really, what's irrelevant, gain. She's got a nice sort of jaw line here. And again, I'm running into subtle shadows now more than color, but just add that in. At this stage, you can keep going on and not make it any better. I'm stepping away and having a look. This line here is nice. So I might try and get that in. Very similar thing. We're just going to put everything loose. Just tapping, tapping it will wind down in there. Clean your brush on the edge and we're just going to soften that out. Don't, don't, don't write you don't have to run it all the way up. It does include it all. I think she's looking I think she's looking nice. I'm only a little bit and this is always a bit alike. Is this, there's always a lovely curve and I've just lost that a little bit when I put that in, we did that little triangle. Just going to put that back in. Bank, fill that in. I particularly love it when horses is just a lovely curve. A lot, lot of it is just shapes that are pleasing, isn't it? I think once the pencil marks are rubbed out, I really like her. I think she's she's come together. Well, we will take a little bit of light out. I can't see anything obvious at this stage that I can't rectify be taking a little bit of light out. So I am going to downpours and we're going to let any of these little fine layers dry. And then we do the tiny loss bits are finishing off. 9. Smooth Dog Finishing Off: Okay, to the very final little bits, I'm going to do a little bit of rubbing out. So any pencil marks you might have put on, Rob those out now. But make sure your painting is really dry. Because that's not good. When you get to write to the end and you find you're rubbing and then the paint's still wet. I like this a little bit. It's kinda reveals and a bit more because you you take out any lines that are holding them in somehow. So all we're gonna do now to finish her off completely is we're just going to take a little bit of color out here and there not a lot. So let's try and be methodical and we'll work around the top of the year first. I'm quite pleased with that. That's worked well, although she's got a very obvious line that goes round and a little tattoo look. I've put in the reference and the projects will be referencing. So there's a little story about her, um, well worth having a read. She's, she's had quite a journey. She has Walesa. Okay, so there's a little bit more light here. Again, very gently. Don't take up too much because we've only got one layer. It'd be very easy to take too much out. Let's say if you can possibly stand at this stage, it's really helpful because you're you're not looking at it too closely. I'm going to take just that. You're going to lose that line there where it just a tiny bit here that's working my way round. It's always nice to take a little bit off the top of the nose. I'm not using my finger for that squeegee. And then my tiny little eradicated brush. I'm going to go see she's got a nice chunk under here. I'm just going to take that out. See the tiny little things really make a difference. Quite often, a little triangle that sits underneath there knows better. Quite often you see this one sitting, it goes over the top of that nostril, doesn't it? So you can get that out. Nice thing about these Daniel Smith paints generally. They lift out quite nicely as well. For my nostrils maybe slipped a little bit now because I might have just been a bit heavy handed that. So I'm just going to put just going to put it back in again. Just going to very carefully just tap while that's still a little bit tacky because I've had that little damp arrays, a brush there. That's better. Working my way around. If you've got any very strong watermarks, I haven't really does demonstrate with probably that to see where the edge has met the dry, dry, clean paper. And you'll paint paper. And you're, you're, you're painting. You can demonstrate only sick of it. You can just very gently just rub out that line. You say you don't need a lot, lot because it's only one layer. It should come out really easily. But just take your time. Don't get heavy handy. Don't try and go. Just very gently is no hurry. You've got absolutely no time pressure there. Don't think I want to take any light out of there. Quite often. They will have kinda see it, can't you? But they will often put this in, even though it's not that obvious on here. The little crease, a light here, that this is a subtle firm mouth what draws back. And that's, that's a great kept teller. If they're sort of green or green to pull your mouth back in, the further you back, back, you take them out, then all of a greeting and submissive. So that's there'll be, there'll be lots of little lines will line up. Generally the eye sits above the top, top line and the top of the muzzle. And this is another line, lines up, probably diverting around. We took that little bit of light out there. I don't want to take too much more personally out of there because I managed to get rid of that on that first layer we did. But if you feel you got a little bit too much color there, you can gain very gently. Just very gently with your kitchen roll as well. If you don't want to take too much out, that's probably enough. Say step away and see how that looks. Don't don't try and don't rely on if you're sitting. Quite often, you can't see how much you've taken out. I don't know if that makes sense, but step away, just have a look. Hold you grab hold your painting and just even hold it at arm's length and you'll get a better impression of it. Working way round. There is that sort of light there. I don't think I want to take that out. C. C, Well, I mean, I've probably, it's probably just there, but something tells me not to take it out, so I'm not going to so some of that yeah. You'd have to trust you. You're indistinct sometimes and see how you feel about that. What were around then the only little bit, I don't think there's any other light. Again, my lovely little bit light that runs just on the edge. It taken out with kitchen roll. You can see sits right on the edge and you can put that in with the white goulash, but it can look a little bit stuck if you're not careful. That's probably, that's better. Um, and there's also this little bit of light here. Eyelid again, careful if you looks like it's too much, he's going to come out to squish it a little bit with your finger. It doesn't lift as much. Paint off. I think we're about there. Maybe just a little bit here. Probably needs to come out. Make sure you can think in your fingers. If you've been dabbling with your fingers. Debord, devote a bit of painting. I just wanted to see if I can if I need to, I can't quite see my C quite clear enough, but I feel I need to bring that down a little bit more. Yeah, that's better. Sometimes. Can be the tiny, tiny little bit of paint you put on any I O made it better. I like her. I think she's she's done as ever. It's worth, again to stepping away from your pizza. Take for gametes, half cup of tea. I drink a lot too. You can tell, can you take a break from it? Go walk your dog. If you've got dogs, go and whatever you fancy for an hour or so and come back and have a look because something glaringly obvious may jump out at you and you something a little bit you can adjust and the same with me. Obviously, I've worked on this for the whole time. So I might get off camera and look at it and go, Oh, that's not quite right. Or that could have been altered a little bit. So yeah, it's nice to step away and, and, um, look at it with fresh pair of eyes. So I'm stepping back from mine and see if I can show you anything glaringly obvious that that springs to mind on y. But at the moment, I'm do wonder whether it's a little bit this angle of the eye might hear when I come back, just take a tiny bit out. I don't know. Again, I will need to step away and have a look with a fresh pair of eyes. And again, it might come I might come back and go, nope, nope, that is right. Or I might go, Oh no, that does need adjusting and you can, you can tinker with these little tiny adjustments, but it's worth doing it. When you're sure. I think at this stage, I don't think you can be sure because we've been painting here for so of an hour or so together. So yeah. That is dog. Smooth dog, Liddy. I hope you enjoyed her and I hope you go on to painting the old hairy dog because he's a, he's a lot of fun as well. 10. Hairy Dog Materials: Okay, now onto our little hairy, hairy chap. So I have a lovely collection of Daniel Smith paint. And I've got, I've got quinacridone, burnt orange, quinacridone, magenta. That psi lazurite, genuine CPA, and a little bit of white gouache. Now I tend to only use, mainly, I use the orange and the magenta. There's obviously a little hint to the lab, so I lazurite, but they're my two main colors. And the sepia is a really good, rich brown that kind of holds its position well on wet paper. So that's well-worth. If you haven't got a CPU, it's well-worth getting one and I use it quite a lot in my own work. Again, if you haven't got these colors and you're panicking, please don't choose three colors you're drawn to. If there's a particular combination you like was, say, maybe you're painting this. You're going to go on and maybe paint a pet portrait. Your own dog. You may have a room, you want to put it into another color combination you'd like to incorporate. Or maybe you're going to give this to a friend and you know, they like a particular color and they say that the examples go on to. So please don't panic if you're thinking, Oh my goodness, I haven't got any of those. Then. Have a look, see what you've got and use those. The joy is, I think painting, release, it, Hafiz the colors, isn't it there? If you like a particular combination of colors, you're going to find it more joyful. So if you're thinking, Well, I'm not sure if I like those. Pick your own. Okay. The paper I've got blocking food and that's a £140 or not. And it has been stretched. But again, if you can't be bothered to stretch it, we haven't got time to find a piece of paper or time to go and stretch it and leave it for 24 hours to dry. Then don't worry. All my little example pieces I've done have been on unstretched paper. I've logged in and they sat in the garden and done them. And almost the buckling has added to the characters are paints all flowed into the dip. So, so don't worry if you can't be can't be bothered to stretch your paper. I just, I just felt a bit more confident with it stretched and I'm teaching it. So obviously got my little pot of water. I've got a little my little hearts and that's about an inch high. And I use it just to tilt the paper in various directions throughout this class. So something that's an inch high, that's not going to wobble too much on your on your Baldry pizza paper. Of course, you can just hold it up. I've got my paper towel, kitchen roll, call a little rubber. And then I've got my pencil, sketching them out. Then I've got my brushes. I've got I should go in order, should know. I've got to do that 1 first. So I've got my number eight round. And I've got a number two. I've got number note. Quite small, but it's just to doing tiny little detailing around the eye. It's quite handy. And actually some of the flexor quite nice in a little brush. Just to wrap up, differ the size in your brush. Brushes. And I've also got little eradicated, which is a brilliant little brush and I use it a huge amount. And that's for taking color out. And this is particularly handy for the rough dog or hairy dog because you can, as you can see, you can see the marks I've taken out. So if you haven't got one of those, well worth investing. And I've also got a template of him. You can go around him and not worry about having to draw him yourself. So don't, don't be afraid of using these. I think a lot of this is in the painting style or not the drawing. So don't feel you're really cheating by using these and all those. So a can be found along with your template in the projects and resources pages. And template is a printable PDF so you can print them out and cut around him. I use a hairdryer. Do I use a hairdryer a little bit, as I probably said in the last materials. If you haven't got one, I wouldn't worry. I'd almost say don't use one because the joy, but this is just allow that paint to dry on its own and query those lovely sort of marks and patterns. You use a hairdryer too quickly. It can blow things around and you'll just lose that lovely sort of sensor looseness. So handy if it's just us going off and you just want to just get going, you can see it a little bit tacky, but otherwise, if you haven't got one, don't worry. I think that's it and I'm looking around if there's anything I've missed, but come on, let's go and painting. 11. Hairy Dog Sketching Out: Okay, here's my little Marco already sketched out. I'm probably haven't got that nice Italian twang to his name, butter. I'm not even going to try how I've used. I've sketched him out using the template, which if you haven't watched the smooth dog class, this can be found in the projects and resources pages. So it's well-worth using that and just getting familiar with this technique before you plunge into having to sketch them out perfectly. So again, some little tips which I think you'll find handy for sketching them out. Again. The template does tend to give you other blunt outlined. So as with the smooth dog, it's worth going around because there's some it's not as important to get the lines right because obviously he's hairy. So you haven't got those very precise lines which obviously make them up because the hair changes, changes shape with the wind and however they've sat with a head lying. So it's not as important, but it's still nice to get in the nose in and look at the portrait ellipsoid the painting. So I get again, look at the photo you have in front of you. Again, get those shapes right. There's a nice little swing around and he's leg here. Nice positioning of the ear. And always very important is to get the I in the right place. It's well worth taking the time and getting a shape because he's got a little bit of the hair hanging. I've only done the front portion. This mouth. Again, the mouth is quite important that make it swing back too far. The mouth gives the dog quite a lot of character and how, how he'd probably feeling. Because obviously I've probably read, might be repeating some of these things. Because if you've watched a smooth dog, but if the mouse drawn back, It's often they're a little bit worried, they're submissive. So it will give you a sense of how the dog is feeling with the mouth, positioning. Is there any other tips or way so we're going to be sectioning certain areas off. So I've put a very light, light line there. And there's a light line here where we're going to be secreting certain certain areas off. But again, keep the pencil marks light. I've probably done a little bit heavier just so you can see the pencil marks, but ideally you want to go to rub them out so you can't see an atoll. The finished painting. So I think that's it. So let's go and get some paint. I'm going to get some paint on this paper. 12. Hairy Dog Ear: As with all my dogs, I always start with the ear. I think it just gives it starts the painting and it's a less scary area to start. So you feel like you're kind of getting there. You've got something on the paper. It's not that scary blankness. So we're going to start off the same way, again to slightly different way. So we're going to actually put a line using, again, similar, similar way. I will use the magenta and the orange predominantly and just little hint to the blue of as it gets a little bit too, too colorful. Give these a bit of a switch. And we're going to put, say I'm not, I'm not particularly fussy which paint I pick up or I'm quite often put a selection of both colors on my brush at the same time. So we're gonna do a little line, not too much paint. I might have just got a little bit carried away there. So I'm just going to I'm going to add anymore, Let's say the painting isn't overly launch. I'm a lot less to do with how we fill meet and how it's sort of sits on my desk. So anyway, that's a that's another a boring, a boring side to side note. You probably don't need to know that. So because I love the line of paint and we're just going to nice wet brush, nice and lights. I'm not clinging to it. And we just kinda do a bit of a rustle, really. Ideally be quite nice to leave. A little bit of white, drop a little bit of water in there. Almost use He's got very soft silky ears. You always want a line and what I might do now, my trusty little heart, we might just give them a little tilt. Still. Haven't taken off the camera. And what we do, I'm going to clean my brush, take the excess moisture off. I'm just going to suck up some of that paint. You see how that's drawing some of that down. Now I'm not going to do. He's always got quite a hairy I'm hair running down there. I'm not doing that. I'm just doing the what would be the ear either there. So I'm not doing the hair value. We have uracil get some of that moving. The mini, you've got something that looks kind of interesting. It is just interesting really. I wouldn't worry about trying to get all the light in there on any particular strands of hair is just an impression that will give you that lovely, loose Look. If you start to get overly conscious of trying to do hairs, um, you'll find you'll get a very stiff, rigid piece of work. So that's it. It just needs to dry and it almost seems too simple, doesn't it? But I wouldn't do it anymore. And that will dry beautifully with a little bit of rough and give us what we need. So again, that needs to dry. I say I would say ideally on its own. Once it starts it goes hacky. You can put a hairdryer over it, but be careful not to do it too soon. And you can take continuous. I can see now because we've got this on a tilt. I've got a bit of pool of water. You can stand here or sit wherever you're doing and monitor that a bit and just keep dragging it. Just stacking up, which will drag this paint at the top down. So I hope that makes sense. So yeah, just let it dry. 13. Hairy Dog First Layer Muzzle: Look at that ear. Just a little drop of color and leave. Okay, so it's onto the next sectioning off. Now, I have made a little pencil error and telling you to put a pencil mark in the wrong place. So before we start any further, this pencil, this pencil mark here, needs to be rubbed out and goes here. So rub that out before you, before we start and then we got the right a little bit. Okay. So pick up your big brush. Nice source of water, and we're going to wet all this down here. So you're gonna go around the eye, top of the nose and say, we've made a nice efforts to get those shapes nice. So take your time and make sure you keep within your line is not as important as I said. With digital off dog. Still nice to get right. And only wet. This is used to catch me out again, it's a little, little thing. Use Catch Me If you obviously got smooth nodes here, but he's a little bit rough here. So be careful you don't wet to the edge of the hair if that makes sense to you. Your lines drawn out lines ideally needs to be where the actual jaw would be, not wear their hair would be. I hope that kinda makes sense. So when we flick it out, where flicking hair out at the right, from the right place, we're not flicking from the edge of the hair and then going out. Hope that made sense. So yeah, wet down. What would be his actual physical jaw line and physical obviously applies all the way round as well. So just he's not overly hairy. Some very hairy dogs better. Probably down the neck. You can see there's a dark line, isn't it? We want to probably go address that when we get to it. Let's concentrate on this one layer here. I'll put a, put a dog hair they're attached to get rid of that one. Okay. So he's nice and it needs to be nice and wet. Um, I think the common mistake is a lot of people don't have it wet enough, so make sure it's only paddling. You want it nice and wet otherwise your paint won't move and you'll be like, oh, it's not quite moving like yours is. And then we're going to pick up the orange and the magenta. And very similar, if you'd done smooth dog, we're going to put two colors on my brush at the same time. And we're going to start at the nose and we're just going to say the ball, and we're going to allow that to run and say it doesn't look like it's gonna go very far. But trust me, it does. And I think that's what, that's what we'll keep that lovely looseness about this painting. Just around here. Add a little bit more color in looks. It's very easy to do too much and you lose that lovely freshness of this painting. So go easy. I'm sure I've just run a little bit down here as well, just to help us break up that very solid line. I'm gonna put that, put that down. Pick up my blue. Again. We're going to pop a little bit of blue on top. Clean my brush off for you thoroughly read it. I just tap everything nice and light. We might just doing a bit of a sticky there, isn't it? So again, don't be shy if he is really sticking. I'm just going to just tilted. See that in the camera. I just told you my ball a little bit and just allowed that to run back this way. So that's tilted toward this end. I'm just going to lay it flat again because I don't want you to cover too much. And then fairly quickly pick up the number two and we wanted to freak out some of those. You might, might actually be worth having both brushes. So while this is lobbying and wet, and I think this is a common error, some people lead this a little bit too long, so then the coat looks like it's stuck on. So you want to do all your flicks while this is lovely and wet and you'll get it that it looks like it's all natural, then make sure you get a nice shape around the nose. My nose is a little bit misshapen. And say keep it all lovely and loose and you can start a little bit further in. So then that gives you a little bit more of a, if you start here, it's very, very easy to get a little bit. I'm getting a bit too long, but if you start a little bit further in, then your your stroke starting further back, sir. Don't be, don't be a slave to that exact hairs. He's got just flick them out because, you know, he he could turn around, give them a little Russell will know all that hair would change shape. So don't get too worried about trying to do individual hairs because one, you'll lose their spontaneous spontaneity of it. And to say, the hair would move so quickly. I'm going to do say mind drawing. We're wanting to be a nice thing to have a slight tilt. It seems to be tilting this way and this has dried or drying. So a trick with it if you still want to continue working and as long as everything is still damp, this is just fancy or you can just add a little bit more water, then you can continue, continue on. I'm just kind of a little uracil here to sound a bit reluctant to move in too much. But say I, for some reason, I've called it a bit of a tilt going on. It pooling at the bottom. Don't want to put a don't want to really use my little trustee hearts. I think it's gonna give me too much of a tilt. I'm going to put those down. I just want to put a little bit of color. Um, he's got some lovely I make up his knee and a little bit like the other little dog, smooth dog, Lily. Going to put this is just beginning to drive and I added that little bit more water there. I can see it's still quite techie. And I know if I put color down there, it's not going to move very much. So we're just just putting that it's not even leaving the eye makeup like Lilly had as much. It's the actual outside of the eye, isn't it? Tap a little bit of that in just a few clicks on this little section, haven't we? So just click a little bit out here. Again, be careful not to get too carried away with it. Most of it is in the layer, isn't it? So I don't want to do too much like that. That really nice to just draw on its own. Now, again, don't, don't be tempted to use your hairdryer. I think because of this style is very much dependent on it drawing on its own, finding its own weight at home pattern. I think if you had if I was to hairdryer that now this color here would just move all the way up here and you would get a kind of a splurge of just monotone colors. So allow your, um, your painting to dry naturally. As I'm standing here watching this dry, I'm just pulling a little bit too much to deal with that bottom, so I'm just gonna give it a tilt. I think that might be helpful for you to see how we can get a little bit more movement back in my even I'm going to leave my little heart. I'm going to contrary to what I said earlier, you have to judge each piece is it is it goes really. I'm going to leave that to dry a little bit on a tilt and you can see how hopefully that will move that pigment up a little bit more. If I find it, again, I might just watch it for a little bit. If I find that's moving too much, I'll just take the heart away and let that drop again to say, he's always sometimes worth watching if you're unsure on how it's going to end up, it's worth watching it for a little bit and seeing how, how it progresses. We'll see how that dries. 14. Hairy Dog First Layer Head and Neck: Once this is lovely and dry and we can pick up the bigger brush again. Brush nice and wet. And then we're going to wet when we put this line in around the ear and destroying the back there. So again, bear in mind about the flicks and how far you need to go out with your wet brush. Just gonna put a line in there. And it doesn't matter if you touch the top of this ear. Countries with hiding the painting with my arm, if we touched the very top of your ear, you've probably got a nice strong amount of paint in there. You'll find that we'll just bleed slightly and that's perfect. Around the ear. I wouldn't doubt. It is hard. It's thought that one gate, if you're doing these little dog, I wouldn't do any smaller than this because we need to allow your paint to run. Move around. Then it's quite hard if you, if you're doing it smaller because it just doesn't have the scope to do it with a short head breathe. Quite so reliant on tilting. And actually I laid this flat in the enter. We had it tilted, didn't wait. Why did I did late flight quite, quite soon afterwards. I think I was worrying unnecessarily. Okay. I can see that it's nice and wet again to rub over your head up and down. We are going to use my little heart underneath my board. Three color, a little bit of a tilt going on. Going to drop the color. I went a little bit to the pinkie, so I'm going to try and go a little bit heavier on the orange on this bit better. That's that's just me. So have a look again. Have a look at your own pizza. Just going to go up very light and see how that's running beautifully. Now, we want to try and keep this little section down here without too much paint on because that will give us a little bit of light that you can see that's falling from here all the way down. And then we're picking up that ear hair. Joy to colors on my brush at the same time, I'm going to go quite heavy underneath here. You sort of go in first layer around a little bit. It's quite smooth ears has nice smooth shape, should say so I shouldn't be russell them too much in better. Get that nice sweeping the almost have to then look for the year, if that makes sense to you, to get how the ear shape would be. It's all starting to puddle there at the bottom here. But don't worry because we're going to pull that down in a minute. So here we want a nice amount of sort of heavy paint. Just going to pick up my blue again and tap the top. I'm going to tap it just a little bit. Be on top of that year. We gotta keep mindful it is we don't want this to dry too quickly while we're concentrating on putting this down because we need to get those flicks out a little bit too soon at the moment. So bear in mind, we need to, you need to watch out for that. Paints down. Nice, clean your brush, nice and clean. And we're just going to go down to touch this down to here. You see how that's moving? My lovely. Again, you can kind of be a bit rusty. You can join that little section up there so we can get I get a bit of a because he's got a rough coat just we're not doing individual hairs little bit though. The ear just let loose and let it kind of move around and don't try not to overthink it. You can then add a little bit more strength back up here. Again because we've got that on a tilt. That's just start running again. When I say we need to keep an eye on that and it's probably getting to the stage of needing to be flipped out. A little bit more color up there. A little bit about timing, really, getting it right. I'm trying to avoid putting too much paint on this little section here, but we need a little bit. Maybe not that much. But I can just add some water. Get that running. Suck some of that up. A little bit too much peak there. Yeah. Sometimes. Look quite nice, so you just have to roll with it sometimes. And that's now added a lot of water up there. So I'm going to flick out because I think that's the stage you will be at. I'm going to find my little brush. I'm a little brush, it disappeared underneath my leaf aboard. If I'm gonna start with a slightly bigger one, game, keep it loose, keep you would hold it too far up then do like to, but probably lose a little bit too much control. And he just going to flick. See that work this way around a little bit more so you can see if you feel it's not picking up enough because that will upside lazurite, quite not very punchy. You can always put a little bit on your brush, but just make sure this is still wet though, when you pull these out. To be a lovely little natural look. I have to go films obscuring the painting, need a few that way as well. Chris, cross them over trying to say, I know you can't close your eyes, but you want to just get the randomness going down here. Don't worry if you drop a little bit too much water. I think the joy with a loose, with a toy, with a rough dog doesn't matter too much there any marks you make, it just adds to the interests, I think. So just like that pink was probably a little bit of an error, but actually that's here, that's worked well. So don't panic if thinking things don't quite go. Maybe as I've explained it, and you do something slightly different. That makes sense, That was good, then don't worry too much. A little bit of a bend in there. I think I've done enough flicks. I don't think we should refer back to your painting. Maybe it looks a little bit too thin. It could be a little bit thicker here, so I'm just going to keep going out a little bit more. Cleaning on to that website and have a little bit of pink. You can come in here if you just want to fill the whole lot. Just keep the momentum. That's enough to go join this arm off. Okay, Now we're going to again test what this further down. Again, just try to say to me, let your brush or move around and try to fill that roughness. Colored shaggy dog. Pizza disappearing underneath these bold. Picked up the magenta, just gave you just do some movements. Change your brush. Slightly different brush sizes. You to be careful when you're working across. He don't wanting to run into the wet paint now. I think he's looking quite good. I'm just going to pop that back down because he might have brushes escaped underneath on board again. I'm guessing because I love this. It will leg position, so I'm just going to wet brush. I'm just gonna run that down. Just so we get a little idea that lake could do anymore than that. It's just an impression that leg down there. Say the more you wet further down, the more that's going to drag this paint further down. And again, you could not necessarily he needs it, but you can always tilt your board at a slightly different angle, then that will encourage the paint wants to run a slightly different angle. So you could get to this stage. Water in there and you see that starts to run to the back and that will give them a slightly different direction. What we want to do. A bit of kitchen roll. Again. That's pretty my pocket tilt tried to manage too many things here. You that way little friend. Just going to suck up some of this here. And just slightly pull and pull and say, we want to keep face would like to keep this leg so you don't get rid of that as well. Nice clean brush. Get you that nice. Lost and found disappearing. This. We're not going to be worried about coat colors and stuff. It's just an impression of him. Game, which will go the same as if you go on to paint your own dog. It's just an impression of your own dog. We're not going to get carried away with trying to do colors and coats. The actual difference in colors where they meet, end and meet. Okay. I just had a little stop talking Jane and had a little look. And that's the King. Alright. Okay, before this completely dries up here, what I wanna do is just to join up like we did with the smooth dog ear. I'm not going to think I'm going to join that year up. If you think it looks a little bit distinctive on yours, then by all means, just join it up. I'm just going to just stop anything looking a little bit too harsh. Soften, nudge some that line out since it doesn't look so distinctive. And that's hopefully the joy of keeping this little area a little bit fresher. Queen. You think I need to? Again another step back. My output. I just feel a lot of my lines are going down. I feel like even that's busy has got a gray code. And you're going into why I just feel my eyes just dropping down the page. I just felt I wanted to go across a little bit. So I'm just going to pick up my, um, either color. It wouldn't have mattered to enlist do both. Just put something in here, just feels like it's dropping down. Doesn't need to be a lot. Say, the joy with a rough dog, does it if you get some sort of watermarks or dribbles, I think that's just adds to the whole whole character of its screening. I step away. Yeah. I think that looks okay. I need to let that dry because obviously we've got another layer. We can add some little flicks and bits and pieces and a little bit of interests. But I think for the time being, I think he's going to dry well and you can keep it's imperative you don't keep fiddling too much. I can see this has started to dry. It almost dry actually. And if I start fiddling too much now, we'll wind up. We'd run the risk of getting a little bit too messy. So actually, I'm going to let mine drop. Can be a little bit of Judge of yours if it feels like it's stuck a little bit, just allow it to let it dry, tilted. If you feel like minds feels like it's running a lot, then you can just lay it flat. You can lay it flat at anytime. And that's sort of control. You could like we did earlier, if you felt like it's running too much and you can just let it dry that way up. So it's tilting. So that's a nice thing of gravity. It kinda gives you a little bit of control. Like I feel I'm waffling. So I'm going to let this completely dry and we can do the AI. 15. Hairy Dog Eye: Once it's lovely and dry, we can start on that. I know again, you can see he's got a nice bit of darkness like It's probably actually not quite as i e to the inside of the eye, but we're going to paint that is a very strong little bit like the smooth dog. I'm Lily. She's he's got a nice little bit of probably I make up onto we're going to wet that down. She's not showing any white of the eye easy at all. So just going to knock. So we can either go to one of two ways as frozen, generally, I will paint in any flicks, so I'm going to do January what I, I used to doing. But you can reserve that little bit of white that of the white hair of the little hair getting caught his eye. I'm not going to I'm going to wet the whole lockdown. It just allows the paint to move all around this eyeball instead of sort of knocking up against that white line I've reserved. So I would probably do it this way. But if you're used to reserving areas like that, then please do. Use me as a bit of a guide. If you're confident of doing things another way then do. Okay, so I've dropped a nice amount of water in there. And again, we've dropping lots of water in there, you can end up with a little bit of a bubble. So if you have one mind actually worked, okay, you can just suck it up a little bit, so it's nice and wet but it's not a water's not sitting in a little puddle. I've already mixed up a little bit of paint here, and I've used mainly the orange and the blue and a little bit of the sepia. I'm not a great one for mixing normally, but I really wanted to keep this palette nice and simple. There's obviously a lot going on in this class, so I've mixed a two. But if you've got a nice combination used to using on eyes, I quite often use. Burnt sienna is quite nice and he can't quite make out the color of his eyes, but I'm sure most dogs generally have sort of brownie brown eyes. So we're going to assume he had brown eyes anyway. So yes, I'm just so we're just going to literally tap that coloring. Nothing more tricky than that. There's always a little bit of shadowing, even though it's not it doesn't because of that a little bit of hair, we lose a lot of the I. But there's generally a little bit of shadowing underneath the eyelid. And of course we've got that dark line to put in. She won't do on this layer. But it's worth putting the heavier colour, little bit, little bit more at the top than the bottom. That is the first layer really, it's nothing more complicated than that and just putting color down, um, and we've just got to let it dry again, definitely with the eyes. It's best not to hairdryer. Let it dry naturally, avoid you. You just blow pigment around in it. It mixes. So if you just let it dry, once that delay is nice and dry, we are going to re-wet it again. Exactly the same area. So including the black or dark eye makeup. Just go gently because you don't want to try and lift too much of that paint you've already put down and I have just done that. I'm just going to amongst this layer, I'm just going to what I was going to say. We've just strengthening anyway, so I'm just going to tap that color back in again. I don't want to add any more color to this bottom area. Again, is probably something you you can get used to. It's nice to have this area lighter in. Sometimes you just have to not necessarily a look at the photo in the obviously you need to take reference in the photo, but it isn't nice have this, this light at the bottom because light sources and coming in at different angles. And it never worked quite as well as just, just keeping to that formula of having the darker underneath the ion in the lighter part, then it generally works. The light can come in from different sources and confuse it. I'm going to pick up my very little brush. I'm gonna pick up sepia. I'm just kinda keep it on it. It needs to dry a little bit. It's a little bit too wet. If I put the CPU down now, it will mix two. It will run too much. I just wanted to just so it looks like it's about to go off and then we can put that I make up in our pupil. But if I put it in too soon, it will run too much. I've taught a twiddle my fingers for a little minute, little bit on patient in patient to do. Right, and Jesse, that's just about to, about perfect. Genki it keep your little brush quite dry, not dry, but you don't want it lots of water on it and you want this quite nice and thick. Just so you don't want to add too much water at this stage because we've just waited a while for it to dry. So adding more water would make it more complicated. Bit too sticky to be a nice, nice, creamy consistency. Same way. Just painting in. Do you can, you can tap rather than actually draw a line because you don't want to do is sort of upset too much that nice. Laser already put down. If you if you paint, you can drag other colors down to I would usually tap coming round, isn't USA just tap that and feel that little area, nasdaq, a little v, isn't a scientist. Working a little bit away from this, I'm struggling a little to see his or you don't want to see my my head, but hopefully I'm heading in the right direction. If you like, in your magnifying glass from well, before I'm positioned, basically, are you tapping this in the pudding? They seem to say you got that little V there, pulling it out, call me back up a step away that it's looking as we can get actually going to add a little bit of that. We'll get a little bit at Brown. There's a CPU again, I'm going to pop the eyeball when that needs to go in. To again, while that's still too tacky, don't want it completely dry over the eyeball. Look very stark and so stuck on. Always looks a bit weird. Start with. So just tap work. You start from the middle and just work your way out. It will blend up fake little drop of water there. Just seeing. If I can get that a little bit darker at the top. You need to keep applying. Don't, don't keep dragging paint that's already there. You need to get some add paint that we just say keep picky paint on your brush. Don't, don't try and rely too much on pulling. Putting paint that's already there. You need to add more paint to know that's looking right and say I'm a little way away from it. So if we wanted, this layer has dried and I will you come back and it looks a slightly different shape is because I've being able to get a little bit closer to it. But that's the general thing is you, you're going round filling in that little triangle and background and popping that pupil in just as it starts to go up. I like that from what I can see, I think it's worked quite well. If for any reason you've lost that little bit of light, this is a quite a nice time. Take it out because it hasn't wanted to dry completely seal. You'll find it's quite nice and soft. We just take out a little bit of light out. I know it's not necessarily it's not obvious on that painting. Not have we shown that photo, but it's always nice to put in it makes such a difference. So I'm going to leave that to dry because I know if I fiddled too much, I'm going to completely ruin it. Likewise, if you're struggling a little bit and it's all going a little bit pear-shaped. It's always best to, especially I can see that styling you'd go off, it's starting to dry. Stop. Take a breath. Come back in a five-minutes, have a look at it again. You can always probably won't do with this, but you can always re-wet exactly what we've just done and just tinker a little bit more. At this stage, if you're starting to panic and you're starting to look a bit odd to stop, stop and, and clicks yourself again and you can go back in and do another different layer if need be. I'm really pleased with how that has dried, so I don't want to do another layer. But as I say, if you're not confident with it, you're not pleased with the strength of it. You can just you can either rewet and include the makeup or you can just do the eyeball depending on what needs strengthening. Really happy with how strong that I make copies. Then just do the eyeball and strengthened. Because I was just way away from the camera. Ideally, I need a little bit of this taking out, but I will do that in the next layer where I can work on the outside. So I'll just just the tiniest little bit of a little bit thick there. And that will make all the difference. I just took the iron but I'm pleased with the inside of it. But the only thing that needs doing is that little catch light and there's a tiny, little, tiny little bit of light there, isn't it? It might be liked and it might even be, and we know each light. It could be a little bit of white eye, but it's some thank you. Just a little bit of light. So I've got my white gouache and I'll make that nice and thick and creamy. And we're just going to say, there's not an obvious catch light there, but I've always tried to put them where dogs looking and obviously he's looking up to the corner here is Nissan and he's looking up at the top of the owner, just going to pop it in there. I love that. I love the little catch like this, the tiniest little bit of light there. Perfect. I think that's all we need to do for that. Um, and that should be clear. I've done, as I say, I will think with the outside of that. In the next layer. 16. Hairy Dog Second Layer: Okay, This is a fun bit. This is where we put some little bit of coat texture in. You can do a few little bits. And I'm going to say tinker with LED lights. So I'm actually going to do that I bit first because I think that will help me. It's nice when the painting looks like it's coming along and in the expression, if something's not a little bit right, it can make you feel a little bit disheartened or a little bit down to. So if there's anything that you think can be tinkered with, sometimes it will help. Just lift your morale again. Do just, just going in with just a tiny bit. See that the fraction with my finger and that's just bought that little curve in there. Perfect. I think that's all we need to do. To do yours is probably perfect. Right? Big brush you to do three colors. So I didn't really put a lot of blue down there. So you can either, if you've got a lot of flow already, then leave it flat. If you feel you want a bit more flow coming down, or maybe you want it a little bit more flow that away. I hope that makes sense. So it's the paint tool flowing that way or vice versa, explore, flowing forward. Then that's a really lovely way to get hairy dogs and get some movement in here. He dogs, he just allow that paint to run, which will give you that nice flow. But we're just not wetting the whole lockdown. I'm just doing little bits and it's going to be very, very fine. I'm very little paint on my brush. So we're just we're just going to I've got quiet. If you haven't got this strong enough, a few of my little paintings, I've done many of these as you can imagine, summertime, this wasn't that heavy, so you could, for instance, put a nice amount of paint under here, your brush. And then you could do some nice little flicks down here. So try to keep everything loose. So I've kept my bowl, I kept my ball flat and I don't think I need much more movement. I'm getting you can kind of add a little bit of blue there and do some soften the edges and just pull it down. Again. You can change brushes. Do a few more flicks out there. Almost look at your own pace. If you feel this wet area, it needs darkening. Much put put a little bit of a line here because here you can see these, these are obviously his eyebrows coming in here. To this one. We can do some flicks out, see them showing up down there. Naturally. He's got I might just tilt this for a second. This away. See if I can get a little bit of a thicker brush. I'm gonna use it. Put a blue down. Organized. Jane got my two orange and magenta. Little bit like the ear. I'm just gonna put a little bit of color just here to see if I can get something to eat. And I'm going to come across that where we section that area. I'm just going to come across that section. We can make that look a lot. You soften that sort of area there. And he's also got a little bit obvious sort of marking here, isn't it? I don't really want to get too involved with markings that yeah. Now that's looking nice, some sort of step away from it. Let's have a little look. Alright. Again, this is, this is section here. Just needs a little bit of strength here. Yeah, that's better. I think I'm almost there. I don't want to get I know. It's very easy to carry on fill it and you lose that nice freshness that we've, we've kept. Again, at this point, you could rewet the ear. I quite like the ear as it is. I don't want to join it back up again. Um, but you could wet that. If it looks like it's a little bit stuck on. I'm quite happy with mine, but there's again, another option. Another option if you're hearing you come to paint your own dog, I'm going go into that a little bit more on the other lessons, so I won't waffle about that. Just watching any bubbles here because I've got it on a slight tilt which I can pour be dropped now that tilt, it's laying flat now. So if you have something like a tilt and you've led a lot of water run down, you will end up with little puddles here. So the best thing when you drop it, it's got a little bit of kitchen roll and just suck up those little puddles because you they can then run backup. Always leave you the best marks. Okay, so we're going to go here still clinging onto these, onto pick up my little brush. I'm just going to section the nose off. So we're going to the nose. Lovely little button nose. Must be a little bit of terror like to know the mix. Actually, she did find out. I know a little bit more about lily, but not so much about Marco. Terry's often have quite a button nose and that's a real character to them. So I'm, I'm just putting a little hump talking about mockup. Just putting a little bit of strength under here just to give a bit of weight, um, and we'll take a little bit of light out in the next chapter. I don't think there's anything else that needs doing on this. I'm really pleased with that. I know if I will continue, I will make it look a little bit messy because it's because we put we haven't wet the whole lockdown. They're sort of marks. It's very easy to get it looking very messy. So I'm going to stop. And if you're following me and you're carrying on, then I would just step away from it for a minute and think, do I need to really do anymore or I'm happy with this. So probably going to be a year. No, this is good. So just let it dry and then we can do the last little fiddly bits. 17. Hairy Dog Finishing Off: Okay, Onto the nice little, little fiddly bits. So first off, I'm just gonna put these little mouth, one that could have been done on the earlier lesson. But I felt because I've wet this little area down, I didn't want it to get too messy. So again, let's do the oranges because I use quite a lot of pink in that area. So I'm just going to put a tiny little line there. Not too much because it will look really obvious and you don't want it to stick out too much. Hopefully, maybe not, maybe not enough. Now, let's put a little brush, a little bit more control there. Sometimes it might be just a little line some way, it might not be all the way along. Sometimes it's quite nice. Break, break it up. It starts from up here, doesn't it? Might be enough. Soften that down. Yeah, Now that's enough. And again, little bit with their nostril. Let's paint that in. Up here. You always have a profile, say anything that's not a profile is a lot harder because you're working in 3D rather than just two-dimensional, which is this cute. So it's a lot of, it is just taking little bits of light out really and little bits of flicks of coat. So this little eradicated brush is perfect for that. We'd obviously got these lovely sort of flicks of his ears or hair vizier. So we can do some of those scrubbed little bits out. I need a I need a clean piece of kitchen roll. Okay. You see that care for you and take too much out because they say, because we've only done one layer for the joys of anything. One layer, we will maybe two in certain places is the color will lift out really easily. Let me know. I, I probably lost some of that nice roundness or actually just take a little bit out and gotten a nice source shape there to that, Becky. Becky, only Jenny, you got the money. We've got a little bit of hair. Cut me off. You can do this as white gouache, but I just never find it. Leave it looks like you've just put tip X on it. It looks a bit weird. If I'm dating myself with the word tip X was a white stuff used to build to put over your mistakes. When you wrote? Yes, it can look a little bit gummy and gooey. Say, I always find, I find this eradicated brush or a little small brush. This is brilliant because it really does take it out quite well. Little bit down here, these little beard. Just little bits and pieces. Just draw your glory lie but don't say don't get too carried away. And what? This line looks a little bit just a bit of a hard line here. And we were keen on hard lines. Just trying to soften that little bit in this squat that that little bit of her away. That's better. A little bit out of here as well. Sorry, I'm being random, aren't I should be going round working methodically. I'm not very good at working methodically. This little bit here, It's probably come to a bit of a blunt end, isn't it? So I might just scrub that a little bit. I might actually put a little bit of hair just to break that line up and to take a little bit out then flick a bit. Course we've got this little white lines, but you can do it the brush, little eradicated brush bits quietly briefing to do so, even though I'm not going to have a go at doing that, but you can, um, but yeah, you'd be feeling brave to do that. We will do it vertical bit of white paint. Okay. I'm not sure if I want to say much more out of there. Um, we'll get a little bit to try and to say, just to eat, if you do too many of these, it just looks a little bit weird. But we do need to take this little Oscar out and as long as that's dried, normally OID a good. It's quite often are helical V runs under the dark. Sleep. Again little bit out of the top. Just use my finger for that. Lawfully. If he left with any sort of where we've been quite doesn't quite watery. I'm the watery layers. Second, I trying to say these little lines here. Sometimes if they're right up against the edge, sometimes you can just swap those out. I haven't, haven't got any obvious to show you because it hasn't really done it. But if you're left with a tide mark almost, that can be a little bit there. You can just gently soften those little if they if it looks like it's sort of restricting, the pencil marks are holding in a bit. And that's actually what we probably what I should have done before we started wetting little bits down. He's too about the pencil marks, but if you're at this stage, following along with me, I would hang on because we've obviously done little bits of wet. But once it's dry, take the pencil marks out because that's what makes the difference. Like let me put that down. Yes. Pick up my white. Good question. Ever get that nice and creamy? We're going to do those little feet because I have a deep breath moment. Don't worry about getting exact. So don't panic. It's not quite exactly the same. And you can join, test it out a little bit somewhere if you want to, before you commit. Make sure it's a nice texture. Okay, deep breath. So I would start, don't stop right at the edge because literally like the flicks, it can go a little bit too far. So I would probably start somewhere there and the breadth going down. That's it. Sometimes if you lower it keep going lower, lower, lower, low in and it hits hits the paper. That's probably enough. Then it's probably, it's always usually a little, which would take them out with the eradicated brush. Usually. He's got it a little bit of light. That's nice and squared off. A light. She asked here. It can be done with a little bit of white. You can take it out like this. Coming out. Concentration or calm, quiet. That's done it. Take a tiny little bit too much out. So we wiped off the brush. Just almost full backfill that a little bit too much out. That's better. Just soften that down. You find it. If your brown looks a little, we've done this a little bit already. But if, if I've done that bit because I didn't make the shape quite right. But if your brown looks a little bit stuck, I'm sorry. If your eye looks a little bit stuck and the very dark sepia could do with softening. Just go round with a tiny little brush. Just touch the edge of that sepia. And you're just wetting round just this little area here. If you just touch the edge of that, that should soften. You don't get such as sort of stuck. Looking. Very handsome chap, isn't he? Alright. Just tiny little bit. Eskimo almost lost that a little bit too much. Again. You can always go back just like that. Somebody I quite often put little bits there and go, alright, and then take it back off again. So having a look, trying to get away from it a little bit. And I think he looks pretty good. Again. A little like the smooth dog can explain to your probably go away from this and come back maybe the next day and go. Yeah, that's maybe that could do a little bit and think, Oh, that's not quite the right shape. It's really rather than persisting now with it and trying to get something like that maybe doesn't look quite right. Leave it for the day. I would even believe it yet. Leave it for today, come back the next day and look at it again because you're either C, C it, and it will look right or you will know what needs altering. Because we spent quite a lot an hour, hour-and-a-half painting. You'd often don't see it. But another little tip, which I wouldn't I wouldn't recommend even if you take a photo now acting on it. But if you'd like, if you take a photo of your work, since trying to get a photo at bizarrely, I can see errors on my, when I take the photo, I can see the arrows on my photo rather than actually looking at my actual painting. But again, even if you do take a photo, I would I would step away from it for a day, come back to it and alter it then better. Yeah, He's been he's been lovely to paint. If you are now wanting to paint your own pet, there be lessons further down which you can then follow along. There's some examples of some other breeds that might explain some different ear positions have to cope with slightly different coat textures, although these kind of cover it. I show you explain how to take a good photo and how actually grid my own workouts. So if you're taking this class with the intention of painting own pet, then follow along on. Otherwise. I hope you've enjoyed painting these lovely pair. And I would, I would sincerely love to see them in the projects and resources pages. And I'm quite sure the owners of these two would love to see your work too. So please please do share. Because it'd be fantastic to see the work and thank you for joining me. 18. Your Dog Taking a Good Photo: Now here's the fun bit. Taking a photo of your own dog needs to be a profile side shot. Otherwise you're going to find the class a lot harder. I've got lots of information on my website. So I would strongly suggest having a good look before you head out where your camera. There's a handy link to the relevant bit in the assignment section of the Projects and Resources page. So now you have your beautiful image sat in front of you. I'm just going to show you on my iPad how I just tinker with the immediate little bit in the editing section. You obviously may not have an iPad, but most devices will have a way of editing. So obviously I'm going to show you on my iPad. So I go to the Edit button, tap on there. And that brings up that little menu there. And I'm just going to concentrate here on the right-hand side. Now as she's a darker dog, this is why I picked our young spaniel. You can see, I've lost some of this detail here. I could just can't see it clearly. This will help. And sometimes these will automatic button will help. I tend to not use that. But there's also a few selections here and there's exposure, brilliants. I don't find those as useful, but I like shadow. And if I open this up and down, you can see that's almost enough. I probably don't need to do anymore with her image, but I will just say you could contrast is often quite nice as well, and you can see how that affects it as well. That's a little bit too much. And it's nice to get the eye because quite often the I gets a little bit hidden. So that's a nice point to try and look for. And also some of these heaviness and the here brightnesses sometimes useful. Again, you just have to find your own sweet spot for your own image, um, and it's just a case and you're, I just scroll up and down and find what I think is right sort of image. And that's nice, that looks, looks nice to me. Obviously, you can go on and do this black point saturation. None of those are really relevant for, for what we need. So then we just put the done. And you can see that's that's enhanced her. And she's all ready to go for our reference photo. 19. Your Dog Gridding Out: Now I'm going to show you how to grid out your work. I do use this quite a lot in my own professional work, especially commissions, because there's obviously imperative things are in the right place for a particular dog. Especially things like the eye, nose, in any sort of distinguishing features they may have. So it's a it's a very, very handy tool. I agreed it and then I always drop the pencil marks out because I feel it restricts me and hold to my painting in. But it's useful to get your, your painting in the right, everything in the right place. Especially I think the looser the piece of work is and more reliant on particularly distinguishing features. So there's plenty of apps out there that you can download and find. I personally use one called copy it. And I've used it for a long time. So I haven't looked elsewhere, but, um, I do have a little search and there's lots, lots you can use. So if I run through how I go about getting my little squares on the page, that will probably be useful for you. And obviously it's a great tool to obviously downside you're painting or make them larger, depending how big squares are. So the larger the square, the bigger the dog. So it's a handy tool to upsides you're painting or downsize it. So I just use a ruler and obviously mark out how you measure the squares and say, you can see on here, she's got she's got 12345. She sits amongst five little square. So you you position your five squares out and it's good to, before you start getting carried away, haven't checked that down. 123456 squares all fit into your piece of paper because it got off and I get Kampala, they all fit and then forget that they won't necessarily fit the length as well. So yeah, that's a little tip I use to use the full fell off. Then you obviously greeted her workout. Each square goes down, marked out, but keep your pencil marks as light as you possibly can. I've put mine a little bit stronger just so you can hopefully see her. But what you don't want to see, those pencil marks went to Europe, the reverb them out. And equally, you don't want to be rubbing the watercolor paper a lot because that will take the surface of the paper off. So go really lovely and light. So once that squares, once you take a grid this down and then you obviously greeting your dog. So you use I tend to start at the top of the head. It's just a starting point. And you, obviously, you fill in the squares as you go around. And sometimes very important it'll areas. I will often do another little orphan freehand actually. You see there. And that's just so I make sure that's really, really bang on the right, in the right position. And angles are quite useful. So obviously, you've got the grid to help you anyway. But I find, if I imagine that's a clock that going down to every 11 o'clock or five o'clock. So that's quite, I find that quite useful to get, get the angles right. And with a fluffy dog, she's obviously not particularly fluffy, but she even be a scholar, a little bit of hair on her ear. Try to sketch out what would be just like here. I know she's had a beard. Pull it a little bit on my poor little spaniel. You don't want to draw the bid out. You want to try and get if you can see where the actual physical bodies rather than the fluff. Because I think I probably said this in the hairy dog. If you've watched that. If you grid that out and then you pull the fluff out, you're obviously your dog is gonna go look quite misshapen. So be careful of that one. Say, little top lights I caught, I will quite often put the fluff on. So she's gotten a little bit on top of her head off, sometimes sketch that in. So just to remind myself, I think that's probably all you need to know about gridding out. I think the rest of it is fairly straightforward and makes sense. I'd say just rub those grids out. If you've got a occasional will leave a grid on very, very occasionally if it's a very complex picture and I need to refer back, I will say leave maybe a few lines, or occasionally I will put the dots on the very edge. And then I know I can, with my ruler wants those marks. Once I've rubbed the physical squares out, I can refer back and just line something up if it's got if you've got a lot of paint, say like a black Labrador, and you reliant on some of those shadows being in the right place. It's sometimes nice to refer back to that greed and go, Oh yeah, that's right. I am right. Just to have something to boost your confidence that you are correct. I think that's really a gridding out and say, I think you're ready to start painting once he's all gridded out. 20. Your Dog Tips: Okay, Now you have your beautiful dog already and sketched out and waited to be painted. I'm just gonna give you a few general tips to get you going. And then I will run through just a little handful of breeds that are hopefully capture some of the different coat textures and ear length. I hope you can appreciate there's obviously a huge variety of breeds. Anything from your ball breeds to the beautiful sight hound with their long noses, coat length, ear type. So, um, there's a general, the general pattern to this. So they don't get to keep the formula Nice and simple. Really. This little painting, she'd only take actually painting time 30 to 45 minutes. So it's a quickie really and it's just a little capture of your dog. Not the detailed it we're not going into for textures and aren't going to put those in individually. It's just a little snapshot, a nice quick paintings from afar. You're like, oh, that's beautiful. It's a lovely loose and it's just captured that dog in a, in a quick loose style. So before I carry on waffling away, I've called it the little, little hints. I have them all written down on a piece of paper, so I work my way through them. As I say, don't get caught up with detailed, don't try to do all the individual little hairs. It will just result in a very overworked piece. You've just got to have the courage to put that pain down, allow it to move and give it time to move is a biggie. And even I was a bit of a culprit of that and panicking that it hadn't moved enough, but it will serve to have, have faced. Look for dividing lines. My lovely pop here. Obviously she's got rather large ears. So I obviously start, start with a year. It's always a nice starting point. You've you've got something down, you've started. It's not a blank piece of paper. So that's obviously a nice, nice divide. Then I did her head, then I did a body, but more of that in a minute before I start telling you how I went about it. But say with every breed look of it, look for a divide where you can section areas up. Don't put cooked details. Even in my own professional pet portraits, which takes me a vast amount of time. I never putting individual coat texture, so I won't do little tiny hairs. The best thing to do if you want examples is either have a look on my website. There's a few examples there, or Instagram or Facebook, or you may be familiar with them anyway, but it's worth having a quick look back and just seeing that I don't do any of those very precise, precise work, it's all very loose. Turning over my page, I will suggest cutting out a template if your dog, because then you can do multiple dogs. You can have a go with that, that technique during that time didn't quite work. You could try again, or maybe you want to try a slightly different variation or different sectioning off area. Anyway, it's quite handy to have a template, I think. Okay, so I'm firstly going to run to my little puppy here and give you some advice on a longer ear dog. Like she is so very similar to the hairy dog. I put a lot of color here and I just ran it further down. There's no difference. I tilted it. She had a little bit of a a flow because if you look at the photo, there's a natural sense of movement down there and that tilting is good. Um, so it's, it's, it's it's better on a long-haired dog. You that you can then always follow the line of the coating gives you a nice sense of flow. Anything special with a spaniel that, um, again, she's got little She's a little bit of a mix between a either a hair, it you always smooth ER the sheets smooth round her muzzle and she's got some hairy little bits on top of a top knot, no ear. So she's a little bit in-between, but a same rules apply to us. There's nothing different there. Again, just a little wording on the coloration. As you can see, she's very heavily, she's very dark on the top and I've almost switched the colors round. But to me that's still my dog. So don't get too hung up. If you've got a liker a colored dog that has she's got a black top and she's got a brown muzzle. Try your hardest. It's hard when you're looking at two because you want to capture that. And that's one of the reasons we did some colorful colors rather than the natural dog colors is it stops. It stops. You. Trying to put color in it because we've got unnatural colors as it were. You can concentrate on where you're putting the paint, not trying to concentrate on the colors. So I think she's a good example of if you've got a breed that has different colors in her head or his head, then don't, don't worry about that. I would say I say with a smooth dog, we did the little patches and we can do to the light layers. But if you'd like this, Lucas say, I haven't followed her colors at all but yet, I still think this looks like her. I think that's all I need to say on this little one. So I will move on to we have a little aka *** kind of air. So it all these have been painted on non stretched papers that are a little bit little bit bowed. Again, that didn't matter if I'm honest. If you can't be bothered to stretch your paper because these are so natural and loose if you get watermarks, I think that all sort of almost adds to the joy of them. So I've used a little bit of salt to try and create that texture of a very curly coated dogs. If you've got a poodle or Kaku has a total of tight coat, maybe it's been clipped then. As we drag that color down, I just hope you can see I've just put, it'll salt just brings with it along that line. Leiloni ear, say don't, don't worry too much where it all goes better. It just gives her a little bit of texture. And the other, the other little thing we'll see I did the ear first as normal and I did a dividing line here. Little bit like our hairy dog. So I did the model and eye area first and then carried on down the body very much like the hair you on, um, and then pulled out little twisty bits. And again, that will give you an impression of what the coach is like. It's the outside, is the little bits that stick out. They will, that will give the viewer or you an idea of what their coaches like as well as doing, trying to do little bits of texture. And just a word with when you actually sketch out a hairy dog, try to put the line of their actual physical body, not the line of the hair. Because what you would do if you do the line of the hair and then you flick out your dog suddenly gets fat or larger or in a miss shaped looking looking hound and it was a thing I used to fall, fall, fall off. So a good tip, that one. Then we go onto this was actually one of the finalists of the hairy dog competition. She was beautiful and I just felt I needed to. It was a good example of a quite a long coated dog I thought might be handy for you. So again, she had a he I'm not sure if the he or she of her money, so I'm sorry if this is your dog that got remember we did the ear first and then just as the ear was drying, I just pulled all this down and kept adding color to the top so it flowed. And obviously she would have been on a good color Chic. She looks like she on a tilt and ran and I just flipped out as had one layer over it. I haven't even done any second layer. I'm fiddling. I don't think even on again, that was divided off. This was left to dry. Then I wet this area down and painted that into this. There's actually no second layer there with any sort of structural sort of structure to put in just the eye. And done. I think she's really pretty like that. It's so easy. I think we always have this idea. If the painting has got to be good, you've got to put the time in. I think there's always like, Why can't possibly be take me 30 minutes to 40 minutes. That's not long enough. It must take longer, but quite often I think it's a trap we all fall into, is that it has to take a long time to be good. And I think this one proves you can do an AVI like lovely light piece and have an attractive painting. So I think that's all I know. I was going to say. I'm for her. She used a rigger brush, which I'm using here is a bit of a pointer because that's got a nice point. And then it holds a little bit more water. And again, it's quite nice to very brush sizes just to get the difference. Coach. You see that's quite a big brush there yet. I've done a little, little brush there on the ears to pick out the very fine here. Again, she's a little bit of an example of my puppy. She's a quite a dark colored dog, yet. There's no I hadn't picked that out in there. She's just it looks like I hope I haven't done the color as such. Okay. So our next little zone pore is a Labrador. How could I not do a Labrador? Obviously, that's a smooth coated dog and that's always I find smooth coated dogs are better laid flat without any tilting. Because obviously you're not trying to follow a coat line or get any sense of movement necessarily. Get just Obviously when we did the normal ear drop color, divide, pull a lot of color here and I drag that down. That's actually given a sense of movement without necessarily tilting it. So just by adding lots of color here, wetting it down and pulling, dragging it right off the page. That will give a little sense of sort of movement. And I've actually sprinkled little salt in it, taught entirely sure why. But again, it just given a little bit of texture. I'm a flat ear is painted very much like the right ear is not, uh, not, not anything different. I pull a lot of color here. I'm sorry. I went to the whole ear down and put a lot of color here now again, allow that to move. This did I haven't even done, done a huge amount of sort of second, second layer on, on this one. I just don't think it necessarily needed it. Again, it's these you've just got to look at your own piece and judge, where you think you need to put a second layer on there. Some little bits of the year would have been I could have done. But I think again, that's given you a nice little fresh piece. I'm glancing down at my notes. I haven't been able to get that line out very well at Labrador or flat flat eat dogs. Dogs were dropped two ears quite often have a lovely line and light here and I love taking it out. So that's a nice little hint and that can divide an ear if it looks like it's running into the body, it can just lift it out so you can see the year. So that's a nice tip with a flat and a droopy, droopy ear. You know what I mean? An ear like this. And last but no means least, a ball breed. And there, they are fantastic to brush, to paint. I love painting the ball breeds. Again. You've got a lovely sense. You can do a lot of dividing, either with dividing the areas up and wetting them down or using the dividing dividing these little parts up with those second wet layers. So just putting a tiny little bit of paint on here and then wetting back. And yet that will create these lovely folds. I can remember this was divided. I would have done the year first. Wet or this down. Again applied same thing, drop color, color, color, color on top. Like that. Then just drawing, pull that down to this, then pull it down further down. But this was done. Once everything has dried, I then put this little area into that divide the pop a little bit of salt in there. Again, it's just for a little bit of, just a bit of interest. You could try cling film, which I haven't done any on any of these. But that might be quite interesting on a sort of a hairy coated dog have done in the past a long time ago for a commission on it that work quite well. Actually steady the chest hair and things because you can almost manipulate that film into the shapes. And yet it gives you a nice silver natural look. I don't think there's much more to say about this lovely, lovely one. Better. Ball breeds are lovely. So if you find yourself a bulldog and you haven't got a dog, maybe. You want to just try a bulldog or a ball breed. It's well-worth doing because they are very satisfying. Satisfying indeed. So I think that's my examples taken care of, and I hope this has given you a little insight and giving you a little bit more, some more tips to carry forward And have the courage to do your own dog. Because it's, it's amazing if you suddenly look down and go, Oh my goodness, I've just painted my own dog. That's fantastic. Sort of analogy I suppose is I like to think I've given you a box. And in that box is a loaded techniques. So you have to rummage in that box and I have pulled out the ones you think are relevant to your dogs. You may put some of those back in and pause and other ones out and do a couple of paintings and see which ones resonate with you. You may like a certain style of a certain look. Yeah, I hope this has given you some tools and has inspired you and just opened, cracked open the door for you to sort of jump through and have a play, just, just don't, don't be too worried about it. So I think that's why it's nice having a stencil. Because you could do multiples, you could even do multiples together. So it takes that pressure of doing one, that one has to be perfect. So go forth and have fun. 21. Final Thoughts: I hope you enjoyed this class and you plucked up the courage to paint your own dog. Watson achievement. Isn't it amazing that by placing paint onto wet paper, you can create such magic. But remember to keep everything light, your hand, your brush, and the amount of paint you use. I hope adding the subtle layers to form structure helped. Again, remember to keep these lovely and light too. If you feel you've lost your way at any point, remember, is better to step away for an hour or so, rather than plugging away, trying to correct things, you'll be amazed at what a fresh pair of eyes will see. So we look forward to seeing you in the next class.