Hare In The Corn. A Free-Flow Watercolour Masterclass with Jane Davies

1. Introduction: Hello and welcome to this intermediate Watercolor class. Today we're going to be painting this inquisitive hare In the corn field. This is the fabulous class packed with easy-to-follow, inspiring watercolour techniques. It also lends itself to be painted in chunks. If you haven't got the time to spare, to tighten the whole class in one sitting. I am Jane Davies. I live. Paint, teach, walk while lovely spaniels in the beautiful South Downs National Park, England. Over the last 15 years. I've taught myself there Freeflow 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 is led me to teaching others, either on a one-to-one basis as part of a group in a wonderful studio in the heart of the South Downs. Can also run a successful commission-based business, painting pet portraits and wildlife Art in my own homes, GDN. In all my classes, you will follow along in real-time. What I can guide you to keeping your work loose and fresh without over fussing. I have over 20 classes available on Skillshare. Now, if you're just starting out, my three beginner classes will guide you. Then you will find over 20 Masterclass is covering a wide range of beautiful subjects. In each one, I'll share the techniques I use in my own professional work. We're have a lot of fan together and you'll gain the understanding and confidence to incorporate everything you learned into your own work. Plus our share a few my tips and tricks along the way to. As ever, I provided you with a wonderful reference photo along with a downloadable template for you to pretend. The template gives you a stress-free drawing so you can just enjoy the painting. I'll be showing you how to achieve that wonderful flowing background with a backlit cool. Also want to show you how by sectioning parts of we can achieve some control and different effects on the paint. I'll be guiding you to creating that lovely expressive eye. Its easier than it looks. Of course, are share many of my professional tips, tricks and musings as we work our way through the class together. If you'd like to learn more about me, all my work, please pop over to my website at Jane Davies 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 Project and Resources page. I love senior most PTs. 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 join me. 2. Materials: Well, welcome along to this or Wonderful hare In The Corn class. I think you're going to enjoy this one. But first I'm going to run through all the materials I'm going to use today. And I'm going to start off as I normally do with my lovely selection of Daniel Smith's paints. Now, just a word before I rattle my way through this, or these can be found on the projects and resources pages, along with a lovely reference photo that we were very kindly allowed to use from Frances Crickmore. Now there'll be a link on the projects and resources pages to her, her amazing Instagram page. So it's well-worth having a look because her work is really beautiful. So I'm going to start at the top. I've got a Goethite, Brown Ochre, which is a lovely color, bitter granulating. And it's one I've used a lot. Just probably a word with paints are people often say, Oh, I'm not sure I can afford the Daniel Smith paints. They're quite expensive, which they are more of a top-end paint. But I've had this now for two years. And I've used it a lot. And you can see it's doable bit of paint left in there, so there worth the investment. I think they are anyway. Okay, so we've got Transparent Brown Ochre, which is a lovely rich color. And I've also popped up a little swatch sample on the Projects and Resources page. So you can have a look at the colors individually on what they kinda look like. Burnt Tigers Eye, Genuine, a real firm favorite of mine. Luna Blue, beautiful color, lots of granulating. And I've got Sepia, just a useful work or watercolour. It doesn't the pigment doesn't move much and I use it a lot for that. I've got Cadmium, Yellow Deep Hue just gives us a nice rich sort of Yellow, Yellow Ochre. And I've got a bit of white gouache. Now obviously, like I always say these classes, you may not have these exact colors and please don't worry if you haven't. I do pick these quite randomly, but they colors I like to use, but you will have equally lovely colors that you like to use and you know, how they behave and what sort of effects they give you. And that gives you a bit of confidence anyway. So go with the colors you have. If you haven't got the same as mine, so don't feel if you haven't got these that you can't do the class. So next, I've got the paper and we've got arches. Show you the paper, and that's a gummed pad. So that's got gum if you're not familiar with it. These are the edges are stuck down or nearly all the way around with the little. You can see they're little. You can see that it'll buckle. You can just run once you've finished your painting and let it dry. And then you can take that pace paper off quite easily, but it's gummed down all in all sides. Not quite as good as stretching, but it's nice just to be able to pick the pad up and start painting rather than going. I haven't got a piece of paper stretched. We should always a bit of a nuisance. See, I've got my Potter water and I've got some salt. I've got a little, this is my heart, which I use a lot and it just allows me to raise the paper up. Now we we work on it on a tilt in the various parts. And I'll also got an old tin, which I can also do exactly the same. Pop that up and that was just raises my paper a little bit more so I can allow without lovely painting water to flow. So anything really you can pop your, your paper up with is ideal. I've got a big kitchen roll paper towel and I got a little rubber, and then I've got my brushes and pencils. So obviously a pencil extract that. And I've got a fine liner pen. By no means a necessity, but they're quite nicely doing whiskers because they can give you a lovely fine edge. Equally, we can be done with a pencil or with a very fine brush. So that's a number two, I've got there and nice for doing the eyes and love stores. I've got an Eradicater brush, which I used a lot. And that just takes color out a night for doing little bits of wispy bits. So it just takes color out rather than adding in an hour Eradicater brush. I've got a number eight. I have another number size eight brush, which I've found to be a great shape and size. Not sure if he's see, but it's got a really nice big fat head, earn a good point. It makes it really easy to make those corn heads. And I've got a really large brush, but that was just for soaking the paper down. So you could easily do that with a number eight and it just takes you a little bit longer. So this one's not, not the central by any means. It just does the job a bit quicker. I'm trying to think of an else. I don't think so. Hairdryer. I do use a hairdryer. Just quickens the process of drawing the painting a little bit quicker. I do use that, but again, it's not a necessity. You can allow that to dry naturally and that generally gives you a better outcome or better painting. But if you're like me, you just want to get on and want to move on to the next stage. Just helps at drawing process a bit quicker. I think obviously apart from the reference photos or there's a template. If you're new to these classes, I always have templates that can be found in the projects and resources pages. So that will give you just a nice outline which you can work on that I think we should go and sketch him or indeed her out so we can get painting 3. Sketching Out: So obviously before we can paint, we have to sketch this lovely little hair out. So I'm going to give you a few hints and tips on the best way to go about this. Now I would really stress it's worth taking your time getting everything right, all these nice angles, right? Once that sketching is correct, then you can really enjoy the painting bit knowing that you've got everything correct here. So pick up my pencil. You might notice. So these ears of corn has got another shadow line round it. This is when we wet the background. We're going to leave this little area between the little gap between the corn and this line. We're gonna, we're not going to wet this area down, just that it gets gonna give us a lovely sensor light on the finished painting. So it's worth, once you've stretches, stretched, sketched your corn out, is to put this very light and make sure you keep it really light. As with all the pencil marks, I would try and keep them lighter than I've done here, but I do a medical heavier so you can see, but you really want to be able to swap them out without. So when you've finished your page, you can rub them out without seeing any of those lines. Yes. Just go gently, carefully around. Doesn't have to be exact. It's just a sort of a shadow around it. Again, if you've used the template and I always stress use a template because it will give you a nice shape, you'll get it. Alright, um, and he just allows you to enjoy the painting. So I'm see if once you've lifted that template away, if you have the means to do that, just make sure you've got all the shapes right because they can give leave a little bit of a blunt end. And obviously then you can fill in the inside bit. Make sure you get the eye in the right position. Say Take your time if you're one who loves to fiddle, this is a time to fiddle. Fiddle with your drawing. Get it right. Try not to do too much rubbing out because it will take the surface of your watercolour paper off, but just be mindful and just get it right. Obviously the, I get that drawn in nicely. I'm just all the shapes. Just, just take your time. You want this it'll cheek line. And you want this little line here just because when, who, and this Ear section here, because we're going to Wet certain section down one at a time. So it's worth having those lines in. But again, keep them nice and light. Again, just the body makes sure that's all sort of swept. We're going to, as always, you probably see from the finished painting, always gonna be really lovely, soft. There's gonna be no finishing in, so we're going to sweep that down. So don't worry too much about finishing that off because obviously reference photo goes a little further down, but we're just that's ideal. You don't need to go any further down. I think that's it. I'm just looking at my notes. Were those that anything else I was going to tell you that's helpful? No, I'm cool. That it is quite a, quite a simple. It'll build up and down. I might pop a little stent. So in audio template as well, if you're unsure of how to do those, but it's just a practice on a little piece of scrap of paper always helps as well to get that sort of movement in. But other than that, I think we should go do some painting now 4. Background: So as always say, is on with a FUN bit. Once you've got your drawing down, we can get painting. So we're first of all, we're going to do this background. So I've just got rid of some of my brushes if you want to, where they disappeared too, as I only need give me any need the big brush for this to get that lovely and Wet. And actually I'm going to start on a tilt, so I'm just going to tilt my page paper up. Just going to allow that water to start running straightaway. Start for top. And we are going to tell you what. Let's put a very gentle color. This is just for you to see where I've Wet down, but basically we're going to Wet everything down apart from me. If I fill that in. And you can see not obscure that. We can go up to that second way, that first line, that sort of shadow line makes sense. So this color is just so you can see what I'm going. You can see I'm making a little bit of a mess of this. I have to work a little way away from these, as I probably say in every class. Just so my head doesn't appear. Um, so it can be a gila bit candid sometimes. So right over that hare, I know it seems a little odd to Wet down the hare, but we're, the background isn't, isn't going to be too dramatic. So it won't really show. Once we thought painting the hair color there. So this is just for you to see. You can get the gist of what I mean. Just bubbling in and out. We will do really love in saturated. So once you sort of Wet down these little areas around the corner, you can then just add more water because it will just go round. That wetted area. Makes sense. Don't worry too much if you end up with it'll dry patches. I thought that it's almost as a little bit of interests and don't get to why? Because I quite often say make sure everything is nice and wet. But actually leaving little dry patches, we're add a little bit of interest to it. So I can also see as per know, there's I don't care how they get upset while I do know how they get upstairs. Naughty Dog's come upstairs sometimes. Okay. That is pretty much Wet. So I'm going to pick up I've already got my flight and I got the Cadmium Yellow and I've got the yellow ocher. I'm just going to use those three colors. And we'll just have a bit of PFK-1 radio which can add little bits of color. Don't forget, this will dry lighter. So bear that in mind if you're thinking, oh goodness, that looks too severe. Maury, it does dry. A lot lighter. Now I liked the yellow in this, I tried, I did one of my practice pieces. I didn't add too much yellow, but actually it just added a bit of warmth and I liked the yellow. So I'm going to make sure I've got plenty of that in there. All I'm doing, I'm just putting my brush in the tube, gently, just letting the brush almost fall across that paper. And because I've got it on a tilt, you can see that paper. The paint is running down that paper, giving me the almost that Corn like appearance goal, a little bit of that Luna Blue. So we can add it. It will be at that on top of the Yellow, obviously mixed in there. Everything nice and nice and loose. Try and get a little bit of yellow up here. Obviously bear in mind the top is going to dry quicker than the bottom just because we've got a bet on a tilt is quite nice to get a little bit of color up against this area where we've left dry. Just so when it, when we do the corn, rob the pencil marks out, you'll get that sense of light around the corners. What we're worried doing this really, just to give it a little bit of a shine. Some Hanshin Ochre. Don't worry too much about colors. I'll try to avoid putting too obviously too much color over the top of the hare. So you don't want too much over it, but don't do ain't too obvious or too stark. Now, what you're gonna do, you're going to find bubbling water. Just flick that off the end. You can see the end of my paper. Can you see that? It's jumped, just flicking it off. The Gazi. You can see the top. Having a look, is quite saturated at the moment. It's running quite a lot. So there's any marks. They got a little bit two's feel it's gone a bit too much. You can always just add more water and you could almost wash all these marks off at this stage if you wanted to. Look that we need to, but don't be afraid of adding the color. Say it will dry, lighter as well. A little bit of ocher with a Luna Blue. We can always add a horizontal line just to stop all looking like it's going running downwards so we can put a line along. Well, make sure we've got a little bit of strength up against this corn or Coolidge. I think I'm getting there actually. All to do too much. It's called a little bit of a kink in here, however good these gummed pad czar you still find with the amount of water we've added, you get little puddles, so don't worry too much. And keep that coming off the bottom as well as keep flicking off the bottom and just allow it to dry for a minute. Was he reminds very saturated and actually I might pick up my smaller brush again. And once it starts to dry a little bit, you can always add just a little bit of more strength. This is just a bit dry here I can see bobber my head up, definitely a bit dry there and the top, but I actually don't want to add too much on the top there. I'm want to keep a little bit lighter, but I do just lost on that yellow. It's going to add a little bit more yellow Sepia. Be a judge of your own piece. Yeah, that's nice. Really need to let this dry a little bit to add much. If I'm going to add any more painting, I needed to dry a little bit. It's quite saturated. And even though everything's wet here, let me just talk those down for a second. Kitchen roll off the side and I can just hurry. Thing is wrong with just soak a little bit up, pull up a big puddle in the middle here. That's okay. It's better to have it all nice and wet and flowing than it used to have it dry where it leaves In. This doesn't run and leave you any, anything interesting. Of course, if you're finding it's not running very much. You can also give it a bit more of a tilt. You can see how that then encourages a link to run and you'll get a stronger sense of streaky marks and down for a minute. Alright, I just wanted to let that dry for just to start going off a little bit. And now I want to put a little bit more, sort of a little bit more heaviness in there. Okay, now I can see this is just going off a little bit. I'm going to pick up a little bit of Burnt Tigers Eye. Just going to, just added, just gives a little bit more, a little bit more strength. It won't move as much. You'll get more intensity as it begins to dry. Just add little tiny bit. It's nothing too much. Don't just want some interests or after we're not trying to do the corn, the stalks, all the corn, just adding just bits of interest. I think that is enough. Probably. Attempting, isn't it? It's just so much been watching it will bleed and blend that can come, might have to leave it at that. But what I will do and as it starts to go off, It's a little bit of salt. My paper, which isn't ideal for this, but I will add some. You may have different paint paper, which might work a bit better. But I'm going to put some little lines of salt which will give hopefully the impression of some other corn heads. Let's say, I think other papers will give you a better or give. If you have other paper than this, it might give you a better effect. Suspect mind isn't going to show terribly bit damp, sticky. Probably I've been talking so much water around. It's probably got to go into my salt pot. Okay. Now, as ever, we just need to allow that to completely dry and then we can do the corn. But I'm you want to allow it to dry? I would keep it on its tilt. If you've if you're tilting you if you've had that on a tilt and just allow it to dry, I would suggest not using the hairdryer because you're going to blow that pigment around. If you're in a desperate hurry. Get on. Once it starting to go off, you can see it's it's losing its sheen. You can start adding the hairdryer, but keep it quite high up and then slowly lower it. Other than that, if you've got the time, just allow it to draw on its own 5. Corn: So how did yours dry? Are you pleased? I'm quite happy with how minds dried. Little disappointed with the salt, but I thought that was probably going to be the case because think I managed to get a little watery my salt, so I was putting wet crystals down. Anyway. That's my excuse and I'm sticking to it. I'm just going to leave them on for the time being, just allow them to completely dry. But we're going to do the call next. And I'm going to show you a really lovely, easy technique to doing them. Let me just put that one out of the way for a minute and get a little scrap of paper. If you've done my B and the lavender, you will know exactly what I mean because it's a very similar technique and I found a really good brush. And is it worth having a look at the brushes you've gotten? See if you can find one that actually does the patent for you. I'm going to pick up my go-to site. And all we're gonna do, she says is the paint on that. And we're going to lay it down 12. And you're just going to go literary back-and-forth. You can add a little bit of another color on there on your brush. If it actually gets a little bit drier, just take a bit of excess paint off there. You will find you get sort of dry edges on that. Can I picked up a lunar blue? You can see him start adding different colors if you wish. If you don't, you can just stay with the one color is quite nice as well. And they're actually quite long. Some of the ears of corn to pop a bit longer than the lavender viewer used to doing the lavender. You can see it's fairly easy. So if I do that again, so it's a point and I'm laying my buffer right down on the side, if you can see. And you're just going back and forth, you're twisting your wrist, even holding the brush sort of halfway up. And I'm just letting the mark of the brush give me some really lovely cool marks. And you can see now this one is starting to dry. Brush. My brush is losing some of the paint. So it's giving me a really good sort of corn appearance. So you can twist them a little bit more on the side. A little bit of the cadmium yellow. I can do on the side a little bit. So I can twist them. They got lucky. They got a little bit of a kink on them. And you can see just my brush that's giving me the mark. I'm not doing anything, particularly the brush that's making them arc. So hopefully it's worth practicing this before you hit your main piece because it's a, he probably got some really lovely sort of patterning on your on your on your painting already. So it gets a bit scary, doesn't it? You're like, Oh, I'm not sure if I wanted to do this. So getting a little bit confident with this, you can just run little white one down the middle. You can, then you get the gist, but have a play and you can see how lovely that is, the lavender if you haven't done the B and the lavender class, you can see how that easily transfers if you had a nice blue. Okay, Let's get that out of the way. Bringing the main piece back and I'm going to work on it flat. So I don't need that. Let's get that nice and straight in their lovely. Okay, I'm going to work from the top and then try and be a bit methodical. So I'm not putting my hand in it. So big brush, deep breath. Going to pick up. Again. You can vary the colors on each piece of corn, but I'm going to stop the Gothic because it's my favorite color for doing these. And you're going to work your way up. And stop. Just keep going down. Don't worry too much about you Pepsi key or keep your pencil marks in mind, but don't, don't get too wide if you're going outside them as long as you've got a nice flow going. That's nice. Yeah, that's nice. I actually going to put just a little bit yellow much go over the top of some of those just to get a little bit of quite a uniformed for me. So I'm gonna go to the next piece. Let's use some ocher. It's changed the color up a little bit. Again, just back and forth. This one's a little bit lighter. A little bit more water on my brush. Carefully, the positioning. You don't want it touching the hairs. Nose, I wouldn't have said, but doesn't matter if you do. Lovely, That one's a little looser, isn't it? That's probably prefer that one and that's a little, little chunkier. But let's do, let's have a little bit of cad mean and we're going to put the two colors on my brush at the same time here. Again, just exactly the same back and forth from the middle Have a tiny little bit of blue in there. You can see one of the easier corner is still green, can't you, in that reference photos a little bit of green and blue. Make green. A little bit there. Okay, and then down that one, that brush, and I'm going to pick up my size eight. And a little bit of go through it. A little bit of ocher, just going to get the stems in. Because really quick movement again, you can practice that on your, your piece of practice piece. Nice quick, quick movement. Back to my slightly bigger brush. And I'm going to, if you've got a pallet or something that you can get a nice, It's really a weaker, we don't want this too strong, but I'm going to do some, just some really loose essay. I haven't gotten a lot of paint on my brush here. You can see you can almost if you're using tubes, you can have a little table and you can wipe it around the edge of the tube. And then you've got a really washed out light to peace and just put a few pieces to say, keep your brush, everything very loose. Just touch in wash as they try practicing it on your on your practice, on your swatch. Choice practice, it'll peak, you've done the corn, don't add a tiny little bit of blue. I think, right? It's so easy to get carried away with this and add some more. But I like that. I think that looks all right. And what we would do, I'm going to let this dry for a minute. And it's quite nice actually, I will rub out these pencil marks, so I think you'll get an idea. Sometimes it's nice. If I'm trying to say, if I rub these pencil marks out when I start the hair, i've I can see what my background is going to look like when I finished. So it just gives me a little bit of a boost because I'm like, Oh, that's really pretty, I can see that low light there. If I've still got the pencil marks and I'm like, yeah, I know I can't quite see where it's going to look like. So just a personal preference, but I shall allow these to dry and then Rob those pencil marks out. And actually, while I remember, you can then add a little bit of salt into these cones while they're still a little bit damp and I've still got really sticky, what really is quite sticky in their dump? Salt. But again, that can give you a little bit more texture. This if you wanted to add a little bit more texture. So that's just another idea is you don't have to. So I tried to give you all the options and then you can pick and choose as you wish. Right? So now let's really make them, really do, make sure it's nice and dry. I'm just rub salt. Just going to rub that background all those pencil marks out. And this is where you hope you've done them nice and light as well. I'm going to get rid of this. That will be done much. Given the way you can, if you've got salt you put down for your ears of corn. And corn, you can get rid of those long as they dry out. You can see that's given us quite a nice fun little bit of a light behind the back of those cones. And if any of the lines a little bit hard and a bit of a stock for you on the finishing off bits, we can always soften. Some of these lines were a little bit hard and I do like to do a little bit more of the corn stems, but again, I'm going to finish, do the hair and see what the overall piece looks like and see whether we actually need more fast or whether I think the hairs as giving is enough without going over filling the background. I think he's, he's obviously the main he's the he's the star of the show is what I'm trying to say. So we want him to be at the forefront. We don't want the background to be as obvious, right? I feel I'm waffling away here. So once that said all lovely and dry, and we've arrived at the pinch marks, we're gonna get on and do those ears 6. Front Ear: Alright, let's do that frontier. We're going to do the back Ear a little bit later. So the frontier is the first one we're going to work on. And we're going to wet it all down. And this is a sort of areas I talked about in the sketching Out. Let me put this is just again for you to see where I've Wet down. We're going to wet all this area here. So keep yours nice and clean, nice clean water. Wait for that Ear. To those sections. You can see that little section runs a little bit into the head. And actually we're not going to put a huge amount more color than I've popped down for you to be able to see. Well, I've been because we're going to put that dark earmarking a little bit later. So we're just going to build up, it's just a tiny little bit of color. I'm going to use my Burnt Tigers Eye. Just going to put that down into that corner and allow that to run. You can see it's darker in that corner. Just keep it all up in light, just placing the coloring, allowing it to one. You see that's what we're wheezing up the Year little bit here at the front of the year isn't a color bearing in mind. We're not doing the very dark bar parts. We're just kinda getting to the background almost a little bit. Let's put that color down to pick up a little bit of Transparent Brown. A tiny bit of color here. The back of the Ear. One small amounts. So it just adding and just allowing feats is not moving too much. You'll always add my she is quite warm today actually. Feels like it's drying. Say as long as one, as long as all the air you're working on is damp, you can add more water, so say safer. This was not moving very much again, I can just pick a brush. I can just add more water as say, as long as the whole area working on is still damp. You can just add more water, just gives you a bit more time to carry on playing. A little bit more Transparent Brown up there. I don't want to do too much more is a very easy less than this one. When you get down there, see say you can see that's beginning to drive. It's just moved enough. That's enough. I don't really need to do anymore. Say we're putting that very dark layer inside layer in on a nother lesson. So that's really all you need to do. So try not to over fiddle is always thought isn't the more you do the better or baby, It's not often the case with Watercolor. 7. Body: So we're going to do the body next to pick up, pick up your brush, get it lies from Wet and we're going to wet. I will say halfway down. Let's put a little bit of color on my brush you can see about let go underneath the chin. Follow that line. Then just backfill it so that all without section is nice and wet. And the this I would say you need to have nice and wet. You don't want any dry patches because what it will do, the dry patch, they will just run around the dry patch and leave you obviously, a dry patch. Leaves funny little marks. Once that's really lovely and Wet, I'm going to pick up some slightly heavier colors. I'm going to have a little bit of Sepia, a little bit that Transparent Brown. And let's have Tigers Eye. Three tubes. We're doing is placing underneath the chin. Just nice amount at Transparent Brown is a lovely color and see how strong that is. And just allowing it to run will give it a little bit of a tilt in a minute to help it. Just get the color down first. Go. She said stronger on the right-hand side, little lighter on the left-hand side. Let's actually put those ones down for a second. Pick up a little Goethite. That and that corner as well, that left-hand corner. And what we're gonna do now with your, whatever you've chosen to give you a little bit of tilt your paper. We're going to give it a bit of a tilt. Might need a bit of more of a tilt. So skip that. We're gonna do is just to know I've got this on a slight tilt. You can see it's coming down at this angle is going down to what would that be? 07:00 ish on a clock face, which can add a bit more water, a bit steep. You can see it's running a little bit too much. You pop it down again. You can all obviously always hold the board or your paper. You can get a nice angle. I'm going to leave it at that, that seems to be the right height at the moment. A little bit of Tigers Eye in there. What cool and nice amount of paint here. Because what we're going to do it in a wet, the body down a little bit further down. Allow that to run two. We need a, I need a fair amount there. Get some of this moving, so we're going to wet the bottom and then pull some of that down. Nice clean brush. Little bit of a tilt. So I want it as a tilt us of a as it's going to 07:00 ish. If you find a lot of the paint isn't moving much, minds are not doing a huge amount. Be dried a little bit and I've put a hairdryer over this and my studio's warm so the combination probably draw loud it to dry a little bit too much. It's better. If we just wait to be running. However you can achieve that. You want it to be running. You see a slight dip. There are always way you don't want it to be. Can gain and give it a little bit more of a tilt. But watch out if you're tilting, there's gonna be a bubble at the other end. So be aware of that. Let's give that a little bit more of a turn up in the way up for a second. Now that's a one. Now you can see that's moving. He just want to be aware of this end here. Sometimes you can see where that's actually curving round because there's a slight kink in the paper. That's actually, that's quite nice. Just go with the flow. If you see something you'd like. Just allow it to happen. There's probably a little bit I want just something and they send them on the right-hand side are was, were, we won't see the hare, see the body of the hare. And we have to bear in mind if you've got your warm like I am, we need to do some flicks, so it's a beer multi-tasking going on here and we need to keep a few things on the go at one same time. So I've got my number two brush and I'm just going to do some flicks out of at the top here because I could see this. It's already starting to dry on me. Nice. Keep it nice and loose. You're going from a little away in and just pulling out so you're not working right at the edge. Try to be given really quickly, try to be random. It's really hard, isn't it? We want to be very exact. Thank you too many. Say was I always say the flux can get a little addictive in your way and you're flicking like crazy. She going to be mindful of this bubble, have got to have water. And actually if you've got a big puddle here, it will stop some of this water continuing to run because it's got no this has got no way to go because you've filled this area up water. So keeping that this left-hand side less than whites her and just keeping allowing that to them. Keeping that nice and clear of water will allow a lot of that paint to to carry on moving. Sorry, I got to buckle there. You will see why pushed the paper down. It's allowed the paper to, the painter to run. Again, yours is going to be different than mine. You're going to look, have different, um, different patternings and how these are working. So you have too little bit go with how your piece is looking. If you need a little bit more on this right-hand side and pop it, it will be down. The minute you're going to go. That's looking quite nice at the moment. I like that. Then stopped. Don't know, don't don't ever over EKG the customers. They say, I'm going to just pop. If you find it running too much, just lori down a little bit. Just low my do you want it to still stay at that angle? Now is a case of almost watching it now. Watching and there's no big puddles at the bottom here. Just to kinda keep softening the edge as well with a clean brush and clean piece of kitchen roll. So I had to grab that from the outside this year. We just put that under puppet at the bottom of the damp area that will allow it to suck up and suck the autopsy. We keep that nice. Soft and loose. Enough here. Yes. And you will get to a trickier stage. And I said this is, I wouldn't want to add any more paint here now because this is starting to dry and it's at that stage, we just want to allow it. If you if we got to the stage where once it is dried and we feel it wasn't strong enough, it's better to allow this, this will first layer to dry and then add a second layer. I'm not planning on adding and adding another layer on this class. But if you found yourself very washed out, it's a better option than fiddling this layer. That makes sense. I just need to allow that to dry and I think we are there really. I'm just just keep an eye on it as it as it dries just very gently soak up and just dab up that any of that hard edge that might be appearing. And you just have to watch it as it begins to dry 8. Head: I hope you're, your body has dried nicely. I'm pleased with its little kink has gone round. That's just a purely that the paper was buckling and the paint ran around the buckle. So C does not always pay to have your beautiful E-flat stretched paper, which I never quite seemed to achieve. Okay, Let's lower this down and we're working mainly flat now. So I'm going to pull it to one side. I've actually changed my water, so I've got some nice clean water and nice PDF, clean paper towel, and we're going to start working on the face or head shots. I pick up your brush and we're going to Wet and let me do that hopefully helpful thing. Pull a little bit of color down for you so you can see where I've got where we're going to Wet down. So stop around the top of the eye. We're going to go down the nose to the Choppy, choppy bits. Cheek cover over the nostril. And we're gonna go round cheek around the eye and go, go right up against it. I don't want any joy patches go right up against it. And they were or color. This color is just for you. And then we're going to go down to meet up the body. And you want this nice and wet. Again, if you've hair dry this I hydride the last day to this, your paper's still be wet, so make sure there's plenty of water. You've got nice. You don't want it paddling. Don't get me wrong, but you want it as close to that as possible. I can see a lovely, nice sheen. And we're going to start as I got this and start with the Goethite. Just take up it of water sitting on the top of this brush. So tube. I'm just going to pop a little bit down on that nose, just allow it to run. See, it's got quite a nice sort of soft little nose has one. I'm going to pop a little bit of Transparent Brown right up against that edge with a mouth. Is the crease soil that wasn't very helpful where the creases there underneath and AASHTO, I'm just popping right up against that age, allowing it to blend outwards. And let's pop. Keep hold a Transparent Brown. I'm gonna have a little bit of Tigers Eye. And I'm going to have a little bit of Sepia. What we're going to do is just working on the very obvious dark markings at hairs have. So let's have a little bit of Sepia. I know the Tiger, Tigers Eye has this lovely way of spreading. So I'm good. You're going to start right up against this edge. Nice and strong. So ideally we're just going to do one layer. We're not going to do adding any extra layers. You want it. Be bold. Don't worry about any lighter areas. So if you just work in the dark, it would just gently spread. You're going up underneath is a very obvious dark markings underneath the eye, like a mask almost. Key go on. That reference photo is really handy to have it obviously open. And flick your eyes back-and-forth. They almost superimpose a little bit of Tigers in because that's a lovely color that just pushes all the colors out. Add a little bit, are there to get that moving. Now is a nice strong line that runs down to the body. I'm just gonna put that in a little bit. A mixture of IPO quite often use different different paints to Sepia doesn't move much. So I can use Sepia if I want the area not to move too much or pop some Biddle to Tigers on top, and that will then move it. Transparent Brown is just a really nice rich color, leaves a nice markings as well. Be careful. It's very easy and I think a few people do this. You clean your brush and you don't take, people don't take the excess moisture off and then go back to the painting and then you adding too much water at that stage. So NAV clean your brush, take the excess moisture off. So it's nice damp brush, but it's not loaded with water. Underneath. Doubling. Then we need to work along the top and decided to go underneath here, because I can see this is a little bit wet. So if you've got to unstretched paper and you can see you have to judge it. If one area is a little bit wet or it paddling, move to another area and just allow that to dry a little bit so I could started to dry again now. So that's a started up here. The paint would have moved too much because it's too much water there. I've got Tigers Eye and Sepia. I'm just going to again just tap, tap and allow. Say these colors are so lovely and soft. They stopped Spreading too much or looking to, to bold, we can always take them out. Go run that Tigers Eye down. Tigers. I got myself confused over the tubes are wearing my hand doesn't matter. Just take a little bit of the outlet. Transparent, Brown is quite rich. I can see this has moved a little bit too much. And again, partly that the paper's a little bit warping a little bit swung, just move it down. Just very gently. Damp brush, just move it. You can see then you achieve that. So clear because there's a very obvious like marking that month down to the cheek. We don't want it pushing up too much. Little bit right on the top of the eyebrow. Just so you can see there's something there really in you're not left going on with the end of that. It does that start when did not finish? Again, I would suggest the minute you've got something you're pleased with, then stop keeping my wheezy my eyes back-and-forth at reference photo, looking where I need to dark, if I need anymore, I need the more strength to kind of pop Tigers Eye where I wanted it a little bit then again, as it dries you, what you'll find your paint won't move as much. So this is where you get a little bit of control. Most Sepia up underneath it. So quite a strong walking up underneath the eye. Don't let that, the dark color above the eye creep right to the edge of the ICA. You can see there's a, they have a lovely clear I'm wait. What's creamy, isn't it? But we're going to try and reserve the white paper color. I'm still trying to bully its way up, so I'm just going to push it away, push it down. Be careful when you're if you're cleaning or moving again, don't add too much, don't add too much water. You want your brush. I don't know if you can make the outs quite damp, but it's not Wet by any means. I think that's doing all right. Actually, I'm to think of it stage if I just need to allow that to dry, I'm just making sure I've gone round everything. Perfect, right? I need to paint because you can keep fiddling and not improve matters at this stage. So just allow that to dry 9. Nose and Neck: My onto the next little section. So we are going to wet down the full cheek. Nice wet brush right up against the existing color, down to that mouth area. If you needed a little bit of color there for you to see their insulin Dr. Wet. And we're going to nice, big and bold. We are going to use a Transparent Brown. I'm gonna put a nice flower color and white in the middle and allow that to just gently spread out. It's not moving very much like that is. A little add a little bit more water and watch and see how that goes because there's actually a really nice clear area there. So little light area to say. Just ties it gently to the right-hand edge, but I just just be patient and allow that to move because it will do. You just have to be a bit patient and we're just going to watch it for a minute. See how that moves. The risky now, if you were to put a hairdryer over that, that would move right to the edge and it will all become just one color. So we're going to be patient and allow that to move on its end. Okay. So once that's dry, doesn't have to be bone dry but just just dry enough. We are going to wet underneath here. So yeah, you don't want it you don't want it Wet, Wet, but if it's a little bit damp, it won't matter too much. Wet section here. So the clear section we've got left as what you're waiting down. And we're going to pick up, let's have a little bit of Tigers Eye. And we get, you're going to pop Tigers Eye right at the Y to the front. Little bit of a Russell. Now that to kind of run down a bit of Goethite in there as well. So I'm a little bit of along. An to do clean your brush and watch. You're going to wet underneath here, underneath this patch here and run some of these down into the body. You can add a little bit more color. Now, I'll go a little bit of Tigers Eye. I can talk about along that edge, that very strong edge that we added the color to when we were doing the body. Can you brush again? You could just pull out. This will give you a little bit of extra texture as well on the on the body. In any edges up the height might be a little bit. And what we're going to do now is to go to this layer here, the back of the Ear. Little bit we've, we've left. Let's do a lesson. Or the body is still wet. I'm going to add a little bit of Goethite the top. Just allow Transparent Brown maybe. So we're joining those Transparent Brown at the very top that we use for that Ear. And Tigers Eye should allow that to run into the body. You can give it one tilt if you want to. But in mind, TV doing okay, without that, we can do a couple of more flicks if you want. You need to shop. Very clever. We can do some tiny, tiny little flicks here underneath the chin. And Awesome, quite cute little ones underneath here on there. So we can pour some of that out too much. Have a look, see what it looks like if you need a little bit of strength and where there'll be afraid to add that up a little bit underneath there. That down. Looking at my reference photo all the time. He sees joined up now kinda makes a bit more sense, isn't it? It's then it'll segments is it looks a bit odd, better. Hopefully you've kinda see now you can take a bit color out here. We need be. So judge, your own piece. Put that down before I get carried away and end up going all the way down the body, It's so tempting, isn't it? Better? I think that just needs to be allowed to join it's on its own. Lovely, right? 10. Back Ear: Think we should get this one. I will little back Ear now, so let's do the back Ear again. I don't think I probably need to put any color on my brush. We're gentle wet the entire back, Ear down to big Wet Brush, all the way down. Keeping those pencil marks used, you've probably taken a little bit of time to sketch it out nicely. So try to keep when you pencil marks on trying my best from the distance I'm working at probably your head up and down. Make sure, I mean, problem, sweet, ducky head up and down. You can see whether you've got any dry patches. You want it. Oh, and I think I would say these things expecting you to know what I mean by bubbling your head up and down. Guess if you followed a few my classes, you know what I'm talking about? Okay. So only the blue bit of Tigers Eye. I'm going to put that right at the bottom and allow that to blend upward. Might have a little bit of Luna Blue, just a touch. A little bit of blue in there. All about allowing just the thing will keep it lovely, fresh. Just have the competence to allow it to move on its own accord and give it enough water to move into as well. A little bit of tiger line up the top. Now we're not doing any second layer like we are on this one. So this is going to be it. So, but what I personally don't think you need an awful lot, so don't get too carried away. A little bit of Luna Blue and we put the Tigers Eye down and pick up Sepia because the CPU doesn't move so much. So Luna Blue, pop a little bit of CPU on top because that's a nice color, that doesn't move. We get that lovely dark patch. So hair-like, isn't it? The dark patches? Dark markings on the tips of their areas. We've just started getting a few hairs where I live in their amazing to see as something, something rather magical about them isn't in I've seen them down now. Come down the drive. Get very excited. Okay, have a look. So job draw your brush away. Have a look. See what you think. Was it look. Papa, tiny little bit Luna Blue. Want a nice bit of strength here. Tapping. If you have got Tigers Eye is a really nice color because it does granulating gives me, give you that sort of texture those years. So it's a granulating color for his ears. I think. That is it. Nothing. Put those colors down. And again, just allow it to dry. I mean, we will be doing the ear, the ear, the eye next. If you're confident you're not going to put your hand in it, then you don't need to allow it to dry. But I will 11. Eye: Its own with the eye. Now, if you're standing like IM, and I always suggest people staying because it's just nice. You got to be a Freedom of your arms and risks and things. So, but if you want to take your weight off, the eyes are nice time to do it because it's you sit down and get nice and close to it and giving you permission to sit down really. Okay. So we've a little brush, we're going to pick up the Ochre and a little bit of cavemen. And this is really straightforward. So we're just going a little bit of color at the same toy I've put to the colors on my brush at the same time. And we're just literally came to paint it in. Nothing complicated. You can see. So we're doing. If you scroll into your picture, you'll see this is where it always, sometimes gets a little bit confusing. You can see the whole eyeball or the pupil will still not making myself very clear, am I am. So there's obviously the pupil, the dark part. Then you see the yellowy orange part. And then you can see there's a little line that goes right at the edge. So we were doing the whole of that. Hope that makes sense because we put the eyeball in the pupil in soy. And then we'll put those markings around. The moment we're doing the whole lot. That's all you need to do for that really. And then we put those colors down. And then wikis Sepia way, a nice rich color is, you know, it doesn't move too much. Clean your brush, take that excess moisture off and make sure you have it's not your brushes into Wet. And then we're going to go over the top with staying inside it. So we're going into the yellow, we're not going onto the outside of it. We're going Inside. Still don't make the eye to any bigger. But we're going around the top and we're going to swing around. We're going to put that little edge. You're working a little bit into the dry and a little bit into the the yellowy orange color. We've just put down. Very gently. You get nice ring. We're going to work down as a comes down to like a little V, doesn't it? So we can do that little V. And then we're going to do what I would call sort of eye makeup underneath. Nice. So painting really she just using not what is nothing Wet here. Just like normal Painting. Going right up against the eyeball. So isn't quite this and quite a tricky, but there's a lot of the lines going on. So have a good look at that reference photo. You want to reserve some that little white. Can you see there's a nice white present there underneath the eye eye ball between the eye makeup that folks almost the I done obviously apart from the actual putting the pupil in. And I will suggest allowing that to dry now, before we put that pupil in, if you don't want to add the pupil in while it's damp, otherwise it will spread and we lose control of it very quickly. Okay. Once it's nice and dry, this is a scary bit. Pick up the Sepia, will pop a little bit of Luna Blue just to both colors at the same time. Now you've probably Pennsylvania your pupil. So if you still see your pencil marks will stay within your pencil marks. I'm just going to start in the middle. Stopped working outwards. Obviously a little bit scary because you take your brush away and you're like, Oh my goodness me. But we're going to rise up the top. And that's actually the pupils quite big and this is hair. Brush away. See what you think. Still nice for me to be a slightly larger. Just take your time. This, there's nothing drawing. They would just painting. You can really be very mindful and gentle. Really close up if you can get close up. That right. How does it look? Paintbrush away. We can add a little bit more. So that line along the top there we can paint. Add a little bit more strength if we need to money to be a little bit stronger. And again, be mindful of this shape, this top Edge shape because that will give a huge mad character to the hare. So keep, keep that reference photo in view. Bit more for food, I think. Tiny, tiny bits that you brush over it. Take your brush away, see what you think. I think on there. So how's yours looking? Bigger maybe I think let's go a tiny bit bigger. Yeah, I think I'm I think on there. So take your brush away, give yourself a few minutes, at least have a couple of minutes. See what you think because it's a very hard if you make that pupil too big, it's very hard to get a very dark color out against the lovely light I'm part of the eye. So if in doubt, make it a little bit smaller because you can add to it, but it's very hard to then take away from it. And we will soften at the moment it looks a little stopped, but we will soften the edges to make it blend a little bit more into the whole body. But i'm, I'm I'm liking that. I think it's okay. So I'm just going to allow it to dry for a minute and we're just the last little bits of tinkering with it. Okay, so now that's dry. I can get a better view of it and I've had a of picked it up off camera and had a better look because I'm Liz, I'm a little way away from it. So a slightly odd angle. I just feel these edges are, just need to take this edge in a little bit and try and I want this to go a little bit higher just to the reference photo doesn't necessarily show it. Let me this one of my practice PTs. And you can see I've got that curved round. I've got this goes up a little bit higher here, so that gives us just a nice alert look. I'm going to see if I can achieve this on this one. I just want to pull that up a little bit, just that it can be the minutest of movements that ties added a bit of added painter that I probably done that. So minute you'll probably you probably can't even see what I mean. But say Take your time. There's you've got nothing to, nothing to worry you at the moment. It's I think drawing or or things you have to do. Any anything else you have to do to soften it a little bit. We can then with a damp brush, run right up along those edges. Right along the top. Switch just softens. You only just touching the edge, but it would just allow it to soften. And plus it will have the extra benefit if you just to keep this nice clear. I'm area over the eye and underneath the eye as well. So we're doing two jobs really. Just going right up against that and you can sculpt this. He can fill. I can move, take a tiny little bit of paint out just here. Swing let out a little bit. You probably don't if you're looking at yours. No idea what I mean by swinging that a little bit out, but let me add a tiny little bit of Tigers Eye, just the corner that I you can see there's a little too soft patch. There isn't a you can use your finger just to give it a little bit of a switch. A little bit of color here. Deep concentration, isn't it in the eyes? Okay, I can carry on fiddling butter. I don't think it's gonna be helpful. So the next little bit, which is really lovely to take a little bit of color out of the orange. So right under, right underneath the dark pupil. Make sure your brushes nice and damp though, add a note, you don't want to be adding water now to make sure it's nice and damp to what you're doing. You're just taking color out. It will give you a nice clean. We're also just touches the top of that orange as well. So a little bit of that darker Sepia then goes into the top part of the eye. Color that just gives a slight impression of the bidder shadowing. See, we're adding a little bit of color to the top by using the Sepia. And we're taking color out underneath the eyeball eye pupil. I'm not being helpful, am I? By not giving the terminology right? So just swap brushes. I've got my little Eradicater brush, which should take the color a bit better. Yes, that's better. Very soft brush. I'm trying to take her out with it. Working. Take brush away. See what you think. I think that's looking alright. Just need to close down that white that almost call it a little bit too much. I'm going to touch a Sepia. I'm just going to make the bottom part of that I Brown Ochre edge. And just making that, I've just made it a little bit, little bit bigger. It's just gone into a little bit into that white. Just shop that white down a little bit system not quite so obvious. Take my brush away. That's actually looking quite good. The last thing we need to do is to put that catch light on, which always makes a lot of different. Make sure your pupil is nice and dry before you do this. And we're going to pick up the brush. That's a nice, nice, good consistency. Now all the light on the reference photo you can set, you can see, you can always see the landscape in the icon and we're not going to be doing that. I'm just going to put a little white dots. Let me show you on that practice piece. So in front. So in this general direction, He's looking. So we're going to put it just a little dot there. Suddenly still not quite right about that shape for the eye. But what I would do in the finishing Off bits when we have done the other a little bit, sometimes these things become quite obvious. What needs adjusting? If you're thinking, well, I'm not sure something's not quite right, still will carry on. We'll come back to the comeback to the I knew you may well look at it and go, I know exactly what I need to do, so, so don't panic at the moment if it's looking a little odd because I think mine's out somewhere. I'm not sure where. But let's allow it to dry. Let's put that last little bit of the frontier and let's get that done. 12. Front Ear Inside: We're gonna do this font here next. We're going to pretty much paint it in, actually. Pick up. Yeah. But yeah, you're slightly bigger brush and we're going to have the Sepia and the Luna Blue. Pop two colors on my brush at the same time and unjust at the moment. Just going to literally paint that in. Get that really nice to the libido at a point and tip isn't a. And then we're going to see run this down. We couldn't, you could fudge. Nice to you. I would have made you put some pencil marks in. Let's, let's try this little method. So we're just going to wet this down because there's not a lot of color on my brush. I can see where it's going to go, but, um, I haven't gotten a lot of color on there so I can kinda move it around a bit. Let's get round. Pick up my little brush. I'm gonna go like in the shape. So I'm going to stop putting a little bit of paint and then start putting the flicks into that dry area. So when we're making that fluffy bit, this is gonna be the fluffy white bit. So we're going into it to you, give the impression of it. Once you've got your shape looking nice, happy with it, then you can start adding some color at the top and allowing that to come down. Stick to a slightly larger brush. Round. Come down is that little lump there isn't it goes in. Go back what you've put enough color down, you can then use that color. Then do some flicks. It goes in a bit here. So making that a little bit larger doesn't matter too much of that, though he is going to have will be slightly, slightly different to, don't worry too much. I going to make some little fluffy bits here. She also can take your brush away, see what you think. In a minute. We're going to soften this left-hand edge, so don't, don't worry too much, but the right-hand edge, get that right. At the bottom. We can just do your finger, just have a little bit of a switch. Just soften it, will just move it around a bit and soften that edge and just tap. See that kinda, kinda softens it all down. Okay, Now it's a bit of a as ever touch of a waiting game. Because I want this to just start going off and we're going to Wet that little corner down. But all I'm here, there's a nice line that goes over the top as well. Joins up to that back Ear. Taking my brush away. See what I think. I really look. Yeah, That's coming together. I hope yours is too nice. Point on that. Yeah. Can you still a little bit damp so I'm just holding Phi. I want it to be going off in a little bit tacky. Just need to be patient. Always very good at that. I rearranged my paints enough IB or distract myself enough. Okay. I think I'm about there. Might be might be jumping the gun a touch, but I'm going to clean my brush, take the excess moisture off. And I'm going to leave minute this line, I'm going to run my brush down, not touching that earmarking. So this little area is wet. Careful not to add too much water. Then very gently touched just the edge. That earmarking. You can see it should just gently go fuzzy on you. If you've got your timing right, just about getting the timing whiten. It's moving a little bit too much, just very gently. Clean your brush, excess moisture off. Very gently, suck it back up. But if you've got the timing right, it should just give you a little fuzzy edge. So it just gets away from that very hard edge. We can also, with a little bit of Sepia, lovely, dark edge to that. Front. No be back, back end package. Just pop that in. And then just watch it for a minute really. So it's wise, I thought I was a little bit too eager. Has ever just going to suck a little bit of that up. Yeah, that's given us a nice soft edge, but given us hopefully enough strength into that Inside Inside Ear. Just any flicks surface is still damp. You can still carry on just any flicks if need be. But try not to fiddle. Right? I'm going to allow that to dry because it's getting a little bit tricky stage. Some of it's dry and some of it's not 13. Finishing Off: It's onto the final little bit of tinkering stuff. We're gonna be putting them to an Australian and tiding any bits up. Taking sunlight out if needs to be, putting a lot whiskers on. So as I tried to be methodical, Let's start somewhere around the top. Let's start the top of the hare. Address that in a minute. I'm going to paint in these nostrils to start with. So I'm going to literally, I haven't popped any fresh kitchen roll and we're folder up. Got some clean water as always quite nice to get some nice clean water when you, when you're doing the finishing off bits and you're not contaminating the picture with the Sepia. We literally just going to paint in those nostrils nostril and you want nothing, nothing fancy. Just take your time, look at that. She get that shape right. Run that line that runs down. You don't always have to do all of it. So you can just leave a tiny gap. And it's a nice little flick that goes up. And then that little edge we've just created, just touch the edge. One upwards, pop tiny little bit of Sepia underneath and just see there's not an obvious crease, really. Just a very soft one though. I've just wiped down that outside piece of cheek and just allows some of that color from the nostril to run up, down. Okay. And again with same little bit same with the mouth, although we've sectioned areas, these sections areas off, you may have another hard edge. I just need to put a little bit more detail, a little bit hard line here. So again, all these finishing Off bits become a bit subjective. So if you've already got something I've tinkering with, obviously you don't add them. Or if you've bits you think need fiddling with, then concentrate on those. But I just need a slightly harder edge along there. I don't really want to put a smile on next. Can I look a bit cartoon Nika, just just to give it a sort of a knife bear character. I does it the I must admit I just adjusted that while we were off camera because it was I can see what the problem was. I thought if I didn't address it, I might forget. So I just made this the actual pupil are tiny little approach bought it a tiny bit forward. If you think that looks different, then that's why again, you can adjust anything to do with the eye if need be. If not, then obviously you don't. Okay. So running down, what we haven't done that she's rubbing the pencil marks out. So if you've got any remaining pencil marks, I can just see a few here. I haven't got many, so I'm actually not going to worry. But if you've got lots of pencil marks, you could rub those out. But just be aware if you've if you've got some pencil marks around the bits we've just worked on then obviously, hold fire. I just want to take a little bit of light out maybe the back of that and I'm back of his coach. I'm just going to with my damp brush. Just come to take a little bit out, just a tiny bit. Be careful you don't take too much out because we've only got one layer. So you're, you're going to haven't got a second layer to go under. Be careful you don't take too much out. Again, if you've lost some of this light around the face, you can gently take that out. I haven't I'm I'm quite happy the amount of light I've got in there, so I don't want to be taking you more outdoors. I'm good to ruin it. Again, if you're lying here on the little cheeky thing, ended up going right up against that. The main part of their head. You can obviously take that color out there. Again, there's a little bit here, which by the nostril actually wants that not through has dried and take a little bit of curve out. I should be using my Eradicater brushes I have it. Just is a great brush with taking care about this. If you haven't got one, I use it a lot, then you find it really helpful. Tiny little bit there just at the top there saying I wasn't going to take any color out. Jane, around the eye. If you've got some color than it needs taking out the gain, you can take that out. You can adjust any sort of shape that I view now looking at it going, oh, I can see. I need to take a little bit more color out or soften that edge. You can do that. Again. I'm mind. Alright, so I'm not going to do anything. Sign it with color out there. The I I'm happy with the rest of the body. Don't want to fiddle a really with that. So I don't want to put any extra flicks on. You can get would get a little bit, a little bit to, to Tweaks. You start adding flexing now, but that's up to you if you want to add a bit more than please do. Now, my My Ear section here has gone a little dull. I don't know why it's got a little so what I'm gonna do again, yours might be absolutely perfect, so please don't alter it if yours is looking lovely. But for some reason totally sure why. Because we put a nice amount of color down here. Just looks a bit dull and flat sound to them, re-wet that area down. And I'm going to pick up the Transparent Brown because that's usually a good color. A little bit of color in this and get that Awake a bit more. And I'm actually going to join up that lower part as well. I can do some little flicks. The back here actually if we wanted. Quite nice. So if you could Wet this little area down because we didn't actually put new flicks it away. If you didn't want to add any, anything to your your top no, front Ear. You could Wet down this little section underneath and then do those little flicks. Or you can just very carefully add them. If you do add them onto dry, let me help you with that. If you wanted to add some flicks and you didn't want to wet a section down or Wet any bit down. If you were to do so, I'm gonna put some flicks on the back because it's just to show you ready. A few people seem to put the flicks on. They look like they're very stuck on, which will be the case if you just literally paint them on. A little flicks. Wet your brush down and then, and soften that edge down. And we run it a little bit into whatever area you're wanting to put those flicks. Hope that makes sense. You don't have to. You're just going underneath aware where those freak out. Again, Let's do some this side. So I'm literally just paint him in cleaning my brush and then touching why I sort of started screeching with a finger than they should blend and not look like they'd been stuck on, which he's often the can often happen. I've probably made district a little tree now, but hopefully that's helped you to for the flicks. I'm okay. I think we're almost there. I don't think there's any other light I wanted to taking out. The whiskers are really FUN. So you could either do them with a pencil and I get nice sharp pencil end. You can put those on. You can do that with a fine liner and that's quite nice. Or if you're feeling really brave, you can do it with a paint brush. Totally up to you. You can mix and match even. Lets me do some with a paintbrush and let's be brave. And again, I can practice that on my little scrap paper. A little bit of paper. We, we practiced the corn on, we can practice these. So the best way to do whiskers find the smallest brush you can either suggest because it's quite a small piece. Nice consistency on your brush. And I tend to just this movement really until I hit the paper. You want to be going the direction, we'll see where you're going, where you went to Wisconsin to be going. Even though they're quite thick. So I quite hard to get them. Definitely don't want that one that thick. So they're they're they're risky. Don't get me wrong. But let's go for it. When we do some pencil ones as well. So start where you, where are you meaning to go? Where stopped. So I start from where you where they start from, which he's always in the cheek area. Out here. What I'm going to have a go isn't fine line as well because they're becoming quite chunky. So little fine liner, Let's say nought 0.1. Final ones in. We can do it with pencil. And the advantage of a pencil is they can be rubbed out. They go a bit re, or they don't look quite right. So this was a good option. Totally up to you. You can do, you can use a little bit of white gouache. Let's put that back in there. Tend to show up very well personally, I can never quite get it strong enough. But again, you can. Same, same thing. The whiskers are amazing on hairs and it takes one of the reasons we loved them because they bear so expressive violently Okay. I think I can over whisker, obviously. Put those back. You can adjust anything to do with the corn, this thing, my top one here got little chunky little, a little odd. So you could you find piece of kitchen roll? You can soften any edges. Just take a little bit out, but wouldn't try to repaint them, will make them look a little bit too obvious. I think the beauty of this is just to keep it really lovely and soft. Um, and again, if you've got any particularly hard edges, when we did this, try and get that sort of sense of light, the sum of the edges are little hard. So again, you can take a little bit of color out and soften any hard edges, you might. Yeah, he may not have a lovely sense of flowing paint. He's what we want. And also we can add, as I said, I felt I could add a little bit more. I'm cool now actually I'm looking at that. It can still take a little bit of extra high think. So I'm going to have keeping all quite nice and light. So say if you're working at a tubes are quite often squishy bit all-rounder, round the edge of the tube. So I'm doing the right, a little bit of Goethite. Same sort of thing. Obviously you could do it with a palette. We'd be more sensible. And we're going to keep each lovely and a light. So again, you can practice that on your, on your scrap of paper. See what they look like. You don't want it to heavy here now, your risk of running if you put a very strong I'm Mark like that. Again, you can always soften edges. If something does go a little bit strong like that, picks them up, do some strong ones. Add if you want a little bit of section in the middle of some of those cones, but I wouldn't get too detailed with them. Soften 11 edge. It softens it down. I think we're about there because this is that stage where you've probably been painting for a little while now. And you get a little bit like stage call, everything gets a bit, you get a bit tired, and you just kinda want to finish it and want to fit the piece to be completed in some ways and looking nice, but actually looking at all the fresh pair of eyes the next Day is so beneficial, particularly with eyes. Because you you may think on my, my, I is still isn't quite right term. I still can't see what i've I've needs adjusting even a couple of hours sometimes is enough. So I will suggest downing tools, gametes have Cup tie. Yes. Just a little bit of time away from it and come back and look at it again before you add too many things, just like these flicks, they could have been done a little bit later on. I do know one thing I was going to suggest. You could do some little flicks, some splatters if you wanted to say I'm giving you all these options. If you want to add them, you can add them. If not, if you think, Well, no, it's just way too much, then obviously don't. But if I will try to give you all the things, so this has the bells and whistles. So if you want to do a few splat, you could do a few splat says just putting paint on your brush. I used to Goethite and you could just tap the brush. You can put some around the corn. Quite nice. You can then flick. So that's just a little bit more paint. Because he paint on the end of your brush and you just pull it back in. And flick says quite nice actually on the corn to give it a little bit of. I'm just interested if you'd put salt down and maybe the stock didn't work like mine. Then it just gives you the lecture. Sometimes it can get a bit messy. I'm ever quite sure about flicks, but it's the options there. Um, yeah, I think we're done. Say just look at it with fresh pair of eyes before you go. Be done. Because it's such a hit solutes so beneficial. I hope you enjoyed painting this lovely hare is a wonderful reference photo on, um, do go follow Frances Crickmore because it will work on Instagram, is beautiful images, just stunning. I was so humble. Firstly, allow us to use that photo. So thank you to Frances and thank you for you to taking the class with me. And as ever, please do share these on the projects and resources pages. Because I adore seeing your work 14. Next Day Tweaks: So this little extra less than it is really just for YouTube. Probably just have a little watch really. Hopefully the little bits I go through, just bits I felt I needed to tinker with before I can say this piece was really done. That kinda makes sense. So as I say, I came back, back into my studio in the next Day and had looked at it and I was like, Oh, now I can see some bits that weren't quite right. Really pleased to the hair that had worked lovely. But my top piece of corner guard a little chunky and a bit weird. Also this piece wasn't particularly pretty. And there was quite a strong line where we'd left little area to give a nice backlit look to the corn. I was just left with a bit of a hard edge. So I'm going to go through and show you what I did really. And I hope this sat, it may be useful, it may not. So I'm just going to get rid of this for a second and pull back their little sample piece where we practice doing the codons on. Now I actually managed to completely rub out my piece of corn on the top P, the top piece on my painting. And I'll show you how to do that. Many of you may know, but this is a magic sponge and it's amazing for taking color off. And he's also great for doing little splatters because particularly I use this a lot on my portraits. I wouldn't normally always work on with a clear background. So you can see that it'll spatters that get left and it's brilliant for cleaning those up. So all you do your wet sponge down. And actually this is a cleaning product and can easily be found on Amazon, so it's not costly. And you just rub. And you can see that completely taking it away. And I will say I can do the same with the corn now, because he's calling is only one layer is easier to take out. If you have multiple layers, It's harder, or some paints more staying in than others so that it's harder to take out. But you can see voila pretty much gone. What was it? A little better. You could just see the slight shadowing under there. But if you're going to re-add some cool new, you're not going to see that. But I allow that to completely dry. I just added my corn back in again, similar with the lines. I just softened. So there was a hard line behind the back of the corner, just very gently soften the line away, dabbed it with a piece of kitchen roll. It just took that very strong line away. Now I don't often use this a main subjects. It's a little bit of a clunky tool. It's not very delicate, so it's easier to take little bits of light out with smaller brushes, but for taking little splatters out or completely getting rid of some thumbs things if you're just working on a quite a simple, colorless background. I was fortunate if I go back to my painting. I didn't have too much wash color behind the back of this corner. Otherwise, you can imagine if I started rubbing this out here, I'd have been left with a white line, but because fortunately we'd left her and I've clear area, clean click, clear paper. I was able to take that out again. Same release. I just literally just ripped it out and then redone it. Apart from that, I didn't really do a lot else lot else to alter that. Probably put them maybe a couple of more sweeps that grass in. But that was it really. And I'm pleased with that. Just that little bit of tinkering helped finish that hair off. So hare painting, I hope, hope you found this helpful. Yeah, so thank you for watching this last little lesson. I look forward to seeing your pieces on the Projects and Resources page. 15. Final Thoughts: So I hope you enjoyed this class and have taken away some tidbits of knowledge. How did your background go? I hope you are brave enough to add enough water. It's such a satisfying technique. Did you find section the areas of gave you more control and allow the paint to move at different rates. What about the I? Did it work out? Okay. Remember if it gets a bit muddled, stop, let it dry and go back to it. As I always say, it's worth stepping away and coming back and looking at your painting with a fresh pair of eyes and tweak if necessary. So we look forward to seeing you in the next class.