Have fun to paint cats while you learn to use watercolor! | Agnes Bodor | Skillshare
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Have fun to paint cats while you learn to use watercolor!

teacher avatar Agnes Bodor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro

      2:41

    • 2.

      Project description

      2:04

    • 3.

      Materials

      8:31

    • 4.

      Basic technique

      7:11

    • 5.

      Calico cat - start to work

      9:33

    • 6.

      Calico cat - finishing up

      11:45

    • 7.

      Sitting calico cat - start to work

      8:14

    • 8.

      Sitting calico cat - continue to paint

      12:13

    • 9.

      Sitting Calico cat - finishing it

      11:39

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About This Class

Watercolor is a difficult material to control, but it well worth to take the time to understand it. In this class I will show you how to paint cats with watercolor while you use the full potential of this material to depict the fury body of cats.

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Agnes Bodor

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Level: Intermediate

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Transcripts

1. Intro: Hi, my name is Agnes, and I am from Hungary and move to theatre in 2007. And since then I live here and work in neurobiology. But to keep balance, I always adult to make art, especially painting. But also I made during origami photography or whatever occupying my mind. My favorite technique was always watercolor and I love to paint landscapes and portraits. But nowadays, I mostly, when I paint cats, I wanna catch there FOR their beauty, their movement, not just copying a post all water Alice takes place. Also when I use water color or I wanna use the potential of these materials that their own UT, I don't want to use all your love. And I went, oh, you've done. And what color? I think student, they use very slowly, very, very busy. And even on paper. Because to make good piece get water color. It's very, very important to understand the material and birth control because otherwise it won't work. And on my watercolor tutorials, this is a crack in life to make you understand this very complicated math area, the water colors, and be able to use its beauty. But be it Master. 2. Project description: Hi everyone. Welcome to my colleague Kauket tutorial and thank you for tuning it. Today I will show you how to paint a very simple calico cat, and another, a little bit more complicated one. And I looked at my ordered paintings too to see what can be a good project for today. And I ended up with this one. I think this painting will be a good candidate to repeat because it's very, very simple, good for beginners. And even before we start to paint anything, I will teach you the basic watercolor technique I used in this painting. After that, I will ask you to choose any cat photo you like with either a calico or a black and white cat with big black dot. I choose this one because it has a very simple face. And I suggest this is a good idea for everybody here because I am not going into the face details. And it's good if you choose a photo where the face more like big color surfaces and not much details to not complicate the painting. And this is the painting I made based on the photo and this is exactly the the painting tutorial. I will show you how I made this one painting. And just a reminder, if you don't want to choose a colleague or you can choose a black and white cat with individual or black dots. And in the next section, I will show you what materials are used for this tutorial. 3. Materials: Hi everyone, welcome back and thank you for staying with me. In this section, I show you the materials I used for painting the calico cat. Starting with the paint, I used artist quality watercolor. I don't think the brand is really important. I usually use Harappa or Danielle Smith, but any other brand can work really well. So depending on what kept you paint, you will need black. Water Corona, which is the lamp, black. That's a non-random relating very dark black. And if you do Calico, you will need some kind of orangey color, which I use Haram transparent orange. Then you need to dishes where you can dilute paint. And if you have old paint, you need to prevent them. And use a brush just to loosen up in, generate a creamy structure from the paint. And that will help you to proceed. So you don't need to do this via you pain. Because watercolor is a really fast technique. When you start to work, you kind of need to work fast and right away. So because it's dying and the drying process changing everything so it's better to prepare the paints in advance. Regarding the paper, My favorite is R2 squat press. You can see here on the video, it is the cold press. And on a second painting, I used a paper, 16 by 20 inches, but not arches. It was a much lower quality watercolor paper. And of course, if you cannot afford arches for these tutorials, which I completely understand, you can use any watercolor paper which is at least this tax or a 140. We I'm not suggesting to use tonight because I don't think it will work. It became very, very after a lot of water application and it just much harder to work. And actually the first painting I made on Arches, quote breaths, but there was a different size. It was 18 by 24 inches. So when I painted, it was a big difference. It was much easier to work on the more expensive paper. So that's the unfortunate truth. But I probably said Just not to use your best paper. It's a learning process regarding the brushes. I use, usually Princeton brushes. This is the Princeton merge. This 21 is Neptune and this one awkward violate. These are size eight quill. And size 20 round. So actually what is important is to use a big brush. That's what I can say for this painting specifically, especially in the beginning, I suggest the fluffier brush because it's holding more water. This is a much more pointy, much more springy brush. This is a really good point for more besides part. But honestly, it's not a big deal. Whatever watercolour brush, you have, the USDA BS1. And for later for some precision work you can use thinner ones. They says Badaracco, Elliot, Princeton acquire elliott 48. You only need one of them. But honestly, you can do it with the point of the take one if you want. So you can even work with one brush, but it's anew. Which one you too is. I think basically that's the important part. Have big brushes and the fluffier, the matter. I use. Watercolor pencil, again, not important. Just use some very light gray or very light color, light brown, but light makes sure it easily removable with wet paper towel from the paper. So you can test this before. You don't want to see it on the analytic, just helper. And actually you can do this painting without this'll just hardware because you don't have those guidelines and knew just immediately paint with water and paints or I don't know. I suggest to have it not necessary. For water. I suggest to use very big balls. It's important to have more than one at least to attain, but more the better. You can have 34 aligned. Or if you have enough space on your desk. The important part is big and either transparent of light because you wanna see when your water going down and you have to change that. So the more the better you don't need to war and out, you just switch. And I used in the second cat painting some masking fluid. It's again not very important, but you can use it if you want or if your cat has a part which may be easier with masking fluid. So I really like this brand, PB or drying gum. And for application, I use this read steak, which is appointee read steak actually. So if you don't have this, I would suggest to use a stick and just make it pointed knife. Or you can buy a tool which is called ruling pan. It's a seven bucks on Amazon. It suggested to use masking fluid. I tried. I don't know. I prefer the red stick, but it's okay to use this and some people prefer this. Whatever you want. And for paper towel, I liked S1 is Kim Wipe. It's really go not leaving pieces or fibers on your very wet painting. I probably thinking most people won't have this. It's really hard to suggest something else because I always use this, but I think if I don't have this, I would use paper towel instead of toilet paper or or tissue paper because those are falling apart much more easily. So I would suggest kitchen towel just have some around you because maybe suddenly you will need it. And I think that's it. The next part will be about the basic painting techniques where I actually suggest to yours a good paper you have, but it should be a backside of wrong painting or something like that. So don't use just a fresh brand new sheet for that for sure. If you have a bad painting and you have some light area on it, that excellent or most watercolor paper you can paint on the backside. And to just figure out this technique, I think the backside or just outside of Rome painting would be perfect. I wouldn't waste a good seat of watercolor paper on it. 4. Basic technique: Hi everyone, welcome back. In basic painting technique, part of the calico cat tutorial. So I explain how we will go with the painting. So first we will just use water on derive watercolor, paper and paint. The outline very precisely how it is in the inside. We don't care, but like go around on the outline. Just a lot of water in your brush everywhere until you go around. The inside part, not important, so just use the tick tool to draw the Out outer edge of the cat. And when you Dan inside, you start to fill up with that with the VAT brush. Here I show just make some outline but you see in the inside, I leave some space dry. You need to sometimes look on a sideways so the space you left dry, the water with. The watercolor can't flow in it, so you will have sharp, this kind of sharp pattern. I'm staying right. And of course sometimes you can use this on a purpose. For example, here in the nodes, I purposefully left it open. So after you have this dance, so you have the outer line and you fill out everything with lot of water with your, with your brush. And of course leave the space where you have to leave the space. Then you start to add the paint. But it's not like you paint everywhere. You paint some places, and then you have you just let the watercolor work its flow. So you just, you don't want to control it. You just glad the watercolor work, it will flow into the wet area. When you're done with one calorie against start to add the second color if you have one. And just, you need to wait at least few minutes to see what's going on and where it's going and where you need to to interfere. So don't don't overdo it. Just let, let, leave some empty space and just wait where it's going. The scale is very important. So you see I, it's at least two Palm size. The area where I'm working, this kind of Floyd technique cannot work in smaller scale. So you cannot paint a smock. And this is why I suggested to use for the first painting, 18 by 201410. Second, for me it was, I think 16 by 20 integers paper because this kind of technique is just, you can make it small because this flow needs space. So after the second thing I want to show, there are some very strict line where the body parts are separated like around here and the tail. The trick there, they knew do the outline and then you filling out with just water with a wet brush. You have to leave a very thin line between the doors areas, those surfaces like for example the tail and the body. And because that little line won't, it will separate the the two area and because it's dry, the paint won't go there. So it will give you the border without any more interference. The technique is first you leave a ticker line. It can be even like few millimeters or half a centimeters. It's not important because when it's wet and you start to add the paint, you see verities Exactly. And if, if you want to modify it, then you can use a Tino brush or a tip off your toothbrush. And you can just add more paint on the edges or just water because the paint will go there anyway. And so you can make those line much thinner and much more delicate. So the main idea here is to learn your paint and your brush and your paper. You need to understand how much water you have to add, how much it's flowing. St. paint, we're behave very differently on different paper. So it's just good to understand what's going on. It could do, it looks very unpredictable and unknown, but if you understand your paint on your paper, you can plan and that's important if you do a good painting. I use two different paper for the two calico cat. And actually it was very, very different experience. So first was Arches paper, it behave awesome. I really like that paper. You can change a lot of things for a while. It's not staining so deep, especially in the beginning until the sizing is intact. But the other paper was very steaming. If you put paint on it, it's never come off properly as, as it come off in the Arches paper. So just learn your tool. So you can see I made it the line thinner and I even had little pattern like those little corner. And I made those line where attained. And the last thing is the wash backs I'm showing right now this is about back. It happens when you have a semi dried paint. This is why I'm going back to the other, the first drawing, the first part of the painting, because that's already semi dry. Semi dry means if it's not shiny, but if you dodge it, probably it with stadio finger. So many it's in the semi dry state. You add just water and its wash back the paint. And that effect called the voyage back or the cauliflower or I don't know, there are other names. So that's really useful. Effect, watercolor effect. I use all the time for cat painting. And the last thing is to get ready to do next session so you can take out now your real paper and we will start to paint the first calico cat. 5. Calico cat - start to work: Hi, welcome back and thank you for staying with me. So this is the painting we will repeat in this first cat painting. So let's start with the watercolor pencil and large watercolor paper sheet. And maybe you need to make plain screen with the painting. And so first thing, very lightly, outline it with the watercolor pencil on paper, kind of filling out the whole length of the paper. Tried to not push the water colored pencil too hard on a paper because you can remove the markets make. But if you make a dent into the paper that will collect the watercolour paint and it will generate a line which you cannot eliminate after. So to try to not hurt the paper, just work on a very surface. So since it's a learning, a process, not you not generating a piece of individual art. I don't think it's very important to perfectly copy just approximately have a cat from a top-down view, maybe the tail next to it because otherwise won't fit. And yes, tried to use very light marks. Eventually, even before the painting, we will remove this marks as much as possible, but only until you still can see slightly. So for removing it, I use a little spray bottle with water in it and just prayed very, very lightly. And I use a clean paper towel and not pushing card, not hurting the paper surface just very lightly. Tried to remove as much as possible, but still keep enough for you to have some landmarks where the cat will be saw the outer line of the cat. Actually, you can work right away with the water is totally possible. Maybe you can have a little bit dirty, just very lightly dirty water with watercolor dirt in it. And you can use that if you don't want to use the pen itself. So you just maybe just a little bit easier to see. So if you use this previous muddled with the water butter, wait few minutes to make sure your paper is entirely, entirely dry before you start to pan. If you're not sure, wait longer or just use a hair dryer. But it's very, very important to start in the entirely dry paper. Otherwise, the payment we'll just spread there. Wherever is a little vastness on the paper. So then use either the clean water or the duty router. If you, if you saw a dirty water, if you didn't use the watercolor pencil method and start to outline your cat. The inner side of your water outline is not important, just the outer side. So the outline of the cat that should be fairly precise. Or if you don't go exactly go a little bit smaller because you can always enlarge it, but you never can go to the other way. So use your brush very VAT and make the outline of the cat in a very, very dry paper. The other thing which is important when you do this outline, when there are body parts which I, which are separate but overlay on the top-down view of the cat. You need to leave those little distance between the wetness as I mentioned before. So one place in this, in exactly, in this case is the right ear of the cat. Where you need to draw the ear with the, with the water. And then just when you draw the side of the cat and the the right pour from power, just leave a little gap between the body and year. And it's the same with the tail. So when you, when you paint the tail, leave a little tiny gap between the tail and the body of the cats. I'm doing that now. Maybe you should go sideways to, to have a better view, where is the water? You can leave fairly big gap for now because that can be modified. So if you're not sure, just leave like a stick and say or I don't know, maybe like lick your finger. For now. Just draw the outer side of the tail and the long part which is not on the not touching the body. And then you can modify that later. And when you're done with this, with the outline, tried to make wetness within the outline. Not not everywhere but almost everywhere. So you can leave random empty spots as I did on the backside of the cats on the back and more like the tail side. And I also did leave vide zone around the nose because this cat has this vide nose and, and mouth area, but it's black around the eye and not just black, black and orange around AI. And the year. If you did some error, not a big deal, make it drive in the paper tower. I will use the paper towel LOT. Usually I'm not using that lots or maybe I was nervous about the tutorial. I don't know, but I I used a lot. But it's not a big deal. You really can dry up. If not entirely dry, just wait a little bit. But and with that area. But when you start to paint as I started now makes sure that the paper is really, that it's shiny, really wet waters staying on the surface of the papers. So it's the it's allowed the water to flow. And when you start to add the paint, as I mentioned before, don't add everywhere because it will start to do this flowing. And that's exactly what you want. You don't want everywhere, black or whatever color is it. So just put it too few places and let it, let it flow. And when you have few, you can probably switch color and do the same thing. With water galore. Unfortunately, you have to be kind of fast because as soon as it starts drying, it's behave differently. It's not flowing anymore. So you need to develop the whole painting together, not leaving any area behind. So you just try to do it everywhere almost. And also leave some time to it to flow. So you put down the dot and you just leave it a little bit. So now you can see on the ear, on right ear, I made this little dry zone on the outside of the ear, but only on the triangular part. And I didn't do it on the on the backside of dire streets flowing there, everywhere but around the triangular part, it's Stay content, it's just stays within that triangle. And it has a very sharp ads. But you want from an ear because IRR is not to ferry, it has a very exact edge. 6. Calico cat - finishing up: So I'm going back and forth within a color as I'm not coping exactly. Just approximately. So sometimes in watercolor less is more. Leave enough white. I think it's a good idea. Alumina flight. I think I might even over lid a little bit. And if it's not flowing enough, just clean your brush and add clean water. It will have with mixing the edges of the orange and black and, and so on. So as, as you can see, I left it dry around noisy area to maybe I left even a bigger dries on so I can see and modify it and make it smaller but not the opposite way. So always smaller or less is the better and just modified from there. And when you know for sure and see how big gap by left between the tail and the body. I have to close that around to a but before it's drying because if I do it after drying, then the tail, we'll have those border, the original edge because it's not disappearing with the watercolor as soon as it dries. So I decided to put some more robust button on the poll, on the right path than on the original. And now, so you can see with the good paper, if you have that good paper, you lucky that artists, so it is very good. You can entirely remove areas with the paper down for now because it's very, very wet. It it's not happening after. So I tried to make that zone around the nose and had a little bit closer. And looking at what's next. For the nodes, I just use the very light pink color, but you can use the aura and, or even the black. Just very lightly in with the full darkness. The edge. I don't start just to make an outline everywhere. Yeah. So I just closed the gap between the tail and the body. It it's probably still a little bit big, but for now I leave it. You know, if accidentally you go too close, it will flow into each other. So it's good to live some white area around the edges. So not put paint everywhere around the cat because your body will draw, your eye will draw the line around the body. So it's, it's like an visual illusion. You know, where is the edge of the cat even there is nothing there. Like now on the left side, below the left ear, you can see to places where there are no hard edge of the cat. So now it's a little bit wheeled around right ear because color that avoiding it's too far from the head. But I am being careful so i want to wait until it's a little bit that orange ear get drier and I can get closer without the danger touching it with a brush. Now I am trying to make those light around flow together with the black. And of course I made the arrows so they flow into each other, the black and orange, but the paper towel is there so you just remove it, dry it, make sure it's entirely dry before you correct that because then it will flow together again. You can collect the edges. So if you're not happy with the original edge, you can redraw the edge. Of course, you always need to go more on this side so the cat will grow, but you never can go backwards. So you never can have smaller. I wanna make it a little bit lighter on the power because I went to draw the little bit, the fingers. And like have a little bit of white fingers, but it's really not too big there. How the pattern of the cat is, so you can use your own preference here. I had later black pattern into the ear, correcting the outline. See I can go bigger but not smaller. Drawing the fingers and found it a little bit too dark, so I remove some paint again. It good because it allowed the other areas to flow in. Not interfere too much. Sometimes this is the trick with the water galore. You just let it doing it all during the year has a little bombs there, so I have to correct that more straight. Now it watercolor, you barely can stop. It's it's very strict windows, so you have to work or Kirk and then know when to stop. That's also a very Haldane. I think. Almost everybody overdue watercolor. And it's hard to learn when to stop. It's usually even me, everybody usually overdo it. So I am growing closer now to the to the ear. Lead pattern. Changing a little bit. The pattern on the back seats deal with this paper you steer can almost entirely remove paint. It's incredibly good. This paper, it has a sizing, which is some kind of gelatin news cover. And that's stopped the pain to go very deep into the middle of the papers. So it's Assam, you can remove it. It's not happening with my next paper, which is not as good as this one. I feel I'm pretty close to stop it. I don't want to overdo it and make a few wash back. So I'm just adding clean water to some, not everywhere, just some places. It will make a beautiful effect as this clean water flow in the direction of the paint and Washington backwards it just generating add an edge of the of the paint that looks like. When you decide it's finished. My suggestion is to put the painting on several layers of paper and put it aside on the floor or something. If the floor has diodes or, or pattern, the VAT paper will pick up that pattern so it's not good. So if you put it down on the floor or something which has surface, put papers under your pain tank. Ok. So i finishing it up. Next thing, we will start to paint the individual cats. So either use my photo or bring yours. See you in the next section. 7. Sitting calico cat - start to work: Welcome back for the second cat painting. So this time you choose your own photo or if you don't have one, you can go with the one I have from the internet. So take your nice big sheet of watercolor paper. I suggest, at least in this case. I mean this cat need about 16 by 20 into paper. And I would not suggest to go smaller than this fit ME. Painting. No matter how is your photo, but tried to get the shape. Fit your photo. So if it's very elongated, you can tell, I don't know, like for the my twenties or the 18 by 24 inches paper. Just make sure it's it's a good frame for your cat. And deal you tap or make your paint wet. And we are ready to start. So I do exactly the same thing and I, what I did before, I use gray water colored pencil to draw an outline. In this photo is a little bit more complicated than the previous one. The previous one was more like an abstract cat from above. This is more like reality, I think so. And I don't know your photo of course. So draw the details you will need. Especially the body parts are like in different planes. So you need to leave border between the the, those body parts which are in different planes to make sure that the color's not flowing together. And because if it happens, then it brings everything in the same 3D plane or z plane. You don't want that. So draw out the outline and then add some details, like in this case it's the year. I mean, talking about the ear closer to the viewer. So because it's, it's front of the body and it's the same with the pause. And I add the tail because I just don't like this. Gaps don't have visible tear. So I had a tail on a side. And in this case, I decided to use some masking fluid, which I didn't do it before. For the masking fluid, I use the read stake to apply. In, I will use it to draw the curves, the edges of the year. Maybe onboard ear. It just have later with the separation. And second the ear further, which is the right ear of the cat. If you have an outline, it just gave a very sharp edge to the Eritrea is gone. And it's a little bit hub for when you paint, you don't need to be very careful. The masking fluid is a very dense liquid and it has elements, it's usually separates. So before using it, it's good to shake it up, but not like not tried to make it bubbly, just turn upside down for few times slowly. And it will help a lot with, with the consistency. So as you can see, I draw some details. The defeat, the fingers and some part of the Fares through. I think it's kind of ready to go to the masking fluid. Make sure you're not pushing to mature pants. Dan. You don't wanna hurt the structure of the paper. Just keep under the marks on a surface because we will eliminate as we did it before. So I'm shaking up the masking fluid a little bit. And so if you use a steak or a red state or actually if you use anything with no masking fluid, usually when I dip it in the stack, I mean MNI Dave stake into the masking fluid. It's usually pick up too much, so I remove a little bit to draw a line on a piece of paper next to me. And in this case it just drove final line. They try, try like make 34 lines and see which one is the thickness. And next time you just start to draw on your real painting. Whenever it's the same amount of masking fluids. So you will see when the test, how many times you need to put before you use it. So whiskers, are they the ear, the edge of the ear. And I labored. I, I chose this photo because it has no details on the eye. It's usually difficult. So it's just the little labor various d i on the N9 where when I removed the masking fluid, IBM making barely visible. And probably that's it. For the masking fluid, you need to wait until it's full, fully dry. You can start to paint until it's fully dry. It can take 1020 minutes. Starts with your finger. If it going your finger, then it's not really don't start to vet your paper before it's a 100% dry because it will make a mass and it can destroy a very pricey brush. So then I wet the paper a little bit. You can, you don't need water butter, but it's good if you have a spray butter, you can use a brush or you can just dip your paper towel a little bit in the water and make sure it's not not dripping. Just push it out the water and then just remove the watercolor pencil. But not entirely just remove until it barely with symbols. So you can see it where I on Mars, but it's hard to say, don't remove everything because you will need as Guideline during the painting. And then you can use dry paper to dry up. Dry paper towel to dry up your, your paper, your watercolor paper. And if it's not dry entirely, Don't start to work. Because when you start to work, no matter if your brushes contains paint or just water, where the paper is wet, distinguish the either the paint or the water will spread into your paper and you will not have good edges. So I was waiting a little bit. If you inpatient is use a hair dryer, make sure it's dry. 8. Sitting calico cat - continue to paint : So I was waiting a little bit. If you are impatient to zoom the hair dryer, make sure it's dry and entirely dry before you start to add outlines. And as before, I use a very big brush, fluffy brush with water in it. And I start to add, add water everywhere. Within the outline of the cat. Of course it's not everywhere, but we talked about before where, where is the exception? So the exception is you can leave out very one sharp white areas. And also you need to leave dry. Just very tame lines where the body parts are separated like in this case. It's the left front leg. And probably that's aid because the year would be the other one. But the ear has the masking fluid. If you don't have the masking fluid, yes. You can just leave a little gap between the air and had saw. It will help you to separate them later. And there is this back under the cat, that's also where you can leave space. Actually, you can leave that part drive for now if you're doing the scat. Because it's just easier to add afterwards. Man, everything. In Australia. So makes sure where you wanted the paper wet. It's very wet. And then start to add the colors. And again, work fast, go everywhere. Developed our painting together. Not just, no, don't go for details right now. Just add the big color surfaces to your painting and allow it to flow and develop. Because that's the soul of this technique that you using the flowing mass of the water column. So you don't run its flow everywhere. This is why we put the water in different places and different ways. You need to control that flow. But you also need to allow it to happen where you need it to happen. So as you can see, I start to add the black. It's maybe a good idea to go with the lighter colored First. It's not necessary, but actually it's a good idea. So same things apply. I just tried to add the black or so everywhere, especially because I wanna see how they interact with the orange. A painter surfaces. So if I need some time to develop, so it's good a few, develop everything together and work on the whole painting and the same time. So as you can see when I add these black, the upper edge is sharp and lower edges fairly. And this is why, because how I added the water in the beginning, I add sharp edge on the top and the backside and on the front, front end and the bottom side, It's it's, the paper is wet so it's flowing. And that gave you this good separation of the Albo, I think it's elbow. The elbow of the cat or maybe shoulder. No. It elbow the elbow of the cat. So with this technique, the outer edges sharp wherever the water and that's where the paint can go. Looping, cannot go further. And try to imagine what kind of daily scatters. I use a paper towel to remove some galore. It's hard in this paper. This paper. Non-header, good sizing. And the paint is going much deeper right away. And you can't eliminate the paint as well as with the previous paper of mine which was arches are harsh. I don't know what is the correct pronunciation. So this paper is kind of not an easy paper. But it's still a watercolour paper. Take one. It's probably a hundred and forty, two hundred LB. Yeah, and don't go 14 paper with Tim paper because these techniques require a lot of wetness but not everywhere. So just some area is very wet and the other is completely dry and the whole thing get very vaguely. I tried to add a little water on the edge on the back, just on a back of a cab. Because as I said, this technique generate very sharp edges and I wanted a little bit more firmly on the back side of the cat. Didn't go as well, but psi removed, then it's Overflow too much, but still the edge became a little bit last sharp. What I wanted, but when I did this and generated a liter Mass or I have to deal, you tap very fast with clean water anymore with the mass around. Yeah. And if you want, you can try but maybe it's not the time at this wanted a little bit more like fairy backside. So I'm not doing this on a head, for example, because I want they had sharp, but the backside is a little bit. You can see the Furies is fluffier. So opposite to the previous one. I, I will add shading to this one. So I'm not just adding floors, the colored dots, but you can see that boredom side that I can belly side and the neck area is darker because the head gave shade there. And so I'm trying to add some shading and how I'm doing this. I'll just add a very, very light like like a dirty brush, just a very light color like mostly grey to the to those areas where you can see shading. So it's not staying the same as the white paper. You don't want I mean, it just look better. It separates because otherwise there is no outline. So like here, the front side of the cat is this aside, separates from the paper and also it's a 3D shapes so it has shade. I'm trying to add those sheds a little bit. Sometimes they use a little bit to draw with the backoff my, the other side of my brush with the rude. It's, it's kind of a dangerous technique, but it's used a lot. Where you use it. You make indentation on the wet watercolor paper. And then the pain goes there that we're sitting on them. Temptation and it's not possible to remove. It stays there. It's, it's going very deep into the fibers. And it's really good to draw like for example, the, those little lies between the fingers. For example. You can draw very nice line. It align with it. It's led immediately with him. That's the other thing. You need to wait until the, the watercolor particles start to set in this little damaged paper. But it will happen and it generate lines. I just used it for the for the front bar. They are gradually move a little more blurred, can replace it with little more orange. So I'm adding some line, but I will immediately loosen them up. So not adding line actually, I'm adding shades. Make sure it's not super-strong. Just tapping with the shading and the separation of the body parts. 9. Sitting Calico cat - finishing it: So this is the technical just mentioned. So I'm not using now the backside of my best, but I am using my reads steak. And even I dipped a tiny, tiny bit I lived in in, in my black paint and I remove the paint mostly. So it's making very light Marks and I'm using the tip to make little denotation in the paper that I am drawing the fingers. And, and other little lines like the top side of the of the feet. Some leaping in but just very tiny bit into the black. And if you're not sure how black is, the tape just deals the paper next to you to to to test that. Trying to add more shading and removing the harsh line more. I just, I don't wanna line really. I just want like shade. So I'm adding the share just on a knack. Wherever you can see it's darker than and this is the wash back. So I added some water around the edge of that black bee girls spot on the elbow. And you can see it's pushing back the water color and generate this furry stack texture. I really like to use this same category or color, this blooming or cauliflower or watch back. I heard so many names for it. If you use it, usually people tried to avoid it, but if you use, it's smart. It's a, it's a great thing what watercolor gave you and no other pain can do that. I mean, income do it too, but nothing gets ideally loved. This effect. Hello, I'm just touching k1 there. And you know, you add close to the end, it's hard to know. Should I continue or should I add more? I figure that it's a little bit to light my black, so I add a little bit more pigment just to the black areas. And also it's just gave a little bit more variation of the blackness or some part gets dark and some, if you see the photo, it, it's not a uniform blackness. It also had have shades and subverted, darker and lighter. I'm adding some shading in the belly to separate from the front leg. And above the back leg. I need to add some shading because you can see on a photo ID two separate element, it's differ going on the back porch. So I wanna give some separation. I just decided to add an orange spot on faith. I like when cat has spots on a mouth area. Knows or the jar, that area looks weird now, but it's because of the masking fluid, whiskers, et cetera. So it's like it's just it will be it will when I remove the masking fluid, that area will change the law. Then I can use a small brush to toward the details out. I know it's hard to stop, but it's getting there. It's hard to not overdo it tried to be strong and stops whenever you need to. And the next step will be to wait until it's absolutely dry to remove two masking fluid. So I tried to add few more details but it's pretty much Dan. I'm just trying to draw around the mouth. It's not probably not a great idea exactly that because the masking for this tale there. So just really tried to be strong and wait until it's dry and see you after. It can take hours. So I decided to remove the masking fluid with my fingers, but I made a mistake so it's not Dryad. And don't even try until the painting paint is not dry. Don't, don't do it because you just make mass. So it's really not a good idea. So I am back. I am back. So I'm doing again at still not 100%. I don't do it if it's not dry enough to the wave, but it's not related to risk at your painting, especially if you like it does because you are impatient, like me. It's just better to wait until it's completely dry. If you are impatient, you can use. Hairdryer. And that we're just don't push it too close to the paper. So use hair dryer and you can make the process quicker. And you remove masking fluid, always track your hand because if somehow being men goes on your finger, you can make a big massive if you don't recognize it. Some using all my fingers just to make sure that I'm not missing black around right areas on it. Just it just because it's not fully guided, it's better to wait. So when you remove the masking fluid is way too wide. So like unnaturally, right. So I usually even if I want a light line, I add some color, sunlight coloring to it because it's not, it's never learn bright in reality. So I just make it available, at least grayish. And I draw a little bit the mouth the line of the mouth, not too strong, just just lightly label it that just it's just a suggestion. It's their return more masking fluid to remove. I remove a little bit this new gray layer to make sure it's not get to Dagestan. And I add some more shading. I mentioned there is a missing shade there, but now I forgot to add before, but now I'm separating them. The power from the belly with that shade near the ear is a little bit tricky because it's everything just black around there. I hope it will work out. And a little bit knows. I also draw it with the tip of my brush and then remove it to just have a very light mark there. And I didn't mention in the materials, but I have this very thin ink pen coiled. It spanned. Pit artists panned from fiber custer. I use the small or the extra small to draw whiskers if I need to or eyebrow and I use it for stigmator or so it's also not necessary. You can add very nice thin, inclined if you need to, is absolutely not necessary, but it's good to have. So that was it. I hope it was useful and successful for you. And I also hope you enjoyed it and see you on my other project.