How to draw an Cow's face, Ink and Watercolour, Beginners Drawing and Painting.

1. Introduction: Hello and welcome to my Skillshare course. I'm Kelly and I work here in my studio on the family farm in Cambria, which is in the northwest of England. In this tutorial, we're going to be looking at how we draw and paint a cow's face. Starting off with a quick, simple pencil drawing, looking at the measurements and getting those measurements in with the pencil before we go on to doing our ink drawing. And finally, putting on some nice washes of color with some watercolor paints. For all of us without drawing whether we've been doing it for a long time or whether we're a beginner. A very important thing to consider is that we are using our eyes and really observing what we're drawing and not relying on our mind to fill in the blanks, which it quiet often does. One of my pet peeves as someone who's around animals every day and as someone who's been on a farm every day of my life. And be very, very familiar with cattle is when people draw them as if they're soft, fluffy, object as if they're a cartoon. And as if there are stuffed toy, even when their intention is to draw them realistically, it's absolutely fine if your intention is to do, to do a cartoon character, that's absolutely fine. But when you're trying to do something realistic and it ends up looking too soft. It's really because they have not observed and they've not thought about the fact that this is a very, very powerful heavy animal. And you've got a massive school there. There's very little flesh between the skull and the skin on top of it. If you knocked on the forehead of a cow or a horse, so you put your hand on it, you wouldn't see how solid it was. And you want to try and convey a little bit of that in your painting and drawing. And understand where the eye sockets are and how these are attached and all of that to make it a little bit more convincing. And although it is much easier to draw things that we're familiar with, by the same token, we can really make mistakes when we're overly familiar with things because our brain fills in the blanks. This is why children draw the sky as being blue and the grass as being green. Because your brain is just telling you that's how it is your eyes. If you stop and look at the grass in the sky, we will see a lot more color in there. You'll see a lot more variety in the greens and the blues. And there'll be lots of grays, yellows and pinks and peaches and all sorts of other colors in there. So it's that we're trying to stop when we're new to drawing and painting is don't let your brain unconsciously without thinking about it, fill in those blanks. Use your eye. Itchy eye, that's important. Stop, think and look again at what you're doing and rely on that. I I hope that makes sense. I hope I'm not waffling too much there. And we'll go on now and do that quick pencil guidelines and look very carefully at those measurements. 2. Measuring: Before you begin your drawing, you really need to have a bit of a study of the subject that you're going to be doing. In this case with an animal, it really is absolutely fine to work from a photograph because of course they don't stand still when we want them to. So you might struggle a little bit to do them from life. If you want to study them from life, gets a little sketch book and do lots of very quick two-minute sketches, then you can perhaps put those together later on. But for this exercise, it's absolutely perfectly fine to work from a photograph. So get your photograph in front of you and you don't necessarily need to print this off. You could just have a look at it on your tablet or your phone, your laptop, but have a really good study of your photograph. Now first thing is with this one is I think there are one or two things I might leave out. So if you look carefully, you can see that there's the bell here underneath the mouth of the cow. Now, this line is quite a distinct line, the bottom lip of the cow. And really the bell here is going to distract from that. So I would leave that out. If you want to put that in, that's absolutely fine. But I would leave that out. And if you're going to leave the bailout, then you also want to leave this bit of book all that's showing here on this part of the belt that's attaching it. So again, with this a little bit of book or here, you're not seeing that nice line of the cheek and the line of the shoulder there. So by taking those away, you'll make that a lot more defined. Now you might want to take out the ear tags and just draw the years without them or you might want to leave them in, that's entirely up to you. I think with this one, it might be nice to. These are a bit messy. We've seen in the back of an ear tag here. And again, that's distracting from the line of the ear because the line of the ear, it goes around like this and you've got this very angular shape here that distracts from that. So I will probably leave these out and maybe leave this one in for just a little splash of color, put in that yellow in there. But we'll see we can decide that later on. Once you've thought about what you might want to leave takeout and have a look at the measurements. Now, measuring is something that comes to you with time and we all have our own ways of doing things. Some of us prefer to measure by eye. Some of us prefer to actually measure things with a ruler, and some of us do a combination of both. You'll find once you start drawing and you get partway through, perhaps if you go off for a coffee or something and come back ten minutes later, you'll notice things jumping out to your eye that aren't quite right. And at that point, if you stop and check your measurements, That's always a good idea because your eyes very good at picking out when you've gone, gone wrong somewhere. So at that point you probably want to do to actually measure with a ruler. And it's not something I do very often. I like to do things by now. And again, it's a good idea. And with a photograph, obviously that's much easier than again with something that's in front of you are living object. So if we look here, so perhaps the measurements, we might have a look at the top of the head there and we've got four centimeters across the top there. So that'd be a good one to start with. But as well as doing just the measurements, it's a good idea to compare as well. So if we look at it there where they're across the nose there, across the top of the dark color, but it's also four centimeters. So we know when we come to do our drawing, this line and this line, I've got to be the same length. And then if we look at the ears, again, they're not much more than four centimeters. So as well as doing actual measurements, you need to be doing comparisons, comparisons as well. And that way things will line up and look pleasing to the eye. Things won't be jarring. Now I've tried to get to photograph where the cow is, pretty much straight on, but of course she's slightly that way. It's very difficult to take an image of an animal where they're completely pull them onto the camera. So you always need to bear that in mind. Just think maybe she's a little bit angles. You can see we're seeing much more of a cheek on this side than we are on the other side. So the eyes and things like that are going to be slightly different. They're not gonna be just submit, it's not all going to be completely symmetrical. And as well as doing comparisons with your measurements. So like I said, that's four centimeter. That's the same as that may be similar to the ear. And, and maybe that goes into that two or three times, whatever it is, you can do all that as well as that look at where things line up. So you can see that the edge of a head, so this is a big bone under here, which is often covered with a little bit of fluffy hair on the top. So where this term, where this changes shape here, this corner, if you go down from there, you come into the corner of the eye. So again, if you've, you know, you've got things in the right place, if you do, line things up. So again, let's have a look to see what else we can find. The bottom of the mouth, the nose here, again lines up with the eye. Lining things up and checking them against each other is just as important as measuring. So we won't really talk much about the rest of the body will just lightly put that in. It's mainly the face that we want to concentrate on today. 3. Anatomy: Again before you start doing your drawing. And once you've thought about all those measurements and where things line up, have a really good thing about the fact that this is a 3D object, is a living animal. It's not a flat 2D thing that we're looking at, a 2D photograph which has flattened it out. But if this car was stood in front of you, It's very much a big mass and it's a big animal, and it's 3D. And we need to get that impression into our drawings and paintings. So don't try and flatten it out like the photograph has done. Try and bring it back to life by thinking about it as a 3D object. Now one way that's very, very easy to do that with animals is to look at the direction of the hair. This is why I've picked a short haired animal like the cow here. You can really see on here where all the hair is going. Unlike a lot of horses and things, we've got a little bit of a star here, whether the hair is going out, so that makes it a nice shape. But look very carefully at old days, if it was a flat object, the hairs would all just be going straight in one direction or whatever, but they're not they're going around the bone. So you imagine we've got the cheek here and the hairs are going around it, they're attached to it. You look at your own hair, it's going around your skull. It's not just all in one direction, one line. So by getting the hairs in the right, going in the right directions. So if you see here the coming this way, because the nose is coming out towards us, it's not a flat objects. You can see those hairs. And if you get an another going around here and they're going around here. So you don't want them all going like this or flats or whatever you want to make them go around around the skull. And so that's another thing I want to talk about before we start the drawing, is really think about that skull underneath. This is not a cuddly toy. It's a big, heavy animal. We don't want to do a painting that looks like a fluffy cuddly toy. Want to give that impression, this sense of this big, heavy animal and that comes from the skeleton and the skull underneath there. You've got to follow that around and you've got to show it in your painting. Even if you're doing something like a highland cow that's completely covered in hair. And it's very difficult to see the, imagine where the skull is underneath. You really need to think about it and try and pick it out to make your paintings more believable, more accurate. So look at where the eye sockets are. So we can see here, we can imagine underneath here you've got a massive eye socket. And you can see that line there again with the hair. The hair is going around that eye socket. We can pick out the lead there. But the AI isn't just this area, this isn't just the height. This is the eye. All of this area. If you think about that skull underneath, you've got that eye socket there. We know this is very hard here. We know that that's a massive expansive bone there and down to here. Whereas this is much softer. Look at these being softer lines and things like that. So really think about how things are built, how it's made up, and that will really, really help all of your drawing. Not just with animals, with people as well and with any animal, like say, horses and cattle with short hair like this, much easier to pick out the skeleton and to think about that. But when you're doing something much with much more hair like a sheep or whatever, you still need to think about it. And you still need to have been believable. You'll often see sheep drawn. If you imagine how a child draws or shapes, I'm just going to draw on the back of here, a child draws a sheet like this with the legs like that. Now, they're not necessarily line up with the shoulder. So your skeleton is under there and it has to be lined up. Your leg has to be lined up with the shoulder and all this kind of thing. So really look at where, imagine where that skeleton is underneath and here you can see part of the shoulder. And then you've got the leg coming down here on this side. So you know that the leg on this side is coming in down in this direction. But like I said, we're not doing that, but it's all things you need to think about when you're drawing and painting animals. 4. Pencil guidelines: If you're not confident about your drawing, maybe you're a beginner. One of the easiest ways to work is to actually do it exactly the same size as it is on the photograph. However, it is nice to work on a larger scale. It gives you more scope for adding colors and movements and getting all these hairs and things in and making a little bit more dramatic perhaps, if you want to scale it up, obviously instead of this being four centimeters, you could do it eight centimeters. But the main thing is to make sure you scale all your measurements up by the same amount. So for those of you that want to, I would I would perhaps advise going a little bit bigger than this. I'm going to do it the same size because it works for the cameras setup and everything I've got here. So rather than measuring with my ruler, what I tend to do it with measurements. If I'm measuring, which I don't very often do is to do it with my pencil. So go across there and see how far across you come to there. So that's the measurement across there. And then a very important measurement, of course, is from the top of the head to the bottom of the bottom lip, they're ignoring that bell and that's exactly the same length as my pencil. Just put some guidelines, guide marks in the Tirol going to be erased later on. Then we need to look at this line, how far across we're coming with the ears whereabouts those hours. So if we look at where the center of these out, this is slightly higher than this. So if we line up from one to the other, It's not easy to see with a rule there, but you can see there's more of that one showing over the top. Again because I had slightly tilted that way. Perhaps. Another met we'll come down to the eyes from there, see whether corner of the eye starts. So if we look from there to there, it's going to be about here somewhere. So probably much lower than you would imagine from there to there. Slightly different but not much, slightly higher. And this measurement here, we'll go in, out a little bit. So the schools, this shape, it comes out and of course, but like I said, we've got the eye sockets so we could think about whether I stock it is It's here very lightly. You don't need to put that in, but that's just to say, you know, that is where they are. Um, we've put the bottom lip in, so let's look at the measurement of that is just about there. And then the top lip. Okay. And then the ears. So let's look at those. So they're not starting. This is a mistake people often make, is to stick these on the side of the animal. So the draw the face and then they pop v is on the way in, a cow's ears are attached. We've got this big piece of muscle here because they move them. This part of the ear shape that we think of that we associate with a cow isn't attached to the head directly. We've got this shape in-between. So we need to get that in. So let's start and actually joined some of these dots will be easier to, for me to explain. So the little dip in here, again, it's not easy to see that because of the hair, but it does dip in the school there. And then we're going out to the eye and right the way down. So you go out around where the cheek is and then it goes out again. Right across without mouth and then your bottom lip. Around there somewhere. This side we're seeing more of the side of the face. So it's out and up. Two lines there. We've got the line coming down from the right and then part of the cheek there. And the school gone over the top of the eye socket there. So it has to go around it and then they see it goes out. So we've got this bit here. Then we need to measure the ear. So it goes out to here. So you can spend a bit more time than I am on checking these measurements. I don't really check measurements anyway, but that's just me. But when you're learning, it's a good idea. What I do is correct things when they're not looking right and check them then again, you've got that bit where it attaches. I'm hoping the pencil will show up here. I'm doing it quite lightly because we want to put the pen on. And you just want to indicate where the back is there because of course you don't want your counter look like it's not attached to his body, his head to its body. And the shapes onto here are quite distinctive, but we're just putting them in quite lightly. So think about the eyes now. So you've got the socket go in there, then you want to. So if you look, the lid here is right next to the base of the ear there. And you don't want to put loads of detail in. We'd already put whether corner was so we know we've got that right. You want to do the detail really with your pen. So again, the slightly different don't just assume both eyes are gonna be exactly the same, same size, shape, everything because of the angle that it's only very slightly different. You can hardly tell, but just really think about that. So you've got that really big eyeball in there. You want to indicate that on the side of the head obviously because they want to see predators from around. So again, that's another thing. The eyes aren't on the front of the head there on the side. And you've got all these shapes going down here, which you can indicate. Because as you're drawing with your pencil, you can reinforce force and you're telling your brain where things are going, all going to help once you start coming to put your pen lines on. So if we look at that, it comes around there. And that again is because that's where the socrates and then infer the cheek and out as I said before. Now this line across here, it's a line of color rather than a line of the actual shape of the animal. So be careful to make it look like it's joined up. This is coming over here. It's not we don't want it like it's a stuck on knows if that makes sense. So think about your hairs coming over there like that. So let's go slightly further out. And if you put those nostrils in, that's really going to help us get the feel of the animal there. You just need to place them at the moment. You can put all the detail in the shadows and everything in later on. Again, there's a little deeper there. This is very soft. This here. You imagine touching that. This is a thing about the skeleton and everything else. Imagine touching that animal and where it would feel really hard here and where it will feel really soft. And then that's all going to kind of show through in your painting, a new drawing if you're aware of where things fit and how they feel, It's going to help get that reality into that. So she actually looks a little bit sad on this pencil drawing so far. We'll carry on and see how that goes. Because I'm feeling that I've done probably enough pencil drawing and I'm going to come back with a pen and we'll talk a little bit more about the drawing process. 5. Ink drawing: Before you start your ink drawing, be really confident that you've got your measurements right? Because of course we can't erase ink. There are things we can do to cover it up if we really want to, but it's much easier to get it right first time. And the thing is if you've got your pencil drawing accurate with the measurements, and it makes the pen drive and much more fun because you can be a little bit more confident and just enjoy the process. Knowing that as long as you stick within those little guide that you've got there, it's going to be looking okay. So I've got a uni PIN fine liner. And this one is a size nought 0.5. The main thing is that it's waterproof and fade proof. So that means we can put some water over the top of it with our watercolor paints. The way I work, it might be different to the way you work. There's no right or wrong way, so don't worry about that, but I tend to start at the top and work down so that my hands not sitting on the ink. Once you've completed your ink drawing, do let your ink dry for a little while before you come along with your eraser, get a nice soft, clean eraser to get rid of those pencil lines, but do just give it a little time to dry. It doesn't take long to dry, but we can't be inpatients sometimes and think we'll just go straight ahead and erase those pencil lines and end up with a little bit of a smudge. So I'm going to go ahead now and do the drawing. I'm not going to talk through the whole process. Like I said, we've got the measurements in there. So this is just about putting the hairs and things onto the animal really. So if we start at the top and we look at those hairs a little bit scruffy and that's going to give it some character. So you just sit in them on top of what's already there. And of course, this could take quite a long time. And you've got some little flicks. So at this point I'm standing up because it keeps your wrist a little bit more movement and you can get some of those flicks and things in. You can move from his shoulder a little bit more. Your drawing can be a bit more dynamic than if you were just sitting down. Because when you're sitting down, you tend to tighten up your wrist and your writing as if you're writing and everything is tight in here and you don't get the same movement into your drawing. We've got some hairs growing over here. So don't think about the color at this stage. We've got these are longer hairs on the top here. I need them to come a bit further down. Actually. They need to be coming to that round about here somewhere. So you've got these long runs on the top and then shorter hairs in different colors. But it's not the color we're thinking about when we're drawing. You might want to think about some of the shadows in here. It's very dark because the light is not getting under that hair. But don't worry about the colors. Worry about where things are actually sitting on the animal. So these are shorter hairs underneath and they're going over the bone. So if you look at the shape here, these are going over the bone of that eye socket. Around the ear. This is pretty much all muscle. This part here because it moves the ear. So understanding and knowing these things is all going to help you to make a much more convincing painting. Again, that's going around the school or that Heather. And you don't have to put every single little hair in detail in that you're seeing. It's just that the ones that you do put in, you want to get them in the right direction to give us that feel of the shape of the skull. So don't worry about putting every single little last herring that you can see on the photograph. He would drive yourself mad. It's making sure that the ones that you do put in are in the right direction. So when we go over to the ears, we've got this really long hairs. Quite scruffy. If it was one of our cows where you have just holds times here at home, which are the big black and white cattle. So of course, they're not just as, as hairy as this in the ear. And ours are actually clipped very regularly so they don't get us areas. This look at that now we've got a funny tuft of hair going in different directions. So that's just peculiar to this actual animal and makes up the individual character that it's got. The moment it might look a bit funny, we just got all these lines. So you'll notice I'm not doing an outline like we did with the pencil. I'm just putting these hairs in and following the shape. And we'll do the same on the back. And we can put a line in x. It's much darker, it's much darker color. And we're not actually going to be putting loads of detail in there. We're just going to give an impression of that there's one or two hair sticking up in the Sunday. You can see that don't want to spend a lot of time doing lots of detail, but just one line there can just help show that you've got things going in the right direction. So I'm going to stop littering on now. I've left this out. I haven't forgotten about that. I think I want to leave it out now because I had forgotten about it. So let's leave it out. So I'm going to stop littering on and I'm going to carry on. I'm putting some shadows in as I go. We can put some more shadows in later on with a paint. So just really following the shape of the animal around, getting those hairs in the right direction and gradually building it open. This is going to take quite awhile depending on how much detail you want to put in there. So I will fill in the rest of my drawing, but I will come back to you when we come to putting the paint, Tom. 6. Colours: Once you've completed your ink drawing, you want to get your colors together. So mix-up a few colors, the ones that you think are going to suit the photograph that you've got. But don't overdo it. I had plenty of water and use plenty of water when you work in because we want the ink drawn to show through. When you're doing line and wash or income wash, whatever you want to refer to, tell us. It's your drawing. That's the main part. You've spent a lot of time doing that detailed drawing with your ink. You don't want to obliterate it by putting on too thick, too heavy paints and making it too complicated and putting lots of color in there, your shadows should be already there with some of the line work that you've done. So we really want to keep it simple because that's what line and wash or ink and wash is all about. The colors I've got here. We've got raw umber, burnt umber. This is burnt umber with some French ultramarine intimate, that nice blue gray of the nose. And then we've got some raw sienna. Raw sienna, sorry, I'm just thinking into that. I've put some of the umber as well to make that little tan color that's on the top of the head there. And then we needed some pink fur on their lips and inside of the ears. I have added a little touch of yellow into that to make it more peachy because of pH is more of a flesh tone than just using the pink off that Pam and the brushes that I've got here that we're going to apply the paint with. I've got a number six round and a number ten round. You just work with whatever you've got. And I'll just pop those out of the way. 7. Applying the paint: I'm not going to put the backgrounds in of the grass, but if you wanted to, That's something that you could do. So to begin with, I'm going to get a big brush and wet the whole of the animal. So very lightly. Just going across the whole thing. And be mindful about where you are and the heat in the room that you're working in. Because that will make a very big difference to how much water you put on how quickly it's going to be drying out, as will the type of paper that you're using. This that I'm using is a Bockingford block. And it will absorb the water quite quickly because it's very hot in here today as well. So you need to probably work quite quickly. So you've always got to adjust your watercolors to the heat of the room, to the amount of water that particular brush holds. The type of paper that you're using. And that's something that really can't be taught. That something that you need to learn by mistake, really, by practice, to get to know your own materials, which is something I have talked before in the past quite a bit about. With watercolor. You need to keep using your own materials, getting used to the amount of water that you put in on and applying with your brush. You don't want puddles. You just want it to be damp. And you could just leave it a little moment to sink in. And you'll see, I've just let that go all the way down there quite loosely so we can sort of fade the Calloway there. So once you let that sink a tiny bit, you don't need to sink too much because this is dry here. It's not going to go out away from the cow he paints are going to stay within the cow as long as you've kept within that line with your water. So to begin with, we've got that tan color on the head. I might not even use my smaller brush, to be honest. I'm just going to let the colors move into each other and have a look if it's anywhere else, It's a little bit lighter on the top of the back there. And in here, just add a little bit. And we're going to let the colors mixed together a bit. It is quite light in places where the light shining on it. So and of course, where it's much lighter, where it's white almost because it's got a lot of sunshine on it. I think. You can lift colors away with a tissue if you get, you know, if it's moving over that area. So if pop the tan colors in, and then we're gonna go with the color that's overall. Most of it. Getting these colors under here is going to make the head stand out from the body as well. Because of course that noses muscle rather is very white there. And just let these colors fade off here at the edge. This is drying quite quickly already, which in some ways is quite good because it means that notch kind of bleeding into each other as much as the mind. You know, you don't want it to come all the way over the year there. I'm sorry, wrong color. So just a nice light touch. And then a little bit darker. Now you need to either have all these colors, the same consistency. I'll be going slightly thicker each time. So when thicker, I'm in more pigment from your paint and less water. And I've made a mistake here. You'll see that it's supposed to be white here and here. So what I'll do is I'll just clean my brush off, get rid of the excess water and just lift that out. You can see there where it's white, white hair at the top there. So it's easy to just remedy whilst you're working. Wet in wet. But don't forget that whoever is looking at your painting later isn't going to have this particular cow in front of them. So they're not gonna know that it didn't have brown hair all the way to the top if you actually prefer it to look like that. So just look at the way the light is bouncing around. You might want to take one or two more highlights out with your brush. Like here, scroll a bit of a highlight going down the cheek. So he's not going completely back to white because the cow isn't completely white there, but it's just gives that impression to the sun moving around it. And of course, these colors will dry a lot lighter than the going on. So don't worry if at this stage you thinking it looks too dark and flat. And you can reinforce some of those lines out there. We've got the shoulder going out. You might just want to follow some of those lines vary slightly with your brush. Giving that impression. And then the thicker color we'll go with next, rather than the colors of the nose and things, and we'll put those in the shadows. So this is the same color that we're going to be using on the nose, but we're going to use this for some darker areas first. And again, that will just bring it to life a bit. Make it more 3D by having those shadows there. But don't overdo it. Just look at where it's darkest. By getting it dark under here. Again, you pop in that nose forward and some pink. That's quite bright at the minute, but you might want to knock that back a little bit. I think that those areas have dried out. Now that one hasn't dried out actually as much as this room. So you could just sort of go around the edge there with a damp brush trustee. Less than that a bit. Make it a bit more subtle. The quiet pink in there. Don't forget they're a little bit transparently. D is so thin that the sun will be shining through those a little bit. And just that tiny touch of pink onto there. And then we need to think about this gray color for the nose. So it's a bit of a cheat way of making graze these just using brown and blue together. But it's something I do quite a bit because it's, because it's a bit of a quick cheats way of making a nice gray. And I've kept it a little bit on the brown side, perhaps should have been a bit bluer. If you look at the nose there, it's quite blue, isn't it? But it's quite harmonious painting to have it all. The browns. If anything, she looks a little bit angry, Doesn't she? I think that's to do with the shape of how I've got her eyes. Just dabbing where it's a little bit darker. And you can keep doing this and just watching it as it dries, keep adding a little bit extra. I'm building it up. In any mistakes or anything you wanted to alter, just do it with a damp brush. If you want to lift anything out, get that sum there. Because I've done this very, very quickly just to show you the general idea. And you could do it more slowly than this. So if I'm gonna go back to the ears, now, can you see how this has moved? Write out this pink. So let's get rid of that pink from the edge day keep. We need to preserve some of these white, white of the ear here. And then I'm gonna get my smaller brush. I'm just going to touch of cadmium on and put that in there. And that kind of brings a whole thing to life a little bit, doesn't it? I did not touch of yellow, so I forgot to put the ear tagging this side. So I went ahead and popped it in that side. And I'm going to leave that at that. I think that's enough. Paint. Again, your personal style and how you draw, how much detail you want to put in is a very individual thing. So I'll leave that entirely up to you. But just work wet in wet if you can. If you're confident enough to do that. If not work wet on dry, you could do one layer at a time, put your lightest brown on first, let it dry, and then do the next, etc. So you can spend more time putting detail in with your pen if you wanted to, as well as an awful lot of detail here in the nose with all these little lines. Lot more detail around the eyes, every little hair that we've got there. So that depends on your style and how much detail you want to put it in. I want to keep things quite loose and just get a general feel for the animal. But if you wanted to do it more photo-realistic, you could put all that detail in and spend a long time doing your pen drawing, and then just put these few colors over the top. Okay, So I think that concludes the painting. Like I said, you could put the graphs in if you want it to. 8. Conclusion: I hope you've all enjoyed that tutorial and learned a little bit of something from it. For those of you that enjoy painting and drawing animals, that it's been useful to you. I look forward very much to seeing your work. It's always surprising how we've all got the same photograph and we all end up with different work. We all see color differently. We all make different choices about how much color we're going to add, how much detail we're going to add. So just a few lines. Sometimes can be very expressive, or you might be the type of person who wants to put all that detail in. And that's all part of developing your own style. And with these tutorials, with all my Skillshare tutorials, I just really want to give you hints and tips of the basics. I don't want to influence your style too much because that's part of who you are. And if you're a very detailed person, that's fine. If you want to go very abstract and you want to be very loose, that's also fine. It's reflecting you. So don't be thinking that you've got to draw as much detail as I do or as little as I do. I really look forward to seeing those and I will give you feedback as soon as I can once after you've uploaded. In the meantime, if I've omitted anything that you really want to ask about whilst you're doing your drawing and painting, please do contact me. You can do that over Instagram or you can do it here on Skillshare. And of course, all my details are also over on my website. If you want to go and have a look at my work on there as well. I think that's everything. Enjoy your drawing and painting, and I will be back again very soon with another Skillshare class. Thank you for watching and bye bye for now.