Transcripts
1. Introduction: Hey, everyone, welcome
to a brand new tutorial. And this time, I bring
you this cute dog, which I have done using
watercolors and colored pencils. This can be your next sketchbook
project or a fair one, and I'm sure you're going to enjoy working
on this drawing. Whenever I'm working
in my sketchbook, I use various mediums
like what colors, colored pencils,
graphite, charcoal, and sometimes even gouache. I try out different techniques, different color combinations, and it becomes a great
learning experience, and I encourage every artist, especially bignes to
develop a sketchbook habit. This can be your
own sweet haven, and you can make mistakes,
learn from them, and you don't have the
pressure of spoiling a good paper or even
showing it to the world. It also helps in tracking your progress by just
flipping the pages in your sketchbook
and who doesn't love to see a
sketchbook tour, right? That being said, I also
encourage you all to invest in a good quality
sketchbook which has paper suitable to the
medium you're using. For example, you can use a mixed media sketchbook or
a watercolor sketchbook, which has 140 GSM paper, and you will be able to practice all these techniques without
struggling with the paper. Using good quality art materials will make your
learning experience very fulfilling
and will give you the confidence of
becoming a better artist. Now, coming to this class, so this is a mixed media
tutorial in which I give a base with watercolors
followed by colored pencils for
all the fine details. I love using
watercolors as a pase, as it really speeds up
the drawing process, fills up the white part
of the paper fast, and I can play around
with vibrant underlayers, thus giving an interesting touch to your colored pencil drawing. And then with colored pencils, it is easy to work on all the
details such as the eyes, and it also helps
in giving textures, like in this case, the
fur and even the nose. So in a nutshell, the process becomes stress free and more enjoyable because
you know that if you cannot do something
with watercolors, then you can come in
with colored pencils, and in the end,
your final outcome is a beautiful drawing. So I hope this class
is helpful to you all, and you can learn
something from it. So get your materials
ready and let's dive in.
2. Materials: O. Hey, guys, so let's quickly go through all the materials that I
have used for this dog. The paper that I've used is
from Saunders Waterford. This is a cold pressed paper, and it's in color natural white. That means it'll be a little
bit of yellowish color, and the size is seven by 10 ". This is my usual palette,
a ceramic palette. Then I have two sections
of water in a bowl. I've got out my extra colors for all the neutrals
and the browns, then a towel and a spray bottle. So let's see what other
colors I'll be using. This is yellow
ocher and raw Ciena from Windsor and Newton. Dy brown from core. If you don't have this, you
can even use burn umber, burn Sienna from
Winsor and Newton. This is warm CPA from Cenlla. These are my go to brown
tones, neutral tint. Cobalt blue, and Winsor violet. These will be all
for our white areas. And then the usual brushes, size six, four, 33 by zero, and a esel blender
brush for lifting, and then a mixing brush
for mixing colors.
3. Masking the whiskers: A In this video, I'm going to mask off all the white whiskers
and the white hair. So I'll be using
Schminy maskine fluid, and I'll be using a
very thin liner brush. And as you can see on the side, I also have a bar of soap. So first, what you do is apply a coat of soap on the
bristles of your brush. This way, you will
not spoil your brush by dipping it directly
into the masking fluid. This will protect the soap will protect the
bristles of the brush. And then after coating it, coating the brush with soap, then directly dip your brush
into the masking fluid and just apply masking fluid as if you are applying paint. Now, this step is completely optional of applying
masking fluid. Though in the end, I
am going to come in with white ink for all the
white whiskers and the hair. So but I just wanted to mask
it off in case you know, just to take some precautions. So I'm using a very
thin liner brush over here to get
very thin lines. And after every few strokes, just wash your brush
and then again, coat it with soap, and you can repeat
the same procedure. So we'll let this
layer of masking fluid completely dry before we come
in with the water colors. Till then, let's go
to the next video and let's make some colors. Oh.
4. Color Mixing: So while the masking
fluid is drying, let's pick some colors. The first color I will
take is yellow ocher. I have removed this
color on the palette, but I will not be
using this much. Now, this is raw sienna. For the yellowish browns. This is a very helpful color, especially if you have a lot of warm tones in your browns. And for the red tones, this is Burnt Sienna
from Windsor and Newton, a beautiful redish brown. Next, I'm taking Van
**** brown from core. This is more of a
purply brown color. This will be our mid brown. I'll show you how the
burnt Ciena looks. And this is CP for all
our darker browns. Again, a very rich color. Then for all the
grays and the blacks, I'll be using neutral tin from Winds Newin This is a
beautiful ready color. And to give some
interest to our whites. I'll be using some
cobalt blue from Sinea and in Newton's
Vince violet. These are my co two colors for giving some interest and accents to the white part
of the painting. Apart from this, I'll be also using some
permanent magenta, which I have not
showed over here. So keep all the colors
ready and in the next part, we'll jump into our first wash.
5. Painting lightest tones with Watercolors: So let's start giving a watercolor base to
this painting now. As we all know that this
is a mixed media project, and I'll be giving
a watercolor base, and then the details with
colored pencil on top of it. So here, I'll be starting
with this first eye. I've taken neutral tint, a very light watery wash. And
then this is Winsor violet. I'm just going to fill
up the white part of the eye and just lift some of
the color from the center. So I'm working directly
on paper with wet on dry. I'll give a base of gray to
the inner part of the eye as well and then just lifting off with a
clean damp brush some of the lighter areas. I'm using a cold
pressed paper over here just to create
some texture. This is cobalt blue, which is seen in the reference
picture, some blue areas. For your very first wh, try to keep everything
very light. We'll again come back in the second layer with
all the darker colors. Imitating the shapes that I
see in the iris of the eye. So I'm using a cold press paper over here for the texture, as I mentioned, and usually I go for arch
cold press paper, which is not this much texture. I found Saunders Waterford to be a little bit
more of a tooth, which was a little bit of I will not say a problem
with colored pencils, but I'm not used to too much of texture paper for my
colored pencil work. So it's your choice if you want to go with other
brand of paper for this one, you can even go for
a hot press paper. Taking cobalt blue again. This is the fun part of using watercolors as your undertones
for your colored pencil. You can use some beautiful
tones to browns and blacks, so just to make it
more interesting. Leaving some gap for
the lighter area I'll take a little bit of
Windsor violet just for the base for this brown
dark brown color, and also a little bit of blue. You can just make your browns more interesting by
adding these colors. No, I'm taking warm CPR. And at this stage, I'm
taking very watery colors. We just want to assign colors to all the
particular spaces. At this stage, we are not
looking out for details. We just want to fill up the
white space of the paper. And here you can see, I'm still working in the direction of the hair that is
going on the dog. And a little bit
of neutral tin and warm CPR for the top portion. O Leave lighter gaps
wherever you see. And this is Van **** brown, just to give some lighter areas. And just soften all the edges. For that, I'm using
a clean damp brush. In the same way, let's
work on the other eye. I'll start with Winsor
and Newton again for the white part of the eye. And for the brightest highlight, I have just lifted off
color, and this is blue. I'm applying wherever I see blue in the
reference picture. And this is windsor violet
for the bottom area, where there is a dark brown. Now, taking CP again
for the top portion, M. Try to see the color, which is there in the deep in the depth of
that particular area. Try to see the color in the
highlight of that area. If you see blues, apply blues or
violets or magenta, these colors will really help make your painting
look very interesting, and it will start giving a lot of depth to your
darker tones as well. As we all know,
browns and blacks, they are very dull
and boring colors. These undertones will help you make even those tones
look very beautiful. O Now, I'm darkening I'm coloring
the dark part of the iris. So this is neutral tint again. And as you can see,
I'm not going in straight with dark black color. So initially, just
to set the tone. I work with very light washes. So in case you make any mistake, it's very easy to lift them off. In watercolors, it's always good to go light and
then make it darker. That way, you don't make
very serious mistakes. Just follow the shapes, just think them as
abstract shapes. Again, for the shine of the eye, I've used a little bit
of windsor violet, and now this is neutral
tint for the dark part. And then just soften
out that color, the clean damp brush. And whenever you're working
with a cold pressed paper, remember that it takes time to dry unlike the hot press paper
where it dries very fast. So this was a little
bit new for me as I don't work much with
the cold pressed papers, taking warm CPA and further darkening the lashes of the eye. These two eyes dry
and we'll start working on the nose of the dog. For this, I'll be using
a wet on wet technique. I'm giving a clean water glaze first to the entire
part of the nerves. Because I'm going to
add a lot of colors to this colors for the
highlights for the shadows. It's better to work wet on
wet for the first layer. I'll start with the
highlight and I'm using Winsor violet for the
highlight portion and also a little bit of blue. And we're working wet on wet, so these all colors
will dry very light. I'm also going to add some permanent magenta
at this stage. I can see some pink tones on
the secondary highlights. Permanent magenta is again a very good base tone for your browns and especially
for the browns. So at this stage, I'm just concentrating on all
the lighter tones, all the highlights that
I see on the nose, which is surrounding
the nostrils. And I'm giving a base of blue to the darkest part of the shadow
part of the nose as well. Now, this is neutral tint, and I'm going in with this
color in the nostrils. Again, at this stage, we are not making anything very dark. We're just filling up
spaces with colors. Oh h The surface is still wet, so the color is spreading,
but don't parry. We can easily lift it off. And I've also add
a little bit of permanent magenta to the right
hand side of the nostril, just to give it some shine. And now this is the center line. And since the paper is wet, it's giving us a very nice
soft blurry kind of line. And for the top shadows, I'm again using
some neutral tint, which is again nicely, softly blending with
the wet surface. Taking some CPN now. And though the wash
is almost dry. But this is the advantage
of cold pressed paper. It's not very fussy. So I can easily, you know, just soften the areas
which I've applied. And this is neutral tint, leaving some lighter
gaps for the highlights. And then with the
clean damp brush, you just soften the
highlighted area. That way, everything looks very soft and smooth at this
stage, which we want. This is no near the
reference picture. It's not very, but we
want these colors to shine all the layers that you'll be doing
on top of this nerves. So while the nose is drying, let's work on the
right hand side of the dog, the fur part. For that, I'll be using some
raw sienna and some any brown mixed together and a very watery wash
at this stage. Keep it as light as possible. And I'll start moving
in the direction of the And I'm working wet on dry. We don't need wet
on wet, otherwise, we'll not have that
strokes kind of effect. Paint with your brush as if
you're coloring with pencil. This yellow tone will give a nice shine to all
the darker tones, which will come on top of this. Always in your first wash, as I've already mentioned, look out for your
highlight colors. I'm leaving some lighter gap
between the top section. Now I'm going to take
some winsor violet, where it is touching
the white fur. And I'm also taking some
permanent magena at this stage. As I told you, this will give a very good base tone for
all our darker browns. And as we all know,
the white fur is never actually white. We have to show the
shadow areas and then just leave the very bright
part of the white f, the highlight completely white. So concentrate on
all the shadows that you see in the white areas. So that will give
you a nice depth to the structure of the dog. And again, I'm working
in the direction of the fur that is
going on the dog. Taking more of osiena, and I leave a little
bit of gap and then just flick some strokes. So squint your eye and
just look at the shapes that it's creating so that you don't go too
much into details. Squinting your eye will just diminish all the detail areas, and you'll be just
seeing the shapes. And I'm also leaving
some lighter gaps for all the white fur that is shining these yellow
and brown fur. Concentrate on the direction of the fur and also on
the length of the fur. Now, I'll take some burn sienna, and I'll give some
reddish tone to the fur, especially near the eyes
where it's looking very red. It's getting a nice shine, nice sunlight. Oh. And this is our second tone on the yellow base
which we have done, and it will further give more depth to that
entire fur area. And now, the reddish brown,
which is burned CNA, will be more on the
inside part of the fur, and the outside part
is getting more light, so I'll be leaving more of
yellow brown over there. I'm also leaving
some lighter gaps so that you can see all the yellow part of
the fur as well. I'm taking more
of Raw Siena now. I'm giving a base of Raw
Siena to this entire section. Of course, leaving
some lighter gaps and then forming some shapes. The more detailed strokes will come with our
colored pencils, but this will give a nice base for us to start
with colored pencils. And with colored pencils, the most time consuming part is filling up the white
part of the paper. So this step, giving a watercolor base will
eliminate that time, and you will see within no time, you'll be able to finish this dog by using
this mixed media. Now base is since still wet. Both the colors are nicely merging with each
other on the paper, taking some van **** brown
for the darker brown areas. And then warm CPA for
more darker browns. I'm taking permanent magenta. Now, let's paint the
white part of the dog. The part surrounding the nose. So I'll be giving a undertone
of permanent magenta to all these brown fur that is coming onto the white
part of the dog. Then for the central portion, I'm going to work with
wet on wet technique. I'm giving a nice
glaze of clean water. I've switched my
brush to size four. I want a lot of colors mixing
and looking very soft. I'll start with
permanent magenta for the base and also ins violet. Look out for all the
lightest colors that you can see in the reference
picture along with blue. As this area is in the shadow, we don't have much white, so we're not going to
leave any white area. I'm working from out and coming towards the nose this way. This will start giving
a nice rounded effect. I'm just going to
make some space on my palette for a
permanent magenta. If we don't have
permanent magenta, then just make a little bit of rose mad lake with
Windsor and Newton or with cobalt blue, and you will get this
nice magenta color. Now, for these spots over here, I'll be using bandy brown, and if the glaze has dried up, just go over it with a clean water glaze
using very little water. So that it gives a
nice soft effect. As the picture is not
very much into focus. Some of the areas,
especially which are going back, they
are out of focus, and wet on wet is a very good technique to
show out of focus areas. And you feel any of the
colors that you have applied, they look a little bit harsh. They have hard line edge, then just soften it with
a clean damp brush. The video is at a speed of 1.2. If you find this a
little bit faster, then you can slow down the
speed in your viewer window. Again, I'm going with
a clean water glaze. Softening everything. I'm going to work on the right
hand side of this area. Again, taking some blue first. And then when like
brown for these spots. Leaving some lighter areas. Here again, though it's
a very soft wet and wet, I'm working in the direction
of the fur that I see. Now taking permanent
magenta again. And some winds of violet. Just giving some lines. And now for the
mouth. Neutral tint. This is just our first wash. A lot of details
are going to come, so just do how much ever you
can manage at this stage. Same way, I'm going to work
on the top of the head. I'm again going to give a clean water glaze to get a softer look and
I'm going to use blue. Now since our dog is going
to be on a white background, I will be giving a very light
blue and light gray color for the white fur of the dog. Otherwise, if we
don't give that, then we'll just
get lost and we'll not be able to understand
the shape of the dog. So if you're doing this
on a darker background, then you'll leave it
completely white. But if you're going
to do this on a white background,
as I have done, then you have to give some color to the white fur as well, especially some very light gray or mixed with a little
bit of light blue. So taking some raw sienna, and now we'll work
on the left side of the dog of the face. And with raw sienna, I'm going to give a base of this color to the
entire left side. This will give a nice shine to all the darker tones which
will be applying on top of it. So this is our high light color. Again, try to move in the
direction as much as you can. This way, you will be you will start giving a three
D form to your drawing, to your painting right
from your first stage. Always maintain this habit
with whatever subject you do. And in areas, which
are very light, just give a very
light wash. Now, I'm taking burn sienna
for all the red areas. So identify your
tones of brown color, identify which are more yellow, which are more red, which
are more dark brown, and which are more of a very the darkest tone
like blackish brown. So the moment you
identify these tones, and it's very easy to pick
up your colors and just fill in those colors
in those gaps. And as you can see,
all the colors are mixing with each other. I'm not bothered
because I want this as a base for my upcoming
colored pencil layer. And this will just give
a nice colorful base instead of working directly with colored pencils
on a white paper. If you get any hard line edges, just soften it with water, actually doesn't matter, but then I like to keep everything
very soft at this stage. And then Tek taking this
permanent magenta again. This is burnt sienna. And I'm concentrating
now on the mid tones or the dark tones of
this particular area. And since we have the
masking fluid underneath, we don't have to worry
about all the bright hair or the whiskers going. And this is clean brush. I'm just lifting off some color. Oh. Leaving some lighter gap just under the eye. Taking raw sienna for this area, this quite yellow in tone, giving a base of raw Ciena. As you can see, I've not
used yellow occur at all, so you can skip that color
while you're mixing colors. So, again, here,
I'm just squinting my eye and only
looking at the shapes. And now for the mouth, I'm going in with and like brown for the light brown color. And then a warm
sepia for the very dark inside part of the mouth. Now we'll work on the left side, the ear of the dog. And for all the white areas, I'm using very light blue and violet and working in the
direction of the fur. As I told you, we are
not going to leave all the white fur
completely white. We'll give some of the
other color to it. So at this stage, I feel you
can use a lot of creativity, instead of directly going
in and working with very realistic kind
of application. So this stage gives me a
lot of freedom of giving a beautiful undertone to my drawing by using
watercolors as a base. Again, this Row
sienna will give us a nice base for all
the dark brown areas. I can see a lot of yellow
tones as the underlying layer. But just work in the
direction of the fur going. Now I'll take some Vandy brown, and I'll start working
on the mid tones taking some permanent magenta. Just to give it a nice interest. And now, for the white area, I'm using some winsor violet. For the fur which is going
outside of the body, using very light blue. And then the colored
pencils will be giving some more flyaway
hair. Later on. Now I'll concentrate on
all the darker tones. I've taken Mandy Brown. And again, I'll be concentrating
more on the shapes. Whenever you're
drawing hair or fur, just concentrate on the
shapes of the dark tone, instead of concentrating
on individual hair or fur. Otherwise, we will go crazy. So just identify some shapes and then work with your light tone mid
tone and dark tone. And that way, you'll
be breaking down that portion of the fur or even if you're
doing human hair, you'll be breaking it down
and it'll become much more easier than working on each and every single
strand of hair. So look out for some shapes and then identify
the darkest toone. So you're like, you know,
I've given this darkest toone in this tear drop kind of shape. And then I consider that as one single object and
start working on it. This is the inside
part of the face. I'm just giving a warm dark tone to separate the lighter
tones of the ear. A This is and like brown. Everything will look very rough, and this is our ugly duckling
stage, as it is called. It will look very
rough at this stage, and it has to
because then this is a stage where we are not concentrating on
giving any details. We just applying layers
colors where we are seeing. And in the more upcoming layers, we'll be giving more
details and just bringing it all together to make it
look like a beautiful dog. To The base tone has
dried on the face. So I'm coming in
with a mid tone. This is Van **** brown, and I'm working with strokes. I'm depicting the
fur on on the face. And this is Burn Sienna. And I want to give
a base of more of a reddish brown color before before I go
in with darker tone. Always work from light to
dark whenever you're working with the watercolors or
even colored pencils. This is warm CPA. Very watery warm CPA. Giving darker tone to
the cheek area as well. Now I'll start
working on the legs. So again, the leg is
too much out of focus, and I want to keep it a
little bit out of focus. So I'll be giving a wet
on wet base for this one. I want to concentrate. I have put the focus
more on the dog's face, and the legs will be a
little bit out of focus, so I keep it more of a soft
and blurry kind of effect. So I've used here permanent
magenta and burn Ciena. And I'm using some
wins and violet. And this is all for the
white part of the fur, which is looking more of
a violet and magenta. I'll not be working too much
in detail with the legs. This way, the concentration and the focus will
go to the face more. And this is neutral tint for
all the very dark shadows. At this stage, it
is still light. We are going to
make it more dark. But for our first wash, everything is super soft, all the colors are
getting mixed with each other. It's fine. Let it just flow and just go with the
flow of the watercolor. And with a clean damp brush. I'm just lifting off wherever
I want more of a highlight, more of lighter colors. Similarly, let's work on the right hand side
leg. Same way. I'm giving a clean water base. And then I'll start with violet. And then permanent magenta. Permanent ma magenta will
go wherever you see brown. And this is Van **** brown. Again, just quint your
eye and just look at the shapes and the
colors that way, you will be not seeing
too many details. And then with neutral tint, I will color in
all the gray part. So we'll let this first
layer completely dry and then in the part two of
this watercolor base, we'll come in with more
colors, more layers, making a little bit more
darker than it is now, which will be then ready for
our color pencil drawing.
6. Midtones & Dark tones with Watercolors: Let's continue with
our watercolor base in this second part. Now in the first part,
we concentrated more on the highlights and just filling up all the
areas with colors. Now in the second
part, we will go over all of our midtones
and dark tone areas, making it a little bit
more darker now so that we have less work with
our colored pencils. Here, I've taken dark and I'm darkening the darkest
area on the area, which is below the
mouth, the shadow area. Oh Turning my drawing upside down also gives me a
fresh look to the painting. It exactly shows me where do I need to go in
with more color. And also it helps
me in giving some of the strokes which
are coming towards me. That will be more easier
if I turn my painting. Ect. So when I'm darkening
all the darker tones, I also keep in mind to leave
the areas which are lighter. So that way, you don't go
over your lighter tones and then just pour water on all the hard work that we have done on our first layer. Taking burn Siena. This is dark CPA, again, warm CPA, I'm sorry. And taking burn Ciena again
for the more reddish areas. The tone will give a
nice reddish glow. So when you're
giving a base with what colors, the undertones, you can decide what
undertones you want to give, whether you want it
more red or whether you want give more yellow undertone. That will change your drawing
or your painting a bit. But it will not make
it unrealistic. It will be still your
realistic drawing, but the lighting
will be different. So you can play around with different colors in
your underlying layers. So that way, you get some
freedom and you get to use some creativity while choosing your colors and applying colors. So I'm using the same colors. Even if I'm not
mentioning those names, I'm sure you must be familiar
with my palette now. So this is one CPR
that I have taken. And this is an Dike Brown. So as you can see,
I've done a lot of very minimum mixing
on the palette. I've just taken pure
pigments on their own and whatever mixing I'm doing and doing in directly
on the paper. This way, I've always felt that the colors remain
very much fresh. And secondly, I've used
all direct pigments, so I didn't need to mix
various colors as well, but if you don't have
any of these pigments, then you can always
mix your colors by using whatever colors you have. So I'm also darkening
the area above the eye. Still everything is in
very raw stage because as we are going to come
with colored pencils, all the details, all
the fine minor details, minute details will be
done with colored pencils. With watercolors, we will be eliminating the white
surface of the paper, and that way we'll
not have to work more with colored
pencils in achieving a very smooth result because the white surface is already
covered with so many colors. So that way, the time
will be saved over there. Et every layer dry in between. Otherwise, you will
spoil the paper. But this paper is really
good. It's very strong. It's 140 pounds, but
it's very strong and it's retaining the water also. This is permanent magenta now
for the very outermost fur. Want to give more color
to the white fur. Oh. When you're working with CPR, just concentrate on
all the shadow areas that you see in between the fur. And My Brown will
be giving it a mi. So this will be a dark tone. Now, when you're
working with colored pencils on top of this, you have to remember that
colored pencil white also is not that opaque. So if you don't leave any white while you're
doing your watercolors, then you might face a problem when you're going
in with colored pencils. So leave enough of your lighter areas when you're giving a
watercolor base so that you don't have to then struggle with your
colored pencils. To an extent, yes, white colored pencil works very nicely on a
watercolor base, but then it will not make
it completely white. So just leave those
highlighted areas as we always do in while
working with watercolors. Now, for the outermost fur, I've used Winsor
violet over there. And as I told you, we
are giving this dog. I mean, we are painting this
dog on a white background, so all the white fur
will have some color. I'm also giving color
to the paws over here. And again, in the
second part, I mean, when the coloring
doing colored pencils, I'll be again coming in with watercolors for the
base, for the shadow. So that time also,
I will be giving more watercolor
background to the legs. So I've again turned
my board over here, and I'm concentrating
now on individual areas. I'm giving a lot of strokes, making it look like a fur
at this stage itself. And then leaving a lot of lighter gaps for
the lighter fur. Taking more dark, and again, permanent magenta. So before going in with your
warm CP for the darkest toe, just give a layer of your
lighter browns that way, even your darkest brown will
have some color underneath. L et's take some bandy brown
plus a little bit of war. And now I'm coloring all the darkest fur on
this, the right hand side. H. Concentrate on the shapes
that it is creating, and also leave the lighter
gaps wherever you can see. I'm going to darken
the eye as well. Flicking some of the permanent magenta into the white part. This is Vandy brown
again, and burn sienna. I'm giving a glaze of
that color as the fur is not completely white on
that side of the face. Now this is neutral tin, and I'm just starting
to darken up the nose. We'll start with the daresa
which are the nostrils. And here, I'm directly
going in with wet on dry and then just softening the edges with
a clean damp brush. Because at this stage, we want now more
intensity of color. So if we go with wet on dry, and again, there are chances of the color becoming lighter. So then I don't want one more layer to go
with in this case. So directly And I'm giving a I gave a very light
gray base to the nose first. And this is now warm CPA, which I gave around the nostril. And I'm also coloring
the high light now, making it a little bit
more darker as it was too light and too
much standing out. So we are also adjusting
the tonal values over here. And this is again a little
bit darker neutral tint for the most shadowy area, which is here under the nose, thelow part of the nose. O Again, I'm taking warm CPA to give a brown tone to the
top of the nose. We already have a
nice violet and permanent magenta as a base, which is shining
through that warm spa. And I'm darkening these spots which are there around the nose. This is dy Brown, and then more darker spots
with permanent magenta. Oh. And whenever you're
working with wet on dry, just take a clean damp brush, a damp brush, and then
just soften the edges. So that way, we
will still retain the softness of the colors
that we have applied. So the edge of this white fur, especially the base
is quite dark. It's not completely white. But I'd like to give
this permanent magenta. And now I'm coming in with gray A little bit of shadow
underneath the nose. And then some spots for spots. First, apply the color and then with a damp brush,
just soften it. Same thing on the
right hand side. And now I'm softening the
color that I've applied. If you're used to working
with watercolors a lot, then this becomes
like a second nature of applying color and
then just softening it. You don't have to
think about it. Now I'm going to darken some of the shadows between the
mouth and the paws. Let's start to let's
start darkening the eye. So again, I will start with the darkest portion of
the eye, which is black. Now, this is a mixed
media project. So it's up to you how many
layers of watercolor you want. And then maybe you just want the very final details
with colored pencils, or you want to do 50
50% like how I'm doing, or you just want to
give a base with watercolors and then continue
with colored pencils. Even that I have done
in many of my projects, and you will not even come to know that I have
given a watercolor base. It looks like a completely
pe colored pencil project. So the how what colors you want to give as a base
is completely your choice. If you want to continue giving more details further
with water colors, you can go in with your third
layer with water colors, and then you can come
in with colored pencils for the very fine last
details, even that you can do. Let's finish the second eye
as well with what colors. Taking dark CPA. A little bit of blue. Again, warm CPA. With this, we finish the base
with water colors, and now we will jump
to colored pencils for details and fine work. See you there by.
7. Eyes + Face details- Colored Pencils: I like my watercolor
layer completely dry. This is very important before going in with your
colored pencils. Otherwise, you might
ruin your paper. Now, for this
particular project, I'm only going to use
ebocasle polychromos colored pencils and
not any other brand. So let's start with
the eye first, and I'll be going in
with the darkest stone, which is black in this case. So we'll start coloring all
the very dark black areas. Now with our colored pencils, we will be going in
microscopic details. We will be concentrating now each and every small area,
small total changes. Because we have
our base covered, we'll be able to concentrate more now on all
these small things. Now with colored pencils, we will not be requiring too many layers because we already have a
good watercolor base, so this will make our
drawing process very fast. And it also eliminates the fear of white
paper since we already have colors on our on the dog. So that also makes
us less anxious. I'm going to make this black as dark as I
want right from this first lier because we are
not going to come back again and again to
darken it furthermore. Now, this cold gray
and with this, I'm going to cover
whatever gray areas that you can see on the iris. Also in between the black
colors that we have given. Again, with black. Now, this is dark indigo, which I'm just going to layer it over some of the black areas, just to give it a
nice cooler tone. And this is light
cobol turquoise for the blue sky,
which is reflected. And this is light ultramarine, again, for the blue areas. And I'm also going to
take white polychromos, just to make some
highlights shine. White polygromo is not
completely opaque, but for this purpose, for this drawing, it's
solving, it's my purpose. And this is dark CPR. So this will go in
that reflected light. Taking light magenta to create some interesting
reflections, even in this white part. And then with cold gray three, I'll give more shadows
in the white region, just leaving some lighter gap in the whiter area in the center. This is the Put Mottom violet. Again, I will give this
color over the black areas, just to give it some
tone a purpish tone, even on the CPR
that we had done. Again, with white. If you feel any of your
black has gone light, you can just renew that
color. Cold gray three. So same way, let's
finish the other eye. So again, I'll go in with black for the very
darkest areas. Now, here, I can see
some highlights, which I had forgotten to. But see how the white works
so nicely on watercolors. So this is black again. He leaving some gap and taking dark CPR. All the pencils
with their numbers will be mentioned in
the list of documents. This is Cold Grade three. We covering all the
lighter highlights and light cob turquoise for the bluer area black again. And put motu violet, wherever you see a very dark brown light ultramarine. Again, this is gray. Go on the outside
of the white area. I'll also go over it
with light magenta, just to give it some interest, and then with white, I'm going to make all
the highlights shine. This is dark CP. I just going to flick
some of the hair. Cool gray three.
Again, with white, I'm going to lighten some
of the lightest areas. This will also blend the
colored pencil layers. Now this is burnt occur and we'll be working on
this right hand side. So with this, I'll be working in the direction of the
fur, which is going. But before that, I'm
going to take ivory and concentrate on all
the lightest areas. I just want to freeze them
with this lighter color. And lighter pencils
will really work very well on water colors. So I'm also giving a glaze of this ivory
on the white fur, which is there in between
the ear and the face. So now, before we move further
with our colored pencils, I'm just going to remove
these masking fluid because it'll be not possible with us working with colored pencils with this masking fluid on. So let's remove
the masking fluid. If you're not comfortable by
removing the masking fluid, then you can work around those
with your colored pencils. But I think I'm just
going to remove them. So this is a rubber
cement picker, and I think that's
what it's called. And I use it to
remove skin fluid, but you can even go over with your regular eraser or you can even rub it with your fingers. So now, after giving
a layer of ivory, I'll again continue
with burnt ocer. This will be our lightest
tone in that particular area, and I will flick
some of the pencil. I can still feel some
of the masking fluid. So I'll just take
a normal eraser. Now, again, with this
colored pencil layer, it's up to you how much
detailed you want. If you're just working with
this in your sketchbook, then it's okay if
you don't go into too much hyper realistic
details. So the choice is. Working in the direction
of the fur that is going that will make so much
of difference in realism. And as you can
see, we don't need too many layers now
to fill up the space. I'm also going to thin down
the hair, the whiskers. Because with masculine
fluid, this thing happens, you will not get that
thin as you like. And with white pencil, I'm going to further freeze
all the white areas, especially the whiskers and the white hair, the white fur. Continuing with Burnt ker The shape and the direction of that fur is very important. And here, I'm just
going to fill up the space with this burner. Even under the eye. This is, which will give a nice orangish kind
of glow to the fur. Oh and we are
working with lines, so you will be able to see
all the layers which are below every pencil layer
that you put, apply above. And the more layers you create, the more depth you will be
giving into that f area. Next is burned Siena, and we'll start now with the darkest f which we
can see in this area. So in a very flicking motion, I'm giving this the strokes are like in a flicking motion. So that the ends look very soft. This is walnut brown, and will darken the
darkest area furthermore. And now this is Kaput Mortem, a more purpish brown. O. And this is cold gray
two for the white fur. I'm going to erase of
those pencil lines. I'm going to use cold gray one now to make more
lighter gray lines. Ivory, again, to give a hint
of warmth in the white fur, miss a wallet brown, dark sepia. This will
be a very dark brown. Instead of black, I'll
be using dark sepia, and then this is burnt sienna. This will connect all our dark
brown to the light brown. The terracota giving
some orange color. D. Cool gray to where it is meeting the white part of the fur dark for the very darkest fur. This is Walnut Brown. And you can already
see the difference between our right hand side
and the left hand side. This is a violet
for darker tone. If I was going to do this
with only colored pencils, it would have easily taken me taken eight to 10
hours to do this one. This is g one. But with watercolors, we are
also adding a fun element, and we're also
reducing that time. This is. Now I'm taking bista. So this will be a
nice midtone color, which will connect our
browns with the white fur. Taking dark CP again. And I will take Burn Siena for the end of those eyelashes. Now, this is cinnamon, and this will give
a nice pink color to all the brown areas, especially the lighter areas. And with white, I'm
further going to lighten this lighter patch and this dark and walnut brown
for more lighter brown. This is put Mortem. I'm taking terracotta. Just giving a little
bit of color to that burnt ocher which
we have already given. And now with cool gray one, I'll just flick the white fur. Again, over here,
I'll concentrate on the shape of the flyaways. And this is Cold Grade three. Back to Cold Grade one. This is Bisa let Brown. Next, I'm taking
terracotta again. I every layer of pencil, you're even smoothening
all the layers below. And this is Burnt Sienna. You don't need to go literally
hair by hair for the fur. You just try to create a shape that you can see
on the reference picture. This is burnt ocher, the lightest brown
color that we have ed. And this will fill up
all the lighter gaps. This is Bi again. So just go for the overall shape that you can see on
the reference picture. This is cinnamon for the more pinkish area
just underneath the eye. And with dark CPA, again, I'm going to darken
all the darkest areas. Bitter. And then Cold gray one. Dark sepia again. Going to make this
furthermore darker. So as I was saying, just concentrate on the
shapes that you can see, and you don't need to go hair by hair to
construct that fur. This is bisa again. And I'm taking light
magenta just to give a nice glow
to the white fur. This is biter This cold gray one Bisa and Terracotta. A little bit of light magenta, and Caput I will continue
in the second part. Oh.
8. Left side of Face- Colored Pencils: So again, I have
turned my board, and I'm going to work on the
side, the left hand side. So this is Caput Mottom violet, and I'll continue giving
the very darkest fur, and this is cold gray too. Now, this is brown occur, and this is a very
yellowish kind of brown, which I want to give on
this side of the face. And if you notice
the white space in between the year and the face
is not completely white. I'm just covering it with
this is cold gray one. And again, with brown occur, I just giving the tip of
the tips of these fur. I keep on saying feather. This yellow color will just
give you a kind of shine. Let's start on this
side of the face. Again, I am going to narrow
down those whiskers. This is brown oc.
And taking cinnamon. Just to give it a pinker tone. And with ivory, I will lighten
some of the highlights. Bister. This is a mouth area. Is it why brown. And with white, I'm going
to color the whiskers. I'm now taking dark CPA, and I'm going to go over
all the darkest areas, especially the inside of the mouth. Walnut brown. And terracotta. This will give a nice orange
glow to the fir. And this is biser again. And see how soft it started
to look. This is ivory. Cold grade two, one. And I will join those ends of those brown color to
the white part of the fur. So it looks natural. This wallet brown, If you're
working along with me, then you can just pause
at any time in the video, or you can even give a playback speed of
a little less than one, a slower speed. And this is burnt occur, and I'll start working on
under the eye with this one. Following the
direction of the fir, see how it is turning
in which direction. And this is ivory for the
very lightest fir parts. Terracotta. And burn sienna. So go from light to dark
when you're layering fur, especially fur or feathers. This way, all your
lightest colors will shine through each layer, which is very
important when you're working with these two subjects
like animals and birds. Oh. Different subjects
will teach you, different kind of techniques. The approach will be different. So I always recommend to all my students to try
out different subjects, especially when you're learning
and your learning stage. And then you can
start specializing in whatever field you really
like to go further on, like you just want to
be a botanical artist. Only flowers and
botanical subjects, or you want to go into wildlife, being a wildlife artist,
so on and so on. This is Walnut Brown, making all the areas
furthermore darker. But when you are learning, I would recommend
that you try and go for all different
kinds of subjects. They will really teach you a lot, especially
fruits, vegetables, they will teach
you how to create a three D form and very helpful, especially in your
beginning stages. Now, this dark CPR, Oh. I will also recommend doing
black and white studies, black and white drawings or black and white
paintings that way. You will really get mastery
over your tone and values. This is cinnamon for
a more pinker tone. And white, see how beautifully
the white works on this. Cold grade three.
We further darken the space between the
iris and the eyelid. And this is CPA again, dark CPA. This is dark CPM. Before that, it
was wallet brown. This is Terracotta.
And before that, I want to give in
a lighter brown. This is Burnt cer. Sometimes in between my eyes just flicker here in
there and then I try to correct the other
sides. This is cinnamon. And here, I had a small
accident with my uskin fluid. So this is going to cover it with colored pencils.
This is burned oc. Wit white, I will just freeze
those air, white hair. Again, this is Burn Talker. Giving a base, moving
in the direction, see how it is turning. That is why I have
turned the board. This direction is more
comfortable for my hand. That is also very
important when you're working with colored
pencils for a long time. Try to move your
board and work in a very comfortable
position to avoid any injuries to your
wrists or your hand. Now I'm going in with terracotta
to give it some color. A nice or burnt orange color. Next will be burn Ciena. I try to follow
the same sequence. Try to keep your pencils sharp to get those really fine lines. The pot mortem. Leaving some lighter for areas. This is burn to occur again. And cinnamon This dog was such a delight to work on. So always work on drawings,
reference pictures, which which really gets you excited and which are
really cute to look at. That itself will motivate you to complete and finish
those drawings. And taking ivory
for the highlights. Put mootem. This side of the fur is more of a
populish brown color. Okay. My dog has turned again. And this is dark CPR. Let brown. H Terracotta. Ivory. And Brown again. A Mortim. And then cinnamon. With this angle, I wanted to work on
the top of the head. This is cold gray one. And I'll flick some of the
lightest hair outside. This is burnt cher. Cinnamon. And then up Maton. Ivory. I'm taking round k now. Ivory Cinnamon again. I read. And this d dark indigo. Still dark digo. Dark digo and dark
CP will create a beautiful black. This is dark. Now, can we go again? Cup mortem. Make your shadows as dark as you can see in
the reference picture. That way, all your
lightest highlights, your lightest colors, will
just pop from the page. All the values have to be on the spot in spot or
whatever it is called. Then your drawing will really
elevate to the next level. This is Walnut Brown. U cinnamon. A places where you have not
given enough watercolor base, then you might have to
go a bit more layers to make it look smoother. Ivory, taking wall and brown, That Ming. And this is Terra Cotta. I'm taking gold gray one, and I'll further work on the white fur on
the left hand side. I will also connect it
with the brown color. I'll just go over the brown fur. Ivory Again, gold y one. O. Also be coloring some of the white hair with this
gray as they are not as bright as some of
the other whiskers. Even in your highlights, not every highlight
is as we think it is, just keep on comparing with the brightest white
highlight that you can see. Cut mottom again. Start flicking some of the very fine hair
into the white fur. Thank. Burnt ocher. Cup mottom again. Cold gray one. And with white. This is from Pablo. If you feel any of your
darkest values have gone a little bit lighter,
especially the eye. I keep on coming
to the eye because eye is the first thing
you see in a portrait, and it has to be striking. It has to be super realistic
and very eye catching. I'm also giving a little bit of black in this very dark tones. And we'll continue
furthermore in the next part. Bye. Oh.
9. Nose & muzzle details- Colored Pencils: So let's start working
on the nerves now. So I'll start with
the darkest stone, which is black, and I'll
start with the nostrils. At this stage, I'm also going
to correct the shape if I have if it's not correct. I'm not pressing the pencil. I'm just going over the line more times to
get a more darker color. Creating a very fuzzy
edge to the nose. Same thing here on
the other nostril. To create a very fuzzy texture, I just move in circular motion, and this is where your cold
press paper will really help, especially in creating
this texture. I'm just moving in
circular motion, just giving some circles,
something like scribbling. I'm taking dark spa. This is Walnut brown and giving a very fuzzy
edge to that nostril. Taking cold grain three. And this is burnt sienna. Dark CPA again. Holloways follow up with
some color over the black because the black
is real, very dull. So if you follow it
up some other color, it really gives some
life to the black. Now, this grade three. Dark CPA again. Reducing that highlight. And this is black. Dark CP. So I don't want a very smooth, shiny surface on the nose. The goal is to
have some texture. Some of the lighter
area should be seen through your darker
color application. That is what a texture is about. So I'm taking cold gray too. Coloring some of the highlights. Black again. Further darkening the shadows. Wallet brown. Cold gray three. I'm taking dark indigo. This dark blue will really add a nice touch to all the blacks. Now, I'm taking burnt ker, and will start working
on all these spots. Oh. Wherever you see a little bit of brown
to apply this color, Oh. Give you a very fuzzy
edge to this spot. Don't go for a very
solid line or a shape. Then I will take
light magenta again, just to create some interest. Next is apt mortem
for the darker spots. And with white pencil, I'm just going to further
soften the edge of these spots. Also coloring the white
area. This is optional. But this way, I'm also able to soften the spots that we have done a bit on the nose as well. If any of your highlights
are looking a little darker, you can just lighten it
with your white pencil. And even with white pencil, I'm moving in a circular motion. You can use any white
pencil that you have a prisma color or aluminum, or even a dv drawing Chinese
white. This is from Pablo. Digging black again. Plicking some of the fur Oh. Also going to create
some darker spots. And now the mouth area Darkening the side of
the mouth, as well. And further darkening
this shadow area, taking coal grade three. This section is quite dark. And this is coal grade two. Even if you go
over the whiskers, as I mentioned before, we'll be going over
all the white whiskers and hair with a white ink. And this is co gray one. So this will smoothen
out all the layers. From time to time, try to
see your subject as a whole. The whole animal, you
can just go a little bit further away from your drawing and look at it at a distance. And that way you will understand where to
give shadows and to make it look more like B
when you're working on awing, you're looking at it at
a very close distance. So going further
away really helps. Now, this is brown cer, is going to give some glaze
of yellow around the mouth. It shows the reflected
light coming from the fur, and this is cinnamon. Wall and brown. The dog has turned again. And now I'll start working on this section of the drawing. So this is black again. Walnut brown. And this is cold gray one. Oh. Cinnamon. I'm
working on this paw, but actually, I'll be again coming over it with
more watercolor. I'm just going to stop working
on the paw for the moment. When we are doing
the base of the dog, we'll again give one layer
of watercolor on the legs. This is g three Oh. And I'll be leaving the legs in a
very abstract form. I don't want to give
too many details. This is Wn Brown. I just want to keep it very
soft and out of focus, the paw I'm talking about. The focus will be
more on the face. This is Burnt Sienna. And brown knocker. Ivory. And this is Burn Docker. CPA. U B Siena. Again, burn docker,
coloring the edges of that fur, cinnamon. Cold grade two. This is Burnt ker. And we'll continue in the
neck in the last part of tutorial and we'll
finish the dog. So see you there by
10. Left ear + paws + base = Finished Painting: This is the final part
of this tutorial, and let's finish the year. I'm taking burnt ocher. Before that, I want to secure some lighter
areas. This is ivory. This is going to flick some of the fur into the darker section. And also some flyaways. Back to burnt occur. Burnt Sienna, working from the darker area to
the lighter area. Next, I will take Walnut Brown, Just concentrating
on some shapes that I can see and
taking cinnamon now. And with white Pablo, I'm just going to freeze the whisker back
to wallet brown. Burt occur again. Keep on layering your lighter
tones and your mid tones after you have done
the dark tones because as soon as
you do the dark tone, you'll find that
your other two tones require a little
bit more of color. Now, with ivory here, I'm just going over the very highlighted
section of the fur. This will give a good
shine to the fur. O h wallet brown. And again, ivory. Cinnamon. S. Again, Ivory. With ivory, I'm just smoothing out whatever the
colors I have applied. So that will also lighten those
colors, at the same time, it will just fill up the the
lighter gaps of the paper. This is cinnamon again. Ivory. Ohh taking brown or c now. This will give you
a nice yellow glow. And walnut brown. This Capo mortem. Again, brown ocher
and then ivory. Put bottom again. Burn Docker. Taking a little bit of black for all those very dark shadows. This is ivory. And
with burn docker, I'm just going to slim
down those whiskers. So again, I've turned the board, and I'll work from
a different angle a fresh perspective
to this year. So this burn docker again. Wallet brown. Burn darker again. Switching between the dark
and the light mote b. Keep on squinting your eye
and just look at the shapes that the tones
they are creating. Cinnamon. And then the ivory, I'm just going to smoothen
out the lightest tone. Put bottom again. Giving a purpsh tone
to our brown areas. I'm taking cold grade too. But we will be working on the legs again
with watercolors, as I've mentioned before. I'm taking white now to just blend everything
nicely, smoothly. Now, the paper of this
particular block, I mean, this son is Waterford, this is a natural white, so a little bit of
yellowish white. So I feel that it just adds a bit of that that color is adding that character to
this particular drawing. I would not use this
yellow paper for say a botanical kind of work. But for this kind of, Brown based color scheme. This per color was perfect. So now, brought my co
watercolors back again, and we will give a
light base to the legs, and also we'll be
coloring the base, the background of this
dog, just the base. So I'm using size
six brush and giving a clean water glaze and
working in small sections. So this is Vandyck Brown again. I'll start with that literally touching the edge of the dog, and to this, I'll be
adding some winsor violet. Taking neutral tint and just
at the base of the leg. Just to show the darkest shadow. More of van **** brown. Now, with a clean damp brush, I'm just going to
soften the edge of this to get a very soft and
faded away kind of edge. And we're working
with wet on wet, so this le will become very
light and very soft looking. We'll continue with the
water glaze now for the rest of the dog. Same way. Let's start
with one d brown. Keep it as light as possible
for your first application. And I'm just flicking
some of the color out in a diagonal motion just to depict the rug on which
the dog is sitting. And I'll take winsor
violet now near the base of the dog
and same thing. I'll do it with neutral tint. As you can see, all
my colors are very watery and very
light at this stage. Better to work in layers
rather than going very dark and spoiling all your hard work that you have done up toil here. And then with a
clean damp brush, I'm just going to
stop that color from flowing in every direction. And I'm just going to flick. Start giving some texture as
if it's sitting on that rug, which has a nice diagonal lines. And here, I'm giving
more of those lines. I'm using the same
colors that we have used for the dog itself. I'm also adding some blue, just like that, just
to create interest. Soften the very edge
of this shadow. Now, the base is dry. I'll be working on the left paw. So for this, I'm not
going wet on wet. I'm directly taking
very watery dy brown, and then a little
bit of nz violet. And then with a
clean damp brush, I'm just going to
soften the edges. Taking blue, see how
light and watery it is. We just want a hint of color so that the edge of the pod
doesn't get vanished into the paper so that we know that this is the
structure of the leg. I'm working on colored pencils. Actually, watercolor will
not sit on colored pencils, but it it'll stick on the areas where there
is no colored pencils. But dally, I don't go back to watercolors once I've given
a layer of colored pencils. I don't know how it'll work. I just feel it might not
stick but you can always. So again, I'm just going in a very abstract
manner for this paw. I don't want to
give more details. So I'm just concentrating on
the colors and the shape. The more of neutral tint. H So I'm darkening the shadow under the leg, following it up with brown and then just softening
it with a damp brush. I'll again take neutral tint
for the very dark shadows. Since I've given the white I've gone over the whiskers
with a white pencil, see how it is resisting
that watercolor because our pencils are oil
based or wax based. That's why watercolor will not stick on those particular areas. So this is also one great tip. If you want to retain any white space when
you're doing watercolors, you can just go
over with your wax based pencil, white pencil. So I'm taking Vandy
brown now over here. And a little bit of
raw sienna as well. Actually, this is yellow ocher. Just want to give a little
bit of glow to that shadow. Finally, I did use yellow ocher. Not making the shadow too dark, as I don't want that to be the most overpowering thing
when you look at the drawing. I want the concentration
to be on the face, especially the
eyes and the nose. So work on your drawing and, you know, select
your focus points. So that way, you will draw the viewer's attention
to where you want. And if you do the shadows
very dark, very black, then you will
definitely be drawing the viewer's attention
to the shadow first, and then the eyes and the
nose, which we don't want. So I'm giving just a very
thin glaze of this violet. Cooler colors they recede. They make you feel that the thing is a little bit
far off than warmer tones. So if you give more of
violets and blues that will just push that area
ale bit back behind. So even though I'm
using neutral tint or black for all
these shadow areas, and even for these, but
keeping them very watery, it's just like a
dark gray color. And whenever you're doing
shadows like these, always try to
incorporate some or the other color from
the main subject onto the shadow area, that will just bring
everything together. So now, everything
is completely dry, which is very
important, especially if you go with colored pencils. Your watercolor base has
to be completely dry, otherwise, you might
even tear your page. So I'll start with y sorry, I'll start with black for
all the darker shadows. And then burn Sana. Des this burnt occur? Oh. Burn Siena again. So now the texture of the
paper is really helping to create that texture of the rug that you see in
the reference picture. This is a black again. San brown. Burnt occur. We are in the very final
stages of this drawing. This is Wallet Brown again. Taking black down. Further darkening the shadows, especially behind the ear. This is Wallet brown, and then burned
occur for the mouth. This is Walt Brown again. And then Bern Siena, working in a diagonal motion. I'm making the shadow just underneath the mouth a
little bit more darker so that there is a differentiation between both the
base and the mouth. So this will just lift
the face from the base. And this is wallet brown again. And also taking burned now. M. Same way. I'll continue working on
the right hand side leg. This is pop Mottom.
This burnt cer. Black This is Wla Brown. Burn Siena. Burnt occur. And this is cold gray one white. Burn Toker again. I'm keeping the pencil flat
on the paper to create more texture and this is Burna. Let Brown. Now, I'm going to use doctor PH
Martin's bleed proof white for the whiskers. As I told you in the beginning, that I will be using this
since we are working as a mixed media project, let's use white and
make our lives a bier. So this is completely optional. If you want to leave it
as just colored pencils. It is up to you, but
this bet proof white. I think it's the best best
way to work with white, more than guash or
even any white pencil, or even your gel pen, I feel this gives you the very
best white opaque finish. You can even mix it
with some watercolor to give it a little
bit of white color or a bit of gray color
if you don't like too much of stark white. That is what I'm
doing over here. I've just mixed this white with a little bit of
that mandy brown, which is there on the palette
to make it off white. Though I'm tempted to go
into all the highlights, but I will not because
using this too much also will make that look
very unnatural. So not doing it ey, the very white flyways, very thin white
hair and wiscles. And then what I'm going
to do is after it dries, I'm just going to go over
it with white pencil, just to make it more softer and not that
much harsh looking. Somewhere I think
I'm even removing it by going over it with pencil. So that's it. We come to
the end of this tutorial, and I hope you enjoyed
this take on mixed media where I've given a base with watercolors and then gone with colored pencils
on top of it. And I'm just going to remove
this paper from the block. I'm using a palette
knife for this. You can use a letter
opener or a button knife, whatever blunt tool you have. So I hope you enjoyed
watching this tutorial, and I really enjoyed
making this into auditorial And this is sketchbook drawing that
I had done last year, and I liked it so much that I just wanted to share
it with you all. So this can be your
next sketchbook project or a final one. Do let me know, and do share it with me if
you're attempting this. See you then bye.
Neha Subramaniam, Neha Fine Art
