How To Paint A Long Hair Dog Portrait In Watercolor

1. 1 Introduction: Hello, everyone. Welcome to my tutorial. My name is Haye a Watkin artist. In this class, I will demonstrate how I painted this realistic dog portrait in what or. I will walk you step, step, so my entire painting process, you will learn how to transfer the drawing on what kind of paper. How to express the facial structure of the dog with perfect color to use and mixture, how to achieve soft hair effect with what kind of technique? How to paint in eye, nose, mouth, in realistic and vivid effect. I provide you the reference photo with nine drawing of its portrait. So you can paint it alone with me. By the end of this tutorial, you will learn knowledge and skill of how to create realistic dog portrait in what corner and create your own painting. Ned get start. 2. 2 supllies: In this video, I will show you some of the sup lines for this painting. I also provide you the source of the project that you can download them in the project resource section. I provide you the reference photo, the night rawing and the subline nest. You don't need to buy all the sup lions, use your have that similar to mine. Here are the black ink pen, mechanic pencil and razor for drawing. For the brushes, I often use round brushes. These two are made from squirrel hair. It can hold a knot of water, size four and zero. These are Chinese brushes. I think other professional what kind of brushes, size number zero, are similar with the same size. This is special niner brush. Once it gets wet, it tip can become sender and delicate. I often use it for fine details such as whiskers. You're also going to need a water container, a pant. And old towel for wipe your brushes on. Here is another pant with wheels. You can use another pant you like. This is aqua board as my painting border. You can use wood bolder as well. And this is masking tape for secure paper. For transfer drawing, this is carbon copy paper. It has two different sides. The green side is right side of graphy for transfer drawing. I will teach you how to use it with twisting paper in my next video. And here is the twisting paper. You can see it's semi transparent. For what kind of paper, I prefer to use arches. You can use other brand of what kind of paper. I like arches because it's hard wearing and good absorption rate. Okay, let's move on the next video. 3. 3 transfer drawing: Hello, everyone. In today's asson, I will show you how to twist dog portrait drawing from photo on what kind of paper. The reason I do this because it not only many time on drawing dog portrait act retina but also avoid damage the what kind of paper with using eraser many times. This is a piece of twisting paper. I've made eight by 10 " rectangle pencil firm on it. This will convenience me to decide how the composition is at eight by 10 ". I place it on dog Photo print, which is a little larger than eight by 10 ". Another transfer drawing method is that you can also transfer drawing from your computer with you in software such as Photoshop. But if you don't know how to use computer software, this is a convenient method capture the dog portrait accurately. Back to how we work on transfer from Photoprint, I take a little bit of piece of masking tab and secure the transfer paper so it prevents from moving around. I use a black fine niner and I start to trace and drawing dog portrait and twisting paper. We need to outn the dog portrait. For dog hair, we only need to outn the general chef. So this is finished drawing, and I flip it for preparing stick with open copy paper. And this is carbon copy paper. You can see it has two different side. The green side is right side, which have graphite. I put right side facing me and use masking tape, glues two sheets of paper together. So these two different paper are back to back. Then I place the bundled paper on top of my what kind of paper. Use masking tape, secure it again. Then I take the hard black liner pen, start tracing and drawing the outline I made before. When making wing, I use minimal amount of prayer for it as it may don't inger on what kind of paper if I press too hard. Use the least amount of prayer for drawing to steal see the rawing as night as possible. Okay, the transfer drawing is finished and I take away the bondd papers. The dog drawing is done well on what kind of paper now? And I'm happy with it. No moving on painting. 4. 4 first layer of basic: Uh begin with the initial wash, focusing on creating night, even base layers that will set the fundamental for the dark tones to come later since one ner is transparent. Night ners cannot cover dark ners which is not convenient for modification. So we should start drawing from night corners. Here, the marked area or the nightest part. I will make the initial wash from here. At the same time, I also applied the first layer of wash to the night part of the shadow area I've marked up the red area is a shade on the dog face, and the yellow area is a light part of the shade area. I apply dinute water colored paint in the night part. I almost white but colored. Each area night part is different. For the chaste here, I use yellow ochre and the walker blue, get a greenish mixture. For the no side here, apply ink blue and burnt sienna, give it a soft greenish wash. Now, we are giving the tongue a bask flat pink what we wash. Quincadoose is a meaning used here with a little yellow ochre added. Now, I'm focusing on painting the natural color of dog's face on the night side. I use burnt sana, mix a little bit of tira rose, give the dog nose bridge which called it muzzle, a soft wash. This part are basically the two color of the dog's hair because they are neither pale due to reflection nor dark due to shadow. I use graded wash technique for this tab because it's much more easier than wet and wet to control. Gradated wash technique often used two brushes, one brush, knowed corner, and another damp clean brush, soft edge. Now, I'm moving on painting the chased hair. I use wet and wet this time because I want this part to be soft. I first give the paper a water glazing and applying the tip of the brush to outline the dog's hair. I don't fix on detailed hairs. I'm going for loose for this area. I'm happy with the night water now and moving on painting the shadow of the first layer. This step can help keeping hold the total volume of the painting. The pigments are mixing up for the shadow here where on the mouth and neck and the right side of the head, the dominant color are yellow ochre, but it diversified depending on the different area of this shadow. And Okay, now I'm making mixture for the nose. I apply indigo blue, Tyra rose, forgetting the mixture. Just give it watery glazing. 5. 5 first layer of shade: Here, I'm mixing yellow ochre, orange, magenta, for the shadow of dog face. I use graded wash technique, which is my favorite painting skill for portrait painting. So with these two brushes, one is for painting on dry paper. Another one just to be damp and clean. It's for softing the edge. Now, I'm adding tm magenta with previous color to get a dark mixture paint the shadow shape of mouse. Is two thin brushes. Here one is for painting, and this one is soften the edge with clean water. Please note that the brush need just to be damp, not too wet or too dry. To wet will generate blossom. To dry warm soft the edge. Water control is important. We can gain experience and mastering through more practice. Same way to painting the hair on the mouth, neck and head, but color need to be changed. Depend on the part we want to paint. For neck and head, I apply more yellow ochre and a bit of venian makes the mixture conor more vibrant. Please note that the color at this time need to be slightly diluted and not to saturated because in the nare painting, we will feather strengthen the dog's shape. Onap stroke will be oversaturated conor, especially warm and cold ton will make the painting dirty. Oh. These are indigo blue violet, a bit burnt amber, applied with wet and dry to paint the shadow shape of air. Now, I wet the paper, I'm going to use wet and wet painting the body hair softly because I think this part need to complement the face. It can't be too eye catching. The main color are yellow ochre, burnt sienna. Oh. Here I add a neat vibent and odd may as this part is in the shadow and it's not so vibrant. When painting the same part, the inner usually change according to the night and shadow. But the main corner ton are thin. So sometimes I don't clean the pant. I usually load the mixture on the pant and adding a bit other pigment to make a variation. Of course, when you need to vibrant nor, you need to clean the brush and make new mixture ner. Now I'm back to painting the neck here. I always keep all part of the painting moving step, step at the same time because this way I can better grasp the overall tonal value of the painting. Now, I'm focusing on building up the structure of dog face. This step is the fundamental of making dog portrait more three dimensional. It may look strange without painting the eye and the nose, but don't mind that it will turn beautiful after we complete the painting. I use night bluish gray painting the eyeball shadow. Then apply burnt thin graded wash. Same way for mouth shadow shape here. These are old marine, yellow ochre, tiros mixed get yellowish gray for shape here. I want a dog's face to be more three dimensional, so I continue with building up the facial shadow structure. Same way for the head. The shadow shape here need more stings and the paper is still wet, so I grab more saturated mixture for it and get the soft shape I wanted. For dog nose, this is bluish gray with water blending scale build up first layer. Now, I'm moving on building up shadow shapes of mouse and other parts. This is burnt umber and indigo blue mixture, work wet on wet per part, and wet on dry for lower part. I re wet the paper and painting the hair wet and wet, making dog hair soft effect, use them brush, loud pigment for painting. You can see I don't ring my pant because the color on the pant shows the basic color of the dog's hair. And I just need to add a bit other conor to painting according to the change where I want it to be. Of course, when the cold and warm corner tom change, I need to clean my brush and mix new color. Otherwise, it may make the painting look dirty. 6. 6 second layer of shade with hairs: I continue paint dog hair wet on wet. The paper is still wet and brush is just damp. Actually, brush has ice water than papers so that making soft fur effect only very well. But if the brush hold more water than paper, it may generate blossom. During this time, I back to painting the area that between two eyes is called stop. As I mentioned before, all parts need to be painted step by step at the same time so that hold the whole total volume of the painting. Now, I focus on painting the shadow shape around the air and neck, which need to be more deep and dark when making the brush stroke following the direction of the hair. I usually lift the brush at the end of the stalk so that the tip of the brush for a thin stalk to depict the non sin form of the dog. I add t marine, magenta, burn timber, making the mixture. I don't mix the pigment closely. Sometimes I almost appli the pigment itself directly so that to show the change of hair conor. For painting dog hair efficiency, I spread the bristle which separates the hair on the tip, and this way is convenient for painting non pad hair. Now, I'm back to rebuild the dog face structure. I think the dog face looks a bit flat and it needs more dark value. This shape shadow include burn tumber a little sap green, magenta, indigo blue. Once I'm happy with the other part of dog face at this stage, I'm focusing on build up the shape shadow around the eye because I will painting dog eyes next step. This stage is an important initial painting for the eye. We should consider the external structure of the eye and the eyeball as a whole unit because the eyes of animal are often important factor in the expression of the painting. Here, I apply burnt umber, burnt sienna, with a wet and dry and graded wash technique. This technique are easy control and it can make definite details. The hair near the iid is darker, so saturated and dark pigment is needed. The hair around the iid is nighter in shape, so a diluted pigment is needed. For the per and lower eyelid, I add indi blue with previous mixture work wet and wet and graded wash technique. When painting this part, I carefully use negative painting technique to express the shape of the outer part of the eyes. 7. 7 eyes part1: H apply water aqua blue gives the eyeball a first glazing. This will be the highlight reflection of eyeball as it reflects the sky, so it's a little bit of blue, and I will use negative painting scale to express it. I want this first layer dry quickly, so I grab a hair dryer to help. Observe the photo. I think the dog eye like a dark glass ball and the lower part of the eyeball has a spherical reflection from the ground. Here, I mix with yellow ochre, burned tumber, wont, give it a first water nyer. Make the first nyer complete and dry. Then I mix with indigo blue, burn timber to make a dark mixture painting the dark limbus of the eye. Use damp and clean brush, blend the edge here because I wanted it to be blended naturally with the middle part of the iris. For the middle of eyes, I apply more diluted burnt sana because this part is more vibrant than the nimbus. When I paint it, I use curved shapes and negative painting technique to show the perspective of the eyeball and high nights. Here, making a curved spherical stroke for per eyebow, active painting for the high night. Here is the right eye. The paper is still damp and then painting with some bluish dark picture, then Ned blend himself. Then I focus on painting the shadow shape of eds around the dog eyes. I apply marry, burn timber, indig blue to make a very dark mixture. I don't use black directly because that may make the rigid and boring. This step need carefully and precisely outn the ar shape of eids. 8. 7 eyes part2: As a night setting from top, the shadow of the umper I need is cast on the eyeball, so the dark strokes here are painting wider. Now I'm painting second layer of eyes. As a night setting from the sky, there are highlight on the umper of eyebow and reflection from the ground. Therefore, the contrast shows that the upper part of the eyeball is darker than the lower part and due to the perspective of the eyeball, the turning part at both end of the eyeball are darker than the middle ears part. I apply bluish dark mixture, painting the eyeball. Brush stroke need curved shape to make it spherical look. At the meantime, use negative method, leave the high night. When painting this reflection on the eyeball, I add some details so that make the eyeball lively and varied. Now I'm painting third layer of eye to make it saturated and more semi dimensional. For the right eye, the previous layer is dry and I use burnt sienna, give it a glazing. For the left eye, which I think it needs to be more shading as it fade right now and it need more interesting to catching the eye for the painting. The paper is still damp and I add a bluish dark mixture for the detailed reflection. The pigment for the mixture are t marine or indic blue, burnt umber. This step still require every stroke to be precise and careful. Now, I dilute previous dark mixture and add a little bit of burnt umber painting the lower eyelids. Then painting the shadow shapes around the eye gradually and fiercely. This stage will be good connection between dog eyes and face. When painting the shadow and fur, I rotate my brush to keep the fine tip of the brush painting the firm. Here, I use a clean damp brush to blend the shading with painting fir details. Same way to paint the right eye. Now, I back painted firm detail around left eye. This is indigo blue and burnt umber mixture again. Use wispy tip of bristle On the short firm details. Notice following the direction of firm. Back painting right eye again, use dark mixture work, wet and dry, define the eye needs and pupil, and I think it look bright and spiritual now. Now, turn back to work on left eye. I keep alternating between the left and right eyes because I thought the two eyes were a hole and they needed to maintain consistency shading and stage so that they looked coordinated. I dug the numbers and pupil and apply burn timber to make it more saturated. Use pet bristle painting the detail here. For the two side of cancers, I paint the more shading because they are somewhat spherical with the perspective of the eye. The shade of Kansas that is under the third I need need fade away. So I use a damp clean brush, move the corner a bit. Now, I'm happy with the eyes, and I tend to paint the other part of dog portrait. Stand at a distance and look for the whole painting. I think it need more shading for the dog face. So I further strengthen the shading of dog's face to make it look more three dimensional. Painting the side shading for deep corner and the side of muzzle. Next stage, I will paint in the firm and the nose. 9. 8 ear hair: The previous layer is completed dry and as a wet paper, preparing for painting the firm around the air and neck with wet on wet technique. I don't wash my pant because the mixed color on it is useful for painting this area. This dark mixture include burnt sienna and indigo blue again, I painted for shading under the mouth and neck. To painting the fur softly, wet and wet, water control is important. The brush is just damp, it's not too wet, not too dry. If the brush is too wet, the color will spread completely on wet paper and soft hair stroke will not be formed. So for keeping brush is just damp. You can dap it on a towel. When making the brush stroke for long hair, the angle between the brush and the paper is almost 60 to 90 degree. Rise your wrist to control the prayer. Use tip of bristle, make the wispy brush stroke and painting along direction of the hair in the picture. If the brush stroke tilted and the prayer is too heavy, it will produce zinc and flat brush strokes. Now, I'm moving on painting the body and neck firm. This is yellow ochre and burnt in a mixture. Spreading painting my brush can efficiently make curved brush strokes. Sometimes I don't mix more than two pigments thoroughly. Just that pigment show its original color so that the dog's hair looks vibrant and bright. The paper is still damp and I continue work wet on wet for the body firm. Observing the picture, we noticed that the end of the golden retrievers here are golden brown, and the vest is most of white. As I already built up the nightmare, I use active painting technique right now. Just give the golden part brush strokes. Uh I make a diluted greenish mixture glazi part as I think it need more shading. 10. 9 nose part1: Now, I'm moving on painting dark nose. Here is what we Aqua blue, glazy mouth and nose here. It will be high night with negative painting later. I mixing with viontt burnt sienna, a little bit of automy to make a purple hue mixture. Looking at the photo, we see that the dog's nose is purple brown on the upper part and black on the lower part. So we need to paint a transition from purple brown to black. Here, apply negative painting technique, leave the night side of nose. Use clean and damp brush, remove color to make the night side smoothly. Now I quickly turn to make dark mixture for the lower part while the paper is still damp because the transition I mentioned before need wet and wet technique. Based on the previous or add t marine, indi blue, burnt tumber, magenta to make a very dark mixture. We need load in sufficient amount of pigment for it so that make a saturated mixture and don't use black directly. That is very using what kind of portrait painting because it will look blend and boring. The paper is almost dry. I add more water color for it, let them blending together. Use damp clean brush, Blend the edge here. Mixing burnt sana, t may, shedding the low side. Un negative painting technique again, leave the night side of nose. The inner of upper part of the nose is not as saturated as then part. I need to be thinner and brighter. M Now, I'm preparing painting third layer. The paper is still damp and I want it completely dry quickly. So I use a hair dryer to help. 11. 9 nose part2: I use a hair dryer for making the painting dry quickly, preparing for ext step. After the paper dries, the ner fades. While the ner often looks darker on the wet paper than the paper is dry. So I think it need more saturated and three dimensional. Then I apply burnt siana tirarose making mixture for more layers of per part of nose. Then I make the very dark mixture again, paint certainly flower part. I'm painting these reflection that's near the nost negatively as well as showing the general stretch of dark nose. It's not tonight, actually, but we will shading it later. Here is damp clean brush, blending the edge softly in this way to show the soft hair around the nose wheel. A loud and add more pigment into dark mixture and paint it again, paint along with edge of nose. On the shape of nose structure. Use the tip of bristle to add spots. I use another damp clean brush, bland and soft shed and spots somewhere I want. Now, I turn now the nostro. I make very dark mixture again, loud in saturated indigo blue, burnt humber magenta again, precisely outlined with negative painting method, painting out then fool and nostril. Note that the shape of the left and right nossle following with the overall perspective of the nose. This is also one of the key elements that express the overall perspective of the nose. If you are having trouble getting the shape of the nostro right, you can night the shape with a pencil while the paper is completely dry. In the final stage of nose painting, I think the nose need more shading to make it more three dimensional. So I painted with Nast nayer. This mixture include tier rose and burn timber, clean brush blending again here. Now moving on painting the other section around the nose, this will make the nose look like it's part of the vase and not just something that being kettle and passed on. This is a marked deep blue painting this node here. I apply old marring and burnt on but made it, wet on dry and wet on wet, work on it. Same way painting the muzzle, but it's another mixture burn timber, yellow ochre, with a bit of t may. Now, the eyes and nose are down, and I looked back at the whole painting. I think that the dog's face and muzzle need more shading. As we wet paper, I'm taking some water due burnt Siena, sap green and magenta, that's near the mouth. But painting deep black on this loud here, finally, use yellow ochre to nighten out night the dogs night to make it clear. 12. 10 mouth: Uh, now I focus on painting the mouth, start painting from the tongue. This is dinute connected rose, adding a bit of yellow ochre and connected rose. Because the tongue is shaded in the mouth, its night and shadow are not flat, but flactuate. The closer to the inside of the mouth, the darker the shadow. Here, I'm painting is shadow shape of the tongue and the left space will be the reflection of the tongue. Oh I allowed more cackled rose and orange red on my brush, making the mixture more saturated and vibrant. Paint the shadow at the end of the tongue because you can see that the tongue has a concave shadow here. Adding a bit of tamarin make mixture a purple tongue. Then I mix with bird umber, utmary magenta to make dark mixture for the inner shadow of ton. I use another clean brush, not a bit of tmary pulling out some painting downward and away from shadow. Now, mix dark colors to enhance the shadows for the inside area again. Net color Blend naturally itself while it's still damp. Change it to another clean brush, mix vibrant pink and orange mixture, painting the end of tongue. I think the tongue is almost done, then I move on painting dog lip although the dogs nap are black, I still don't paint them directly in black. Painting now is for first nay of nip. I use gray to dark brown and painting three nayers from night to dark because lip here have anginat layers. For the edge of Kip, I work wet and dry. Use the brush strokes with an active painting scale, leave the high night and short hair around the mouth. This stage is still need careful. Use the tip of bristle precisely outn the shape of nip while the previous gran above is still damp. Basically, it's semi wet and semi dry. I think it's best time give it some dark brush strokes, painting out shading change by the way. The shadows of flip under the tongue varies in night and dark. I work wet and dry to give it a divine edge. I don't paint it just with one wisp brush stroke, actually, to make the shape correctly. I first paint along with both side edge of lip and fill it out. This we can easier control the shape of lip. I use another clean and damp brush blending away the edge, make it a graduation effect. Here, I use brownish gray to outne the nip from the other end, allow the brush stroke to connect naturally on the wet paper. While I painted the nip at a stage, I'm back into paint tom because it and tom composed to be the mouse and I keep both section to be semestep. This is pink and orange red mixture, glazing it on the last dry in here. I think the tong looks more lively now. Then I turn to paint the third layer of the nips, make it more deeper with details. I use negative painting technique, nips light sight and high night. Now, I'm happy with the mouth section and turn to painting the short hair around the nose. I mixed with indigo blue, burn timber to be bluish gray, painting a dark area near the mouth, use wet and dry with graded wash technique. Next, I will back to enhance the rest of the painting. 13. 11 chest: Uh Now, standing at a distance and looking at the painting, I'm happy with the face of dog portrait. I feel like the firm look a bit fuzzy and generalized. I want to add more details to make it more vivid. I will further create shadows and details of the hair from the ears and neck and then expand the hair on the body because the head and neck are the center of the picture. I need more eye catching elements and the surrounding part of the foil. Still apply wet and wet technique painting the hair. Brush is just damp. If paper is dry, we can rewet it with clean water and waiting almost half minute so that net water is absorbed some into paper. This way, the brush stroke or firm is soft shap. Here you can see sometimes I don't mix pigment very well because I want some firm to be vibrant through some beauty color itself. But sometimes for the shadow fur, I mix we with gray and brown to make dark mixture for it. Now, a movie on deception the ear. This is magenta with birds in a mixture. What you done cleansing this bunch of hair. Add a marine, make a brown color painting the shading of the end of ear firm. But brush is just damp and the color is in the past form. Don't dilute it so that it will be better to create a long and soft hair effect when painted on wet paper. Now, I'm moving on painting the body hair. I apply an ark blue and yellow lemo make a very watery and diluted mixture, glazing the body section because I want it to be a bit of greenish nuke as well as the wet paper. For the dog neck in this painting, I don't want to paint into specific and obvious. I subjectively weaken the performance of this part in the picture. So I almost use very diluted color to paint its shape and shadows. After painting a little time on leg, the water on the body section is good time for painting long hair firenly. The paper surface is no reflection and it's still damp. At some yellow ochre and burnt sana out nide the long hair on dog body. I take variety pigment for the long hair painting, depends on the light, shadow, and surrounding reflected light effect. When painting the long hair of golden retrievers body, pay attention to the direction of the hair. I vary the nans direction and caatre of the brush strokes to achieve this goal. I think the neck need more shadow and I add bit of tomary with mixture on the pant. Make the bluish gray, paint it more. Now, I think the painting is well finished soon. I look at the whole painting and try to find what needs to be adjusted. 14. 12 add details: I'm happy with the total volume of the painting now and add more hair details to make the painting look more textured and lively. In this way, when people look at painting, there are many interesting details which can better capture the ness of time people spent looking at painting. I press the brush, making the tip of the brosle is fed and seried which can make painting be more efficiency. For the short hair near the muzzle, I grab a smaller round brush, work wet and dry so that make defined shaves. The mean color I'm painting on a brownish hue, but don't stick with it. We should mix new color depending on the different shadows. So for this area, Connor is more bluish hue because it's a dark area with Cooner tone. Now, I turn back to painting the detailed short hair of muzzle. This time, I use a tip of wisp bristle with a diluted burn tumber outn the detailed hairs because they are just decorative effect. This is the center of the image, and painting the short hair with more saturated color may destroy the total value of the painting. We don't need to paint each detail short hair full of dog face painting the obvious shading or the facing night place of the center of the image so that indicates the dog fur texture. This is brownish gray mixture, and I painted on the top of muzzle near the nose. Then I use clean brush blend the edge. For the external s area, I use the tip of re bristle with dark gray mixture Onight details around the nose. Same way to painting some detailed short here for the face. Low, and folks on painting the night white whiskers and dog face, I grab a very wispy brush with white garage for it. Please note that the white color need to be saturated and thick enough to cover the previous nyer so that the whiskers stands out. When outn the whiskers, we need to follow the direction and curvature by this method to make the dog portrait painting details more vivid and lively. For the right he whiskers and the nerves, I use short and thin strokes to accurately outne their haves. We need to knit our brush tip and gently touch the paper with the brisle tip. Don't let the bristle tip have too much pressure. Otherwise, it will produce zinc nine. If you feel that you are not proficiency enough, you can practice on another piece of paper with a dark color first. To ensure that you can throw vivid and sander nine without destroying the picture at this stage. 15. 13 background: Now, the painting is almost finished. I want to give it a night simple colorful tops, which is just a decor and contrast to the portrait painting. I think background need to be soft and no share brush strokes, as well as no bright color because the background is just a backdrop for the subject. It should not take away from the video appear of the dog portrait. I wet the paper with clean water for making a soft dp by wet and wet technique. While the water is absorbed into the paper, I first mix the color I want to use on the pant. I don't want the green to be much vibrant, so I add a little bit of red to it. Note the mixture color need to be saturated and have enough water to be fluid so that it can be used for spraying water dopnets. Then I use another clean brush, mix a pink watery color. When spraying water, I cover the dog portrait part with my hand as I only want the dots on the white background. Sometimes the plash may not be satisfactory. I drop some dots where I want. If some water drop nets are sprayed onto the dog's portrait, whip them off quickly with a clean damp brush to avoid leaving water drop marks after it dries. Okay, I think I'm done, and it's time to put my brush down now. Here is a photo of this final dog portrait painting. I've included this for you to download. I hope this tutor helpful, and you enjoy the painting journey. Thank you so much for joining me in this class and happy painting.