How to Sketch and Paint Capybaras in Watercolors

1. Introduction: Uh Hi, everyone. The capybara, which is native to South America is one of the most unique living creatures, being a semi aquatic herbivore. Despite being the world's largest living rodent, their distinct barrel shaped bodies and neutral facial expressions have made them beloved throughout the world, with their popularity soaring in recent years, which is why I can't wait to teach you how to sketch and paint three different capybara poses in watercolors. In this class, I will point out some anatomical features of the capybara using my capybara anatomy sheet that features numerous different poses of the capybara that I've provided in the resources section. I will then simplify the sketching process of each capybara pose in this class. Next, I will teach you how to lay down a varied base wash, followed by adding subsequent layers of paint to build up the bristly texture of the capybara fur. We will then add the final details using a black fine liner and white gel pen to bring our capybaras to life. This class is suitable for intermediate to advanced watercolor students, as you will be required to know how to use some watercolor techniques such as the wet-on-wet and wet on dry techniques. However, if you are a complete beginner, you are more than welcome to follow along as I will be explaining and demonstrating each step clearly. So if you are ready to sketch and paint three different poses of acute capybara in watercolors, let's begin. 2. Materials: Hi, everyone, and welcome to the material section of this class where I will list all the materials that you need to do this class. Starting with the paper, I decided to use my six inch by six inch watercolor sketchbook, which has a paper weight of about 300 grams/meter square or 140 pounds. You don't have to use a watercolor sketchbook, and you can also use loose sheets of watercolor paper of whatever size you want. But please try and use watercolor paper that is artist quality and is of a similar weight to get the best results. Next, I will show you the materials are used for sketching. I used a mechanical pencil by the brand pilot and it is a Super grip 0.5. I also use two different mechanical erasers. One is by Statler, which is a mass plastic, and one is B tombo which is a mono zero. These are very handy for erasing small areas. Next, let me take you through the materials I used for painting. I always use two jars of water so I don't have to keep changing the water. I used a ceramic palette to mix paints on. I also use paper towels or a rag just to wipe off the excess water every time I rinsed my brushes. For this class, I use three different round brushes all by the brand silver black velvet. In the sizes four, eight and 12, the larger brush is used to wet larger areas and to lay down the base wash, whereas the size four and eight were used to add finer details. Now, let me talk about the paint that I use for this class. I use the colors raw sienna, burn Siena, raw umber, burn umber, as well as Alizarin crimson, French ultramarine, and sap green. It's also handy to have paints gray if you want to do shadows really quickly. And very finally, I used a black fine liner pen. This one is by Faber Castell, and it was a size S. And I also used a white gel pen, which is by UIBL Signo, and these were to add the very fine details to my capybara. So if you are ready, let's begin. 3. Capybara Anatomy: Hi, everyone. I just wanted to take you through a little bit of Capybara anatomy before we start sketching. And this is a sheet that I've prepared for you. I've done various pencil sketches of the Capybara from different angles just so you can observe their bodies and faces in these different poses. And a copy of this is available for you in the projects and resources section of this class. So as you can see, very diverse poses for you to choose from. I will be covering three poses in this class, which will be these three. And just to point out a few little facts about them, they are the largest living rodents on Earth. They are from South America. They are semi aquatic herbivores, meaning they spend a lot of time in water and land and they are vegetarians. They are known for their distinct heavy barrel shaped bodies and blund snouts. In fact, that makes their head look a little bit blockish or bricky. They're known for their reddish brown fur, which is actually very coarse. They can grow up to 134 centimeters in length. Females tend to be slightly bigger than males and they have slightly webbed feet because they are semi aquatic. Acute fact is they have four toes on each front foot and three toes on each back foot. Those are just a few facts, and as you can see, there are a lot of different poses for you to choose from if you would like to do other sketches after you do this class. This is a resource that's available for you. Now, how about we get going with the sketching? See you in the next section of this class. 4. Capybara 1 Sketch : Hi, everybody, and welcome to my capybara class. And I'm so excited that you've decided to join me. I'm just really, really thrilled to just teach you how to sketch a few cute, varied poses of the beloved capybara, which is an animal that whose popularity has really soared in the recent years, especially in countries like Japan and China and Thailand. So yeah, I myself, I am a huge fan of the capybara. And I have to say it is quite an interesting animal. I've been lucky enough to have a meet and greet with well, a capybara at one cafe in Tokyo, and I was lucky enough to go to another one recently that had three capybaras, so just three times the capybaras, and it was amazing. And they are just very, very like, there's no way to describe it. Just like an animal that I've never, ever encountered before. They are just adorable. And yet they have such amazing personalities, very different personalities, especially when I got to encounter three of them. One of my daughters loves to say that it's a very smug creature and it looks very proud. But yeah, they're kind of hilarious because they look adorable, and yet they don't seem to have a lot of expression in their face, and yet their personalities really shine through, which is why for this class, I've decided to use one of my sketchbooks. Which is about 6 " by 6 " wide. So yeah, it's a cute sketchbook. And the reason I chose to do sketches in the book this size, as opposed to how I usually do it on A four size paper or A three size papers, just so we can have a few little poses so that we can then look at, you know, like a little collection. So I thought that would be quite cute this time to do it in my little travel book because I'm actually, um, compiling a book that has a few of my different experiences in Japan. It's still very empty because I only just got back from my trip a couple of weeks ago, but part of the of the one of the more incredible experiences I had on this trip was just encountering the capybaras and the cafe. So because of that, I really wanted to include that in my travel sketchbook. And I also just think the size makes it like, you know, really convenient so that we can do a few small sketches in different poses as opposed to, like, one big, you know, like painting. So before I end up talking a lot, how about we get started? I did include a couple of pictures of the capybara in the projects and resources section of this class that you are more than welcome to look at if you want to sketch more because I've just chosen a few, a couple of poses. I want to start with a pose that I think is maybe easier for those of you who have never sketched a capybara before. I just put the word capybara here, and I just want to check. I'm just standing up to check that you can see what I'm doing. There is a very cute pose that, I think shouldn't be too difficult to do I want to just do it on this page, actually. Let me just take you through a few features of the capybara that are quite unique to it. It's very solidly built. They are built like a barrel is what people like to say. They've got this really solid body, this very cute arch to its back, this cute bottom as well. The funny thing about the face of the capybara is that it's very blockish. It looks like a brick and it has very blunt snout. So yeah, that makes it quite unique yet it has these small dark eyes and these very, very adorable ears that can wiggle, which is so cute when you see it in real life. And they also have very coarse hair. When you pet a capybara, you're very surprised. It really feels like you're petting straw or like a broom. And they also have these, um toes that are adorable, yeah. So those are a few of the features that I pointed out. And without me talking too much, I would like to start sketching. So how about we start with a simple pose first? I'm just checking that you can see everything in the camera, so I'm just going to put this guy aside over here. Okay. So let's start first by getting the shape right, and then we can add the details. That's what I always like to do. Okay? I mean, sometimes I might, you know, get a more fluid like, you know, just drawing the face and then going out. But I think it's important because I'm working within the confines of this page to try and get the shape right first. So just there's an angle here where I'm starting with the face, where the mouth is. What we're going to do first is just get the shape going first. It doesn't have to be accurate, but I just want to make sure that my whole capybara is going to fit a is going to fit on this page, the face, we start here with the snout, which is very blunt and then we're going to draw a line at an angle coming down here and this one also. It's just going out slightly from this line on both sides. We're going to get something that looks like. I'm just going to draw an imaginary line here, but this is where the head ends. It's quite a small bricky looking head. And it's going to end there. That's just what I want to market, I can definitely refine this later. Let's just get the whole shape going. Now we got a curve and then we got the chest coming out here, and then we're going to go down to the legs, all right? So I'm just getting the shape going, and the feet are going to be somewhere here. Now, just to check the proportions, I want to come back to the head and I'm just going to extend this a little bit. Now if you feel like you need to, you can turn your page if you want to just draw that curve naturally. We have a line coming down here and then it goes a bit flat for a while, but just slightly. Then we go down to this beautiful curvature of the back. I love this about it. In fact, I wouldn't even mind making it more prominent because I love the way this curve comes out like that, and then it goes back in to where the back leg is where it's sitting down. We just want to make sure we got the proportions right first. Starting with the head, I just want to just look at the angle of the reference photograph where he's sitting down, and now I'm going to start just refining this a bit. I looked very like blockish. I'm just adding a little bit of a curve in here now, just rounding it up a bit. And as I go down here, I notice I made the chess come out a little bit too much, so I'm going to cut it back a bit like that. So I'm going to just erase this part on the outside, and I'm also just going to erase this line over here. Okay? So the chess should only come out a little bit. And then where the chest goes down here and becomes a leg, I'm just going to do an imaginary line across here, and that's just where the leg is going to, um, the elbow, so to speak of the front leg is just going to come around here. I'm just checking that because this is art, it doesn't have to be crazy, accurate dimensions, but it's good to have the scale as close as possible. I'm drawing the leg that's right in the front here that we see, and I'm just drawing a little silhouette of a toenail. They've got very interesting feet, by the way. They've got these individual toes that, actually the feet are semi webbed as interesting as that sounds. So I'm just going to draw a little bit of a nail there. We see a little bit of the other leg. There's also a bit of a curve in this leg, all right? I just want to emphasize that curve and just erase this line a little bit. Now we're going to see the other leg come through. The one that's hiding behind and we only see a little bit of it sticking out. Okay. We got two legs going and that's great. I'm pretty happy with the proportions now. Obviously, we're going to round this up a bit because it looks a little bit like chicken legs now. I just have to I'm starting to refine the shape a bit now that I got the overall, feel of the capybara. I'm just going to draw a little curve here like I see in the picture. I'm going to just follow this down here where it's tummy is curved. Down. And now we see a little bit of the Tammy and we still see this angle this line coming down like this, right? So we're on the right track. And now I'm just trying to see how, um, I think we're going to now put the back leg that has a shape that when a dog sits down, you know. This is not very detailed because the back leg is covered by the fur, you only see a little bit of it sticking out and then we're going to just do a bit of a furry texture over here. Now that I look at this, now that I've drawn this, I just want to just bring this down here. That is the overall shape of our capybara. It doesn't look like much, but actually we've gotten now this is the hard part, and now we can do the easy part because we've gotten the main proportions down. All I'm going to do now is just erase some lines that I don't need anymore. Okay. And let's work on that gorgeous gorgeous head of it. So over here, we're going to just erase this little lime here. And so this is going to be the upper lip, and we're just going to do a little bit. Please feel free to zoom in if you can't see this clearly. We're doing the bottom jaw or lip, you know, of the capybara. I also feel like maybe this looks a little bit like too big, so I'm just going to shave this down a little bit. This is the top lip and the bottom lip. Now I want to do the nose. The nose has the nostrils are surrounded by this patch that we see. That's pretty cool. The nose the nostriuls are surrounded by this little cute patch that comes down here. Okay, and kind of blends into the fur a bit into that area. And I'm now just going to do a little nostril. You don't have to spend too much time doing this. It's just a bit of, you know, a dark shape that's kind of irregular, but then kind of tapers a little bit inside. So we don't have to color it right now. Now we can start refining this nose shape a bit. So I'm going to end the head. I'm just going to just add to tell the truth, we've done a pretty good job with the shape of the head. So what I want to do now is add the ears in. Now, I think since the head ends somewhere here, I think the ear should go somewhere over here at the very edge of that line, the imaginary line that we drew it has very cute ears that look almost like a type of mushroom. Which is why, one of the capybaras that I encountered in Tokyo was called Kiko aje and according to the staff members, she was named after a type of mushroom because of her ears, which I thought was a very cute story. Um, yeah, the capybara was treated like a queen. She was very, very spoiled. Yeah, so she was very cute. And I'm just drawing this little what I see, which is the ears are quite an unusual shape. So yeah, something that looks kind of like that looks is kind of like the ear. And the ears themselves can move quite freely. So that's the year that we see, and then we see a little bit of the other ear behind it. Now, I just want to do the I. The I, I feel, let's do the shape of the I first. I can refine this again later, if this is not as accurate. So So kind of kind of goes down like that. Then this top part, which is the eyelid kind of connects to it. Yeah, that's unusual shaped eye. But yeah, as you can see, it's coming together really well and I feel like I can erase this line now, like, um and I don't have to fill this in, but you can imagine the eye is quite dark as it is from the photograph. Yeah. But we can always paint that later. Right now, I just want to finish the sketch. So I'm just going to see what else we need to do now to make this to finish this because it looks like it's already there. Like what you can do now is if you want, you can add a bit of shading, even though we're going to paint this, but I like to do a little bit of shading and just a little bit, just so I know that, hey, this is where the darker colors are going to go and you don't have to do this. But we are going to paint over this. So I just feel like it kind of helps to map out a little bit, what we're going to do. So as you can see, there's a lot of, like, This area around the nose will be a little bit darker towards the bottom here, and then I feel like maybe this ear goes down a little bit too much here, so I'm just going to refine that a little bit by bringing it up. Okay. I might just need to use my smaller eraser to erase this line in here too. Okay, that's looking very cute. Okay, I just want to check that this looks right. I think maybe, maybe we could just extend this part a little bit more. Like, so yeah, just extend this line now that I'm looking at it. But no big deal. I don't think that was too inaccurate, a sketch. So this is going to be the hip of the capybara. I'm just going to stand up now just to check that the proportions are right, and it actually does look a lot like our reference photograph. I think we got it quite well. If you want, you can just maybe add a few of these lines just so you know, it just helps us to, as I said earlier, map it out a bit, maybe give it a bit of a three dimensional feel because it looks very flat now because obviously we haven't added any color or shading. But I just like to do a little bit before I paint it. This is just a preference thing. I know where the shadows are supposed to be on each pot. Obviously, I'm not going to do this all over the whole painting, but I'm just like, okay, there's a little bit of shading here. I guess we could do that eye, just shade it a little bit. But you know what? I think we might stop now because I think this looks really good. I'm just going to erase any line that I don't need. But as you can see, it has this very blunt cute face. And yeah, I love it. I think this looks great. So how about we go and take a break, just refine your drawing. And when we come back, we're going to start adding some color to this little guy, and it's going to be so much fun. So I can't wait to see you then. 5. Capybara 1 Base Coat: Hi, everybody, and welcome back. And I hope you're really excited to paint your first Capybara pose. So this one was I felt a simple one because it was sitting down and it's a side profile. So yeah, I love how cute my little guy looks. And before I start, though, I don't think I need to, I might just erase this line. I don't think it has to be like all the way to the back there and maybe not as curved. So before I start, I just want to maybe fix that up a bit. Like, I think it just kind of goes somewhere like here. And, yeah. And that's the only change I want to make. I just wanted to show you that before I started painting. Now, some of the colors that I wanted to use for this, just looking at the reference photograph is, I wanted to use raw sienna, burnt sienna. Raw umber and burn umber. Now, depending on the brands that you use, sometimes there can be a bit of variation. But for example, this brand of raw umber appears to be darker than a color called burn umber, which is from a different brand. But even though these two are artist quality watercolors, for some reason, I don't know. They look a bit different. My advice to you is no matter what brand of artist quality paint you're using, if you can get shades that are similar to this, something like raw sienna, maybe if you don't have raw sienna, yellow ochre would be close to it. This burned sienna I have is quite red compared to some other burned siennas that I've used in the past. But if you could get a color palette like that, that would be great. I'm just going to put some of this color. I'm starting with raw sienna. I'm just going to put some into my clean palette now. That's raw sienna. I'm just going to put some burned sienna over here. And so I don't even know if I'm going to use all these colors. For instance, like, the raw umber, I'm sure, it's quite dark. So we'll just see whether it's, um, whether we're going to use it or maybe burn umber will be enough. Oh, my bun umber is a little bit dry. I might have to take some bone umber actually from that I've already bought in my travel palette just to keep things going because it seems to be a little bit stuck. So I'm just going to put out some of this color over here now. As you can see, yeah, it's just a nice brown that's a bit darker than your burn sienna. Maybe, um. I'm just going to put some of that out here. Yeah, I feel like this one's gone a little bit dry, but I did put it in a palette before I went on a trip. I might have to cut it. It's just not really budging right now right when I want to paint, so I had to use some of this. I hope you don't mind. I'm just going to rinse my brush now. What we're going to do is I'm going to take I suppose I could just use my big round brush, which is size 12 to just wet the entire capybara because I want these colors to spread in it nice and evenly. Even though I can later build up some, you know, layers of color and hair texture, it's okay. We're going to just paint Whoops. I don't know why I got some red. I think some of it came out of my jar. My jar was used for painting earlier, and even though I thought I cleaned it, I might have left a bit of paint on it, so I'll just be very careful to not touch the edges of it. Okay, so I'm just going to no big deal, no stress. I'm just going to try and paint, I mean, put water within the boundaries of the whole Capybara, and just make sure it has a nice even glaze. Okay, so nice even glaze. I'm going to start dropping in the lightest color here, which is raw sienna. I'm going to try and emulate the color that I see here. But also please remember that, it's okay if the color doesn't look exactly the same. As long as we capture it's nice, golden brown sort of color. I'm also intentionally leaving a few white areas. I'm not painting the entire thing. Just to let a little bit of that lightness come through. But mostly mostly I painted it, like all of it. Yeah, maybe some parts are a little lighter than others and maybe where we see the darker areas, I might just drop in a little bit more paint there. Even though I'm just about to drop in more color now, other colors. I mean, other brown colors. But this is where the shadow area would be. But enough of that, let's have fun now and add some of this, I mean, burn sienna. And what I'm going to do is I'm going to start using little hair like strokes. I'm just using the very tip of my brush. I'm just going to put it where I see a bit of the darker areas down the neck here. So remember, this is just a base coat. Okay? So we are going to build up the color, but the reason I want it light, I mean, the reason I wet the entire areas because I just want to build up color slowly. I suppose I could go over the ears. I don't think that's a big deal. And also under the nose here, we go a bit of color there. And then I'm going to take some of that color down here. That's why we wet it because we don't really want even though we're going to add hairs later, we don't want harsh lines on the base coat. I just want everything to kind of blend quite well and over here is where we've got the some of those hair strokes that we see. Try to leave the very top edge maybe not as darkly painted because I think that's where the light would be reflected. I'm learning some of that raw sienna that we painted below come through by not fully covering it. I'm already starting to do little like I said, hair like brush strokes to try and start building that illusion that it is the hairs are very coarse, you know, feel free to go outside the line a bit, you can do that with the hairs right at the edge at the edges. Whoops ended up going to the wrong pane. So I'm just changing my I'm just cleaning my brush, I mean. Sorry, I guess I got a bit excited there. Yeah, we're building up the color, adding some of those brush strokes. But letting some of that color below come through. And as you can see, it's blending, so it's providing you're getting a nice soft, like, you know, soft fur like texture here, and then later on we can build it up with some dry brushing. And so I'm just going to do little hair like strokes, you know, having fun. This is very, you know, relaxing. You shouldn't feel stressed. So we're just doing that and these are all going to blend together anyway. Okay? And I might bring some of that color down here a little bit, even though the feet the legs do look a bit darker. They're like a darker brown. But we can do that later. And, yeah. I think I might just do the mouth a bit over here. That's very cute. Okay. So like I said, I want some of that color below to shine through, so I don't want to cover it completely. But I think we've already done Alphas layer, maybe just like I'm just going to do very tiny little strokes like this with the tip of my brush. I think this looks really good already. I don't want to overdo it. I just want to let this completely dry first. I was actually thinking before I do that, I might just swap to a very small round brush a size four and maybe drop in a little bit of that darker color that we got raw which is burn umber. I think I might actually start dropping in while it's wet some of this darker color to try and start building up the shadow. Okay, 'cause I just think since it's wet, why not? Right? Why don't we just start, maybe building some of that up a little bit. So I'm not going to get I'm only very lightly doing the chess. You know, I don't want to overdo that. And also, this area down here has some darker hairs or shadows. So my pain is starting to dry, so let me just try and do this quickly now. Just watch where you rest your hands. I've made that mistake many times before with wet paint. It's going to drop a little bit here, but I'm leaving the top part of the nose unpainted because I feel like there's a bit of light there. Also, the shadow at the bottom jaw. Maybe let's just drop in a little bit of that dark color over over here. Where I see the ears are a little bit dark and at the back ear over here. Very quickly now before it dries, let's just add we see a little bit of that color over here. I haven't added my darkest brown, which is the raw umber, which actually looks darker than this other brand of brown that I have. I'm just going to take a little bit more of the color out of my travel palette, but everything is good. Let's just, we're just doing a little bit more of this hair texture, especially around that, that beautiful curvature of the back because we might as well, try and build up varied a varied base layer. I think that makes the most realistic fur. I'm just going to add a little bit where I see is the darkest parts of the fur. As you can see, all this is blending together very softly. And we will build more layer later. So I'm just gonna And down here. Okay. I'm just going to, like, spread that out a little bit over here. This is looking very good as a base layer. I'm really sorry. I have to take more of this pain because it seems to be getting used quite quickly. So just a few random strokes like this. Whoops. Just make sure it's not too heavy handed now. But as you can see, they're all blending and we're already starting to create the illusion of fur, aren't we? I don't want to overdo this part now. I don't want to make the base coat too dark because like I said before, I want some of this color to shine through. So as you can see, all the little strokes that I'm doing with the dark color are all blending into this wet background, I mean. I think we can stop now because yeah, there's more to do later that we can just add on later when it's dry. But right now, I think this looks really good. So why don't we just let this dry? Every time I say that when I'm going to finish it, I end up painting a little bit more. I just noticed the feet could just use a little bit of that color. The feet are I'm just going to blend this out a bit. I applied the color and then I just blended it towards the outside because it looks like the toes are a bit lighter. We can build up more color later with the feet, we don't have to do it now and I might have to use the darkest brown that I have, which was the raw umber because I feel like maybe this brown is not dark enough. Let's end this by just doing a few more strokes here with the brown and then I went out a little bit there, but it's okay because I was going to do some fur later anyway. So I might just, like, anyway, scale it back with a damp brush, but we will paint over that. Okay, I think that's a sign for me to stop. So there, we've done a varied base coat. That means we used more than one color to do the base coat. And I think let's let this completely dry first. And when we're done, when this is all dried, we can come back at it and build up that fur and add more detail. So please go and let it completely dry. Have a break, rinse your brushes, and change your water, and I will see you in no time. 6. Capybara 1 Adding Fur Detail: Hey, everyone, and we're back. And as you can see, um, my capybara is nice and dry and ready for me to layer on more colors to build up its very coarse hair or offer, what you want to call it, that feels like a brush. So I'm just gonna get right into it now. I just want to use my very small round brush size four for this because I just want to do some fine lines now. But as you can see, even though it's dried and some of the colors have kind of blurred out or kind of, you know, blended into the background, I still love it still creates that overall look of fur. So what I want to do now is I'm going to I just want to try out this color that I put down here, raw umber, which, as I showed you over here, actually turned out to be darker than burn umber. I'm just wondering if I could maybe, um, use some of that later, but I think I could use it on the very darkest parts, which are just around the back. But how about I just start building up a little bit more colors right now. I'm going to just use a little bit of the a little bit of raw sienna to just build up a couple of just in the areas where it's a bit light, I'm just going to kind of use very small short hair like strokes to just kind of yeah, create that illusion of around the eyes here. This is our lightest color. I'm also going to maybe go a little bit around the top of the head. I'm not going to overdo this though because I like some of that light color to show through that light background color. So just a little bit. See, I'm just creating a little bit of that hair texture. Maybe just in the light areas where we can see it. That's all I'm going to do actually with that color because I'm going to move on now to Sam Burn Sienna and I'm going to do that in the areas that are a little bit darker around the eye here. All you have to do is look at your reference photograph that I provided and just start doing these little short brush like strokes. See, try and follow the direction of the hairs that you see in the picture. And I'm just going to follow maybe the contour here of the eyelid. So just trying not to overdo it, but just kind of building up a bit of that nice furry texture as well. So I'm just going to do some short little hairs. This is just very relaxed. I don't feel any stress. I don't have to focus too hard. I'm just filling in the blanks so to speak of where I see it being a little bit darker. Maybe down the chin a bit we can do some too, and maybe just a little bit in the lighter areas. But I want some of those light areas to shine through, because I think it looks it adds a three D sort gives the body some dimension. So I'm almost done. I'm just going to, like, as you can see, we're building up the hairs. It's looking good. He's Well, rather she is quite pretty. Yeah, but you have to watch out for some of them can actually be a bit nippy. They can playfully bite you or when you're feeding them, you just have to watch your fingers because they actually have they're a large rodent, but they have incisors, the front teeth that are quite well, they can give you a nasty nip if they want to, is what I'm trying to say. Right now, I'm just doing some hairline strokes that kind of go a little bit outside that line that we drew on the very outer boundaries of the of the capybara just to make it look like, you know, kind of make the fur look more three dimensional, it's coming out of the body. We want to try and don't make it too long, but we're just going to try and make the hairs in curl slightly as they protrude out of the body. I'm also going to color this leg a little bit more in bun sienna. As you can see, we're slowly building up fur and I might start doing this a little bit faster now that I've got the flow of it, follow the direction that you see in the photographs, okay. That's going to really make a difference and then because hair follows a direction. Definitely, I know I'm jumping a little bit, but I definitely see this area is very densely covered in fur m and maybe a few more hairs here. I don't want this guy to look too red, and I will tone it down a bit once we start layering with the darker brown. Maybe I might just start using it a little bit more sparingly now. As you can see, the hairs are coming out over here. How about we just do a few more hairs out here. And maybe just a little bit around the Okay. We did that pretty quickly. I didn't take too long and just finish up a bit, with a few more strokes of burn sienna. Now I'm going to move on to Au daka brown, which is this one, burn umber, which unfortunately, I have to get out of my other travel palette because the tube has suddenly gone really dry when I wanted to paint this. But I did squeeze it out of that tube. I'm just going to put some on here. Okay, so you can see, we're starting to get some nice, like, starting to come alive, starting to get a bit of dimension. So now let's just start doing more of this. So just this dried pretty quick because, you know, I'm just doing little individual strokes, but just be wary. And I've learned to start over here on this side, on the left and make my way to the right. So I'm just going to start doing a few more of these dark strokes around this area of this patch that goes around the nostrils. That is kind of like a wide. So I'm just going to do some of that and maybe just go into the area around the nose a little bit. I also want to just do this little darker area around the mouth that we can see. I'm going to start doing some hair like strokes around that lower jaw and around the face. As you can see, this brown is starting to tone down the reddish tones, but we still see some of that reddish tones come through, which is what I want. A little bit up here, but the area above the eye doesn't have as much shadow, just a few little strokes over here. I'm also thinking that maybe we could also use a brown pen to do a few more of the more obvious lines. So I'm just following I'm just really using the reference photograph as a guideline. The area here is a little bit dark, but then it gets lighter as we go down here. I don't want to do this all the way. We got some um darker area here where the bottom of the foot is, um, we also see this dark colour like kind of in the elbow and just bring this up a little bit, blended into the red. And then we also so I'm going to make some of those hairs come out. Okay. And even here, I'm just going to do some down here. Definitely, there is a little foot there that I will add more detail to later. But right now I'm just more interested in getting that fur going. So just like get into that flow where you don't have to think so much of it. You're just seeing, oh, look, that area looks darker, so I'm just going to let my hand wander over that area a little bit more with my brush. So it starts becoming very organic where you don't have to think about it too much. Like you're just kind of see my hands kind of in a rhythm. As we can see, this area is a lot darker, so we're going to try and concentrate some of the darker brown in this area. But you can also see, there is some of it over here. Very important here, follow the strokes of the fur. As you can see, me doing this now, I can actually see the fur coming to life and it's looking really good because I'm following the strokes. So it looks like it has flow and movement. That's looking very cute. This area up here looks a little bit dark around the nose. I'm just going to try and remove some of that color. Just using a clean damp brush, just removing some of it. Later on if we want, we can maybe use a clean damp brush. Or we could do that now as well. We could just use a clean damp brush to try and remove some of that paint at the very edge of the nose to add a little bit of light on that area. I'm also going to just use the damp brush to just remove a little bit at the bottom of the lip. Use a clean damp brush keep rinsing your brush and then patting it on a towel or a a paper towel, is what I was going to say. This is looking great. I just want to add a little bit more of that brown, which is the burn umber. Just a little bit more in some areas where I can see it's obviously very golden. It's not as red. Just a few more strokes in this area that we can see definitely around the neck, we see a lot more of that darker strokes. I think I will have to use the darker brown that I have raw umber that we haven't used yet. But let's just finish up with this color first so we don't get too confused about what browns we're using. Yeah, but I love this part because I can see very obviously the direction that the hairs are growing. I love that. And maybe just a few strokes here, even though I want the color to come through, but I just felt it looked a little bit bare. So just very lightly over it. Okay, I think our little guy looks really cute. I'm just going to I'm just going to try and blend this part out a bit. Actually, I might just have to use a little bit more burn sienna here because it felt it was a little bit empty. Okay. While we're at it, why don't we use some of that burn umber to do a little bit more detail on the foot? I might have to use a darker color for this, but let's just try and use a little bit of this brown here first. Okay, I'm just swapping back to Burn Sienna here just to, like, fill in this part over here. And I'm just going to fix the mouth a little bit with the with the raw umber now that I've removed some color, I just want to add a little bit more right where the bottom lip meets the top lip. There's some color there. Okay. Now, I'm just going to let this all dry now before we start adding more details like putting some of the darker color over because I just want to let everything dry just so I can see everything very clearly. Yeah, it's not going to just blend into the surroundings anymore because now I'm doing some dry brushing, like applying, wet paint over a dry surface. So it's wet wet on dry technique. Sorry, that's why I tried to say. So how about we just let everything dry now? And when we come back, so just go take a little break. We will go over the fur with just the darker color, add a little bit more details for the feet, and, of course, do the gorgeous eyes and the ears and the nose. So just a little break, and I will see you in a really short time. 7. Capybara 1 Final details: Hi, and welcome back. And as you can see, all these lines have dried really well. And if you're standing above your painting like I am, you can see there's that beautiful flow of the fur that looks really, really cool. I really like, love that. I think it's starting to come to life quite beautifully. And it is just so cute, as well. Now, what I want to do next is before I do the really fun things, like, you know, start to darken the eyes and things like that, I just want to use the smallest amount of pink for the ears. I just want to get out a little bit of Alizarin crimson. I'm just going to put that on my palette. I hope you can see that. I'm just getting some of that out of my travel palette once more, the palette that I take when I go traveling. I am going to dilute this quite a bit because Azaren crimson is a very strong staining pink. But what I want to do is I just wanted to paint just a little bit of that ear over here. So it's still very strong. I'm just going to dilute it as we go outwards here towards the edge. And I also like to put a little touch of it near the nose because I feel like that's just very cute to see a creature with a pink nose. It just reminds me a lot of my dogs. Yeah, I just want to blend that slightly outwards. So yeah. Because it is a strong pink. I just want to blend it a little bit outwards. I also want to use a very diluted amount of it on the feet just to give it that slightly pinkish tone. And I've covered these feet a little bit here, but I can darken them later. I just really wanted to do that, maybe add a little bit of pink around the nose area there as well, but I think that's enough. I think that's enough. I'm just going to use the tip of my brush to just um just fade it out as it gets towards the outside because I still want that part to be lighter, and I might have taken out a little bit too much, so I'm just going to put a little bit there. Maybe I might try that again when the paint is dry. But while that's going, what I want to do now is just start using that raw umber that I put down on the palette that I never actually used just now because I just wanted to darken some areas like the area where the mouth meets I also, um, like to do these parts of the ear that are a little bit, you know, dark as well, and just the back of this ear. And I also want to, um, sorry, I want to just, um, dark and more like the very dark areas, which is where the elbow is that I can see this to the area between the legs over here. Interesting fact that capybaras have a total of 14 toes just when you thought it couldn't get any cuter. I'm also just going to put a bit of that color on the toenails just so I can start to see them come alive. They have four toes on each of their front feet and three toes at the back. I've seen them walk and I've seen these toes up close and they're the cutest things ever. So now I'm just going to go between the hairs here, just darken that underbelly because it makes sense because the shadow is falling on it. And this is the darkest brown that we're using. So I'm just going to show a bit of that toe sticking out over there. Okay. I'm then going to just go over these these lines just due some of that fur effect. It's a little bit darker. If you look at the reference photograph over here and towards the bottom. I just want to try and capture that. I'm just going over that beautiful back again, the lower back that has this gorgeous round shape that's so cute. Yeah, like I said, built like a barrel, this cute animal. And also I can see it around the back of the neck here. It's a little bit darker. I can't wait to do the eyes. It's really going to bring our cute little go to life. This was based on a female, a female capybara that was at this capybara cafe. There are lots of pet cafes, um, in Japan. They're like normal to just go and spend time with these animals. And, um, yeah, they're always like booked out. You have to have a reservation because they're so popular. Especially with tourists who don't live in Japan. I'm just going over these just putting a few dark strokes over it. As you can see, it's just bringing the whole picture together. It's looking great. And where else? Did we already do the chin? Maybe we could just do a little bit more and let some of those hairs come out. Do a little around the eye. And maybe just a couple at the top here. I don't want to darken that area too much. Okay, that's looking good. I don't want to overdo that. Right now, I also think we can maybe use some of this darker shade to go over the toe a little because it looks a little bit too bright there. And just darken this area here between these two toes. And also to add a bit of shadow below the toes. I know I'm talking a lot about the toes, but, they are important. Just going over this a bit. Okay, so make sure you take you just stand up and have a look at the overall effect because you don't want to make the overall effect just become too dark, you know? Okay, I think that's looking good. And what I'm going to do now is I just want to stop for a sec because I just want to let everything kind of dry a little bit before I come back here with a black fine liner, just to do the eyes because I feel like the eye is a very small area and I don't want to, um, I don't really want to use a brush just to be a little bit more careful. So when I come back here, let's just let everything dry and then when we do the I, it's going to look so good. So let's just take a tiny little break. Hi, and we're back and it's time to now just do the little I. I've got a black fine liner that is about 0.3, and that means MM and it is water resistant. I've been waiting a long time to do this. I can't wait now that it's dried. I just want to do that I'm going to actually just fill in the eye. Okay. This one I feel like this pen's drying up a bit, so let me just walk to my Other pen, which is also 0.3, but it's just a different brand. Yeah. Okay, so this is good. So I'm just going to fill in that whole eye and just go very carefully to where that lash line is. And I'm just going to leave the smallest amount of white there. So just a tiny little light reflection there. I think that makes animals look a lot more like, um, alert and magical, there's a reflection in the eye. I also want to use this for the nostril because I feel like the nostril could use this amount of darkness as well. Yep. As you can see, our little guy already looks like she's coming together a lot better. I'm just noticing what can I do about the eyelids? I feel like the eyelids look a bit too, I'm just going to take a little bit of burn sienna and I just feel like this eyelid just looks a little bit too I also feel like Okay. Yeah, I think I just felt like it looked a little bit too blank. I still think it looks a little bit. I'm just going to cover the very bottom eyelid with just a little bit more pain because it just looked a little bit too light to me. I also feel like this line above the eyelid is a little bit too dark, so I'm just going to try and lighten it by lifting a bit of paint off it. Sometimes you only notice things like that after you've had a break. I just want to lighten this part. And I feel like, yeah, I'll come back to that. But in the meantime, let's try and fill in the blanks for all the other parts of it. I think I want to just add a little bit of of raw sienna pin to the top of the ear here. And a little bit in here just to color the ear a bit. And I just want to also I think at this point, um, the nostril looks okay. I think I might just take a little white gel pen to just add a few white lines and to also maybe add some highlights. I hope this pen works. Every time I want to film with it, I don't know why it just doesn't seem to work, but let's just see if it works now. Okay. Let's just try that out on the painted area. It's very faint, so I feel maybe like I've got a fader pen. This is a 0.7, but let's just try it out. Okay, so what I'm doing now, I hope you can see that is I'm just going to break up this part a little bit and also add a bit of a highlight. But still within the pencil boundary because I don't want to lose the definition there where the faces and everything. I'm just going to add a little bit of white gel pen to just kind of define some of the things a little bit, like the ear. I might just make that sparkle in the eye a little bit more obvious. Don't get too carried away. I can get very carried away. I just want to maybe lighten that bottom lip a bit. But then I'm now going to use a clean damp brush to just kind of, uh, blend it a little bit towards the dark like that, just so you can see that bottom lip. You can even make it look more natural by maybe using a few broken lines like that to make it look like that's fur. I can also use the white gel pen down here. You can see there are a few marks around the toes. So I always use a white gel pen. I always end up using it with a watercolor painting. It's just kind of like fake. I'm just going to do this part again, within the confines of the pencil. I'm just leaving the very outer edge of the pencil still visible. Yeah I don't think I need too much now. It's already looking really good. There's only one thing I noticed that I I want to try and remove a bit of that paint around the top eyelid. Then don't worry, I used a waterproof pen, so this is not going to affect it. I just wanted to make that area slightly lighter, and then I'm going to use my burn sienna to just outline around it because I felt like it was just a little bit too dark just now. And some of that fur, we can see it go in to the eye. So it depends on how much you want to copy the picture, but, um, now I did it again. Okay. Maybe I'll just erase this line. We don't need that. But yeah, it goes into the corner of the eye a little bit. And, uh and below the eyelid there. I'm just going to use the smallest amount of burn umber to just outline that bottom eyelid. I'm just going to stand up now. A guy looks so cute. The only thing that I think this needs is, let me just fix that eye. Sorry, that was bothering me. Just looking around now, stand up, have a look and see what else. Maybe I might just do a little bit more burn Sienna over there. Okay. Using my finger to spread it a little bit. I think this looks good, actually. I don't want to do too much to it. Like, I'm actually now removing some of that pain. I think I shouldn't have put that down. Alright, I think this looks good. I don't want to do too much. And the only other thing that I would like to do now is add a little bit of a shadow underneath our beautiful girl just to make her. Oh, there is something I want to do that I forgot. Sorry, I'm going to use the white gel pen to just go ever so slightly into the lower lip here to separate it from um the upper lip. I think I removed too much of that with my finger. Using your finger as a tool to spread to just absorb very gently to absorb some of that white gel pen if you feel like it went a little bit too much, if it was a little bit too much. I'm also going to use my brush to just remove parts that I think are too much. I think we could probably stop it somewhere there. Yeah. And then just spread that. I don't want to play with that too much. Yeah. Let's wrap it up. I'm just going to try and finish that year a little bit. I think that looks really cute. Let's do the shadow now. So for the shadow, I'm thinking of mixing up. We could just use pains gray if you want to save time, we can do that, or we could mix brown with blue. Um I'm just wondering, since we used this brown, since we already used what was that color? Burn umber or even with raw umber, how about we just use one of my favorite blues, which is French ultramarine. So French ultra Marines is gorgeous blue that you can dilute down to make into a sky color, or you can also, I'm going to mix this with the darkest brown that we have actually that we're using here. I'm going to mix this blue with a little bit of raw umber and as you can see, we get this gorgeous shadow color. So what I'm going to do with this is I'm going to very carefully put it underneath the toes, the feet, I mean, and the toes and um now that I'm looking at the toenails, I think we could probably go a bit darker. How about we use a little bit of that shadow color on the part of the toe that's a part of the toenail that's closest to the toe is what I'm trying to say. Let's just put that shadow color underneath and it should also go over here. Okay. Because it's nice to have a bit of a shadow underneath. And so if the lights coming from above, your shadow is also going to be underneath your capybara. Okay? Since that foot goes all the way out there, I think I'm going to put the shadow over here like that. It's going to go all the way up into the fur. Very finally, we're going to see some of it we have some toes sticking out there, but we're going to also have it underneath its bum where it's sitting down on the floor. Maybe it might just extend a little bit outwards because the back is sticking out. There we go. I'm just trying to make the shadow look more realistic. I'm just doing little lines protruding out because that could be the I think the shadow should also go to the same height, so to speak, as what we did underneath. That's looking so cute. Can you believe we're almost finished. We've almost finished with Alphas capybara pose. Oh, look at our little guy. So if you want to go darker with the shadow, even though I think this is quite cute, you can. But while this is drying, I just want to re emphasize the toes, the toenails, I mean, I just want to make them more visible. So this is where it comes out over here. I think I accidentally erased some of that toenail. Let me just put the highlight back on. Highlight there. Maybe I might just put a bit of black for this very distant toe that's just barely visible. And I just realized I need to just paint that part of the toe that's behind that. It's small, it's not really a big deal, I'm just going to keep um I just decided to add some of that dark brown in just to blend the shadow into the bottom fur. Just reinforcing some of that shadow and the fur meeting. But I'm going to finish this soon actually. I'm just using the tip of my brush with the raw umber to just make a few hairs, stick out a little bit, just to add that natural look, but I really do think it's finished and we don't have to keep doing this. I'm just a little bit addicted. Whoops. I just want to remove the stain because my finger accidentally touched it. But honestly, I'm someone that likes a bit of imperfections in a painting. Accidents happen, you know, so yeah. The, no big deal. It's gone. So I'm taking one last look and standing up and looking at my little guy. And I just want to just do the outline of the ear over here. I just felt like that part looked a bit blank. Yeah, these are very strange shaped ears, aren't they? It's okay if the ear doesn't look exactly the same. Yeah. That looks good to me. And just doing that part again. But I really do think it looks great and fixing one more little thing. I'm just going to go with just a little bit of the darkest brown that we're using and just go right underneath the white line that we put in. And it's a few more little lines. What a cutie. I do think we just to give him a bit of a glow, let's just add some of that raw sienna up here because I don't want this to be too light and just a bit of raw sienna where taking a last step up. I think this looks so cute. I just want to end this by just really outlining that eye, shaping the eye really well. But I think this looks amazing. It looks so cute. Look at that. We've done our first little capybara. If you are happy with it looking this way, like, I think we're done. You know, some of the suggestions that I could make is if you want a more cartoony look, you could even use a black pen and outline the capybara and maybe do a few strokes. You know? So these are just ideas that I have that you could use if you want, but I think that she's quite ready here and she looks really great. So I hope you've enjoyed doing your first capybara. And if you are ready to move on to the next pose, I can't wait, so I will see you in the next section of this class. 8. Capybara 2 Sketch: Hey, everybody, and welcome back. And as you can see, our first capybara was finished in the last video. Mine has completely dried and she looks gorgeous. I think she looks so, so cute. So how about we move on to our next sketch. Now, I have a lot of reference photographs, but I wanted to choose different poses for us to do because I thought that would be more interesting. Since we have one of Al capybara sitting down and looking up very endearingly, I thought I would choose a pose where Al capybara is walking in motion. So I have a picture, as you can see in the reference projects and resources section of this class, sorry. So we can start sketching right now. I'm just going to, um, I think, sketch over here. This pose is one of our capybara on the move. So they do walk pretty slowly from what I saw in real life, but they're said to be quite formidable swimmers. For this one, I'm going to start with the now, I'm just going to bear in mind, I tend to draw big and this is a smaller, um, a smaller size area for me to draw on that I'm used to. Usually, I tend to work with A four or A three. I just have to keep that in mind when I start getting the overall shape down. Once more, we're doing this very blunt snout and this very, um, barrel shaped creature. This one is an above view, we just have to keep that in mind. I'm just going to get this shape going first of the head before I do the body. So we see a slight inclination here, and then down to the chest, and then I'm just going to continue now. This is obviously where the nose and mouth are going to be, and we're just going to go up slightly, and over here, there's a bit of this is the top of the head and over here is where the ear is going to go, but we don't have to do the ear right now. I just want to map that shape first. I can already tell that these proportions are not right here, but I want to just maybe continue with the top first and then fix the bottom. This is the where the ear is, and we're now going to just go a little bit of flat, but just with the slightest downward curve and then up here. I'm going to change my hand once more to suit the direction of the curve. If you have to move your book, I tend to do that a lot like my paper when I'm sketching to try and get that make it easier for my hand to draw in a more organic way. So here's where we start to see that cute curvature and kind of where the tail bone would be if it had a prominent tail. So I've got this weird shape going on, and it may look a bit strange, but let's start refining this a little bit more now because that's the hardest part for me of art is just doing the initial sketch. So let's just try and make this a little bit more refined now. I'm just going to shape that nose mouth area a bit. And I want to just start maybe putting down a bit of a of a line about where the nose is going to be. Like I said, this is a slightly above view of our capybara. I'm just keeping that in mind when I do this sketch. Okay, so this is a nose mouth area. I'm just going to add maybe a little nostril just so I start to see the picture better. I mean, I'm not going to put in lots of details or anything like that, but I just want to just kind of maybe I don't have to do this right now. I'm still getting the proportions, right? So yeah, let's just do something like that roughly right now. Then over here is where the head is, and I might just add an ear in here right now just to, um, Map out everything. Yeah. This pose is just a little bit harder than the first one that we started with, so it's just important to try and get that right first and see now I feel like I had made the dip in the neck a little bit too prominent. So now it should level out a little bit more like that. And now let's just check that arch out of the top of the back. There's a very obvious arch that goes even above the head, as you can see from the photograph. So let's just keep that. So yeah, they are very barrel shaped, aren't they? Like that's how they're described. And they look very heavy, don't they? But they are supposedly really good swimmers. I mean, if you think about it, a hippo looks heavy and it's a good swimmer. I'm just going to look at my photo very quickly, so the part that sticks out the most should probably coincide with where the nostril is. Just bearing that in mind when we do it, it's about if I use my my pen, pencil, I mean, my eraser, just like a rough guide. I can see that it's over there. But like I said, this is art. You don't have to be crazy accurate. It also depends on what kind of art you're creating, but I do like my proportions to be good so that I think this shape looks a little bit better. I also want to do something right now. Because this is an above view, I just want to put some guidelines here about the orientation of the of the head. Over here is where we're going to see. This is where the eyeline is going to be as it goes up over here. I think I can add another ear here, which is just going to go This is going to go slightly behind. It's going to start a little bit after this ear, if we look at it. Let's just check the proportion. The ears like I said before, they're really very strange shapes and resemble a really weird fungus is how I would describe it. But you don't have to put too much crazy detail into the ear. It also depends on the position of the ear. When they're all perked up or when they're more relaxed, obviously, that's a little bit different. What I'm doing now is, I just want to trace where the eye is going to be. So the eye line is going to be somewhere along here. So what I want to do is I just wanted to trace to just kind of map the eye out, so this also gives us, I'm just wondering if my ear is a little bit too close. I might have to move it back just a little bit. Don't feel frustrated by sketching because, you know, just think about it. You're adding a very accurate map guideline to then do a really great painting on. So I'm just going to redraw that ear. I just want to show you all this in real time because it's not a race and it also depends on what kind of effect you want to create. If you want to create an animal that looks more realistic, then maybe you would put a bit more time into mapping out, sketching it properly. I think that's enough detail for now. I'm just checking whether the position of the eye, I think that should be all right or should I just move it slightly towards the nose, maybe just slightly. Let's put the eye over here. So as you saw previously, the eye is, we got this big eyelid. That kind of really, it's like a hood over the very, very dark eye that we see that seems to occupy the whole eye. We don't see much of the white of the eye or the vitreous humor as it's formerly called. I think that's a good eye. I'm just going to shade this in a little bit just so I get a good idea. I think my head is a little bit too it looks a little bit too narrow and I feel like a when I look at the whole animal now, I think this eye is too big and that's okay. I'm just going to draw it a little bit smaller. This is just part of the sketching process. But I just want to get this right. I think the eye is just way too big now that I've drawn. I think this should be the whole eye. I'm going to start here where I did the black and I'm just going to This is going to be the eyelid and this will be the black of the eye. I think that looks a lot better. Okay. What I want to do now is let's refine the head a little bit more. I'm just going to there is quite a prominent a little hump over here, so to speak, like a raised area, and then we see this here here and then it kind of goes down a little bit, and then we go all the way I'm just wondering if I should extend it a little bit more. I think now that I check the proportions out, I think we should extend this a little bit more. I don't always get the sketch right straight away, but I'm willing to what you can do also is look at use the head as a bit of a guideline of how many lengths. I think this should actually come more towards the end of our page. I think maybe it stopped a bit too prematurely. Yeah, because the head looked a little bit small. Like I said, I don't always get it right the first time either. Yeah, I think this is more proportionate, for sure. And so the hits about four roughly four head lengths. Okay? So this looks a lot better, and I'm much happier with this. I also encourage you to stand up and, you know, to see the overall look of it and to see whether, you know, the proportions look right. I'm just going to clean this up before I start doing the bottom part of my of my capybara. So let's get going. I feel like this part could be a little bit thicker. So we're going to just extend this downwards a little bit. We can see that right where the ear starts is where it starts the jaw becomes the neck and then it comes down here. Yeah, that's a lot more accurate now now that I got the length right. Now we've got the shape of the body. I just want to just do an invisible line here to just map out the body, and I will do the legs over it. But it's just nice to see this shape. So I know, okay, this is looking much better. Let's keep going now. As you can see, right before this ear starts, in fact, I might just take this back a little bit more right before the ear starts is where Yeah, that looks better. The capybara is a bit strange, isn't it? It even reminds me sometimes a bit of a pig, doesn't it? I actually makes the cutest sound. The cutest sound when it's tickled. Okay. Let's start doing these legs now. Just a little bit of an angle there, but we will be doing the legs and everything. If you've got a shape like this, you're on the right track. Let's now start putting down that leg. I'm going to start sketching one of the front legs that is in the background. They don't have very long legs in proportion to their barrow bodies, think of this as a triangle shape. Going to do. Then you've got your foot. I just need to check if I curve this too much. Let's just put those feet out. We've got one toe at the back that we can see and then we've got this big middle toe with the nail, might as well just do the nail. Then we've got another little toe coming down here. Slightly webbed feet up here. We got a little leg there. All this part will have a bit of hair coming down so it won't appear as long as it is. If you want to, you can map the area where we see bright pink. We can map that. I'm just wondering if my foot looks okay. Yeah, I think that looks good. He is on the go after all. Now I'm just going to do the other front leg where there's a natural line that comes down here that I can see quite nicely. I think it has to be a bit wider. We got another foot coming down here, but this one's not fully down yet. It's about at the same I just noticed something. I think this should be a little bit more arched up here like this angle here at the bottom. Okay. I think that looks better. Now we've got this arch here going down here and we're going to just I'm just going to draw a sketch the back of the leg. I might also do that little toe now that's just hanging. Like I said before, they've got four toes in the front and three toes on each of their back feet. Four toes per foot at the front. I'm just going to draw might as well just draw the detail now just so it's easier for Letter since I already got the whole shape mapped out, and then we've got this toe over here, the main toe that extends out like that. Then we've got this other little toe over here. That we can just see the top off. Okay, there. We've got this cute little feet going on. I'm just going to fix this. Sorry, I just want this to be. We can just erase that very bottom part. Okay. We're almost there. Then we've got this belly over here. Then we've got the back leg. There's a bit of distance here and then we've got the back leg. Wow, this only just made it onto the page, actually, see? Like earlier, I had drawn it way too small. So this kind of thing, to draw, um it just takes practice. It just takes practice and it's very rare that you're not going to have to make any corrections to your initial drawing once you stand up especially and have a good look. As you can see, the back of the foot should only extend a little bit past the tailbone. I should only extend a little bit as we can see from the reference photograph. I'm just going to do a rough foot shape right now. Obviously, this is not accurate, but I just want to map out where the foot should be and where the knee, the back knee and the thigh should be. Okay, so just checking that is, that does look long enough. Let's just remove all the confusing lines right now. Okay. This is our back foot. I think the angle should be a little bit more curved, if I'm going to be honest, might as well just do that right now. Yeah. We have a knee that comes down here and then plateaus, it goes straight like that and then we've got the foot. Okay. Yeah. So poses take a little bit longer to sketch like this one. But it will be fun to paint, I promise you. After that, it's going to be much easier to just like, we're going to do is just paint it very similarly to how we did earlier. Let's give this toe. The back feet look weird, don't they? Here's a toenail. Now I'm just going to go up here to where the toe starts to meet the foot. I'm also going to do the same over here. We've got these two very prominent toes that look a lot like pigs trotters, don't they? That's why I was saying, this looks like a this animal looks like it could be related to the pig, but it's a Roden. It's in the Roden family. Then we tend to see a little bit of the very little more the shadow of the back toe. Now we can only really see two toes in the front and that's fine. So let's just just erasing all the lines we don't need and now let's just do that very back foot. For me, it always pays to I'm just going to draw a little line that comes here just as a guideline for where the back foot should land. It's going to land somewhere along this mark of using this foot here as a guide. I tend to use different parts of my creature that I already drew to check proportions a little bit. The backfoot should land somewhere over here, and then um let's just do a bit of a toenail and then we got this little digit, I guess is what you could call it. Then we've got another toenail. All right. I think that looks good. Okay. So we've drawn our little guy. I know that took longer than the first sketch because this one involves some movement. The feet can be seen more feet can be seen four feet as opposed to just the front foot earlier. I'm just cleaning this up a bit. Just erase all the lines you don't need just so when you paint later, you've got a nice clean area to work on. So what else can we do? We can make our guy look a lot more alive. I know our guy looks a bit flat right now once we start doing the fur and all that, but the most important thing we can do right now is let's clean this up and then let's finish this section of the class. We don't need this guideline anymore that we drew earlier to just map out where the feet are. Also here. Okay. Let's get rid of this line. Now I just want to look a bit closer at the nose just to map that properly. So let's just what we got here is fine, but I'm just erasing this line to just draw the nose more accurately. What we got is a bit of a curve looks a bit triangular but curved here. Then then it's going to come down. Now I'm going to start sketching the area just around the nose. A, let me just put the nostril down because that would be easier for us. Let's do that nostril. And this part is going to be dark, so I don't mind just shading it in a little bit because I'm going to paint over it just so I can map everything accurately. We got that nose. As you can see, he's starting to look a lot more capybara like. This goes like that shape. Yeah. And then there's this area around the nostril. Okay. That looks better. I had to actually zoom in on the nose to do this part. Now just think about it. It may not look great right now. It may not look very realistic right now, but we can definitely work on that. I just want to just shape that eye better. Okay. I will look great when it's painted. It will look more like, but they always have such a board look about them, right? Just cleaning up now, I just want to fix the ear anywhere. I think I might just make the ear slightly bigger. Yeah, those are very weird B shaped ears. I'm just going to map out now a bit where the dark areas are in the ear. You don't have to do this, but I just feel like it gives me a good guideline. I just want to make that ear look a little bit more um That is a very strange looking ear, but that is what I see and I just sketched what I saw cleaning up the lines a bit around the ear. But yeah, that is the ear. But I also think I just want to make the eyelid just a little bit thicker. They've got these very padded looking eyelids, don't they that are surrounding their eyes, the actual eye. Such a strange animal, but very, very adorable. Don't forget we can do things like we can make this. I just want to also just bring the jaw line down just ever so slightly now that I'm just going to round this up a little bit. Okay. Yeah, I think that looks a little bit better. I think maybe the draw was a little bit too high. So I'm taking a final look at my capybara. I think it looks great. I know this sketch took a little bit longer for me, but I can't wait to paint this guy. And, yeah. So why don't you just go and get your palette ready? And we're gonna basically be using the same colours as before. So just get your palette and your brushes and your water ready, and I will see you back here in just 2 seconds. 9. Capybara 2 Base coat: Hey, everybody, and I'm back. And as you can see, our cute little guy is just waiting to get painted, and I can't wait. I'm just checking the camera right now just to make sure you can see everything. And, yeah. So basically, I'm using the same palette that I was using in my first painting. So I just want to make sure that yeah, I just wanted to point that out. I did top up some more Alizarin crimson and some more burn umber. But it's all the same colors, and I think I just had a little bit of gray here because I was actually working on another project earlier. This is the same palette that we used before, but I'll just recap. This is raw sienna, burn sienna, raw umber, Alizarin crimson, burn umber. This was the gray that we mixed with a little bit of raw umber and ultramarine blue, and this is just Paine's gray. Let me just get that all out of the way. We're going to use basically the same technique. I'm going to use my big round brush and I'm going to just Paint. Well, wet, more like it. Wet the entire area inside our pencil drawing until it is a nice even sheen. Okay? You don't have to be too precious about this. See, I'm just holding the brush like that using the tip of the brush to just get those little toes in, but you don't have to be too neat because we will be painting slightly outside the boundaries later when we make some of the fur come out. Okay, so try your best for it to be an even sheen, but just bear in mind, some areas that you wet earlier might have already dried, so I'm just going to redo that. Once more, I'm going to start with the lighter colors. Actually, just when I said that, I realized something. I'm just going to drop in the pink first because I just like it when the pink shows up first. I'm just going to put it in areas like we can see a very obvious pink over here. Don't worry if it spreads a bit, that's absolutely fine. We're going to cover that a little bit in the ear, um around the nose area, which is so cute. I'm just going to do that maybe a little bit around the eye. These are very I can see the leg over here is a little bit pink too from the yeah I can see that. Maybe we can drag a bit of that color down here. I'm painting in a pretty loose way, maybe around here, back of the foot. I just thought I would do that first. I still I'm holding my other brush with the raw sienna. Let's drop that in. This is the lightest color. And We're going to just brush it on basically everywhere, because this is our light color and I'm just going to avoid those pink areas because I just want some of that pink to shine through. Yeah, not really thinking too hard about this part. I'm just putting this on and it's beautiful. Maybe I left a little bit of white areas. Bring it a little bit down into the leg. All good. Now, just going to rinse my brush and I'm using the same large round brush size 12 to we're going to start with our second darkest color now. I'm going to put it around the areas like the nose where you see it's a little bit darker. Just like the other painting before this, we are just going to Follow the reference photograph a bit as in put the darker colors where you see darker areas of your capybara. The great part is the wet on wet technique allows this to blend into the background so we don't see any really hard lines right now. Just look at your reference photograph that I've provided. That's all I'm doing right now. I just notice these darker areas. I'm going to start filling them in a bit and then just letting that pain spread, but also just letting some of that raw sienna come through. As you can see, the back over here is darker, especially near that tail bone. That area is always a little bit darker. I don't think it just has to do with the contours. I actually think I don't know, maybe the fur there is actually a little bit darker, more concentrated fur. Right now I'm using the tip of the brush, as you can see, to go a little bit outwards a little beyond that, pencil boundary. Making sure you leave spaces so that the white I mean, the raw sienna below can shine through a bit, we're not just completely covering it. I'm letting it shine through slightly in between and near the top. The, we've already done oura our raw sienna and our bun sienna colors. I'm just going over a few areas with it, but But I think I'm going to start switching to T AdakaKalasun. The burn umber. That looks good. I don't want to overdo it. Now I'm going to rinse my brush. Maybe I don't need such a big round brush. I might actually use my small one to take up this color. This color is going to go around places like around the nose. I'm still letting some of that pink come through. This is the color. See, as you can see in the photograph, the face near the nose here looks darker and I might start using the tip of the brush to draw out some of those hairs along the pencil line just to yeah, create that cool furry silhouette. When I say furrier, I mean hairy silhouette that they have. Oops, I went out a bit there, but it's okay. Just following that. Like I said, with the earlier painting we did, we're just following those lines. Brush strokes are just going to follow the flow of the fur, I keep saying of the hairs, the really rough brush like hairs of the capybara. All this is mixing very well. Later on as we did with the last one, we will add more more features more details. As you can see this color down here, we see it near the chest, it's a little bit darker and make the hairs come out a little bit. But we will layer again over this. As you can see, the pain is starting to dry, which means that we're starting to see more defined strokes. I'm going to try and do as much as I can with this brown before I swap to my darkest brown. As you can see, we see a few darker strokes also throughout the body, also near the top. As you can see, look, we already have this nice flow created. I'm just going to take a little bit more I seem to run out of this brown very quickly, so I'm just going to take it out of my travel palette again. Just putting a lot more down here. Think that will do. And just around the neck, you see that area. I can see pain the water in the paper starting to dry. Looking really cute. Maybe some hairs up here. Maybe they can stick out of the bum a bit. Actually, that's not the bum, that's the lower back. Maybe just a little here because I don't want it to look too there. Okay. Al capybar is starting to I might just bring some of that brown down into the feet, leaving the top parts of the toes untouched over there. But over here we definitely see a shadow. I'm just going to let this pain just spread a little bit. Okay. Um, how about I just drop in a little bit of this over here. Our pain is starting to get quite dry. I'm just dropping in the pain where I see in the darker areas and maybe down in the feet here for sure because it looks quite light. But I'm going to leave the very top of the toes in unpainted to just suggest a bit of shadow. Very finally as quickly as I can, I'm going to start using the darkest brown that we've used earlier as well. I'm just going to put it in the nostril here, even though later on, I might probably use a pen, the dark black pen to do that. I'm just going to use this around this nose area. I'm just dotting it in. Now once more, this always depends on the kind of effect you want to create. I like a semi realistic effect. Anyway, I'm going to work quite quickly now. My paint is a little bit dry. I'm just very quickly just doing a bit of the eye around the eye. I just noticed something. I actually didn't erase that pencil line I left just now, but that's okay. I can paint over it. Let's just do remember, we don't want it too dark, the top of the head. I'm just kind kind of interspersing some of those strokes. I'm also just going to add a little bit more definition to that ear. Use the darkest brown to go into the ear like that. Bit of shadow around the ear. But this color is really starting to I mean, it's really starting to dry the surroundings. Going to work as fast as I can, add a little bit of shadow there, add some dark color down the feet. Around the belly here. We got some shadowy color. I hope you're having fun doing this. Yeah, the Capybara is just a really, really cool animal. Maybe you can check one out at your local zoo. The last bit here. I just want to put some of that color around the feet, of course, around that tailbone, this parts a bit darker. I'm still following the strokes of the hairs, which I think are very important that you do. Then we see the hairs are coming this direction. They all follow a flow, right? But we want to not put too many. We want to leave it quite sparse at the top with the dark strokes. We don't want to put too many of them down there. Maybe we just do very tiny strokes at the top, very tiny, very short ones. Okay. I think I'm going to have to wrap it up soon and then we're going to let this completely dry before we start adding on more details in the later part. But I think we've mapped out the shadows quite well now and the darker areas. As you can see, we can see that flow that we saw earlier with the first painting. I think I'm going to just I'll just blending that part a little bit. I think we should just stop here. Every time I say that, I keep going. Um, That's just stuff. And we can look at this all later, right? And how about we just let this completely dry us? And when we're done, you know, go have a break, go stretch your back. And when we come back, we will finish it up with a few more details like a few more brushstrokes and also using our pens, and that's gonna really bring our little guy to life. So have a little break, and I will see you back here shortly. 10. Capybara 2 Adding detail: Hi, everyone, and welcome back. And as you can see, our capybara is nice and dry. So why don't we get right into it with a small size four round brush? I'm going to start just dry brushing on to try and build those layers of fur, you know, the hair like strokes that we did in the previous painting. So just to build up those hairs in a realistic way. So we're going to do is we're going to start with some light raw sienna. I'm going to just start maybe putting some fur details. I keep saying for these hairy brush like hairs that the capybara has. I'm just going to start just building up these layers and I always start with the lightest color first. We're going to just go with the raw sienna near the top. And I'm just going to also intentionally going outside the pencil line a little bit to create that furry look that sticks out those hairs. Not too much though. We don't want it to be too obvious. Maybe just stick a few of those out of the back over here. That's very cute. Yeah, just going to add some bold strokes, maybe in the lighter areas there. So this shouldn't take us too long. We're just laying down some brush strokes. Maybe we can put some down here too. Make sure some of those hair stick out over here where the chest is. Yeah. Just getting a good overall view of it and, um, as you can see, it starts to build up the density of the hair. On the top here a little bit there. I think that looks cute. I think we've done enough already of the raw sienna. I'm going to move on now to burn sienna. I don't want to take too long doing this because we already had a lot of practice doing the first one. Using pretty reasonably concentrated um, paint to just um, doing the going around the islet here. We're just going to build that up and I'm just going to go over this pencil line a little bit more. I'm just going to do as you can see, part of the eye looks a little bit darker than of the eyelid, I mean, I'm also just going to go under the eyelid there and just build up a few Um, Yeah. There we go. Our capybara is getting some cute texture. I'm going to just let some of these strokes go down here. Follow the direction of the brush strokes that you see in the reference photograph. Zoom in if you have to, but I think you can see it pretty clearly. I'm also just going to go over the dark area that we did already. Maybe we can have just a couple of those strokes coming out like that. M So I'm just letting my hand. I think Burn Sienna is the color that I'm the most liberal with, with the capybara because you do see these guys have a very nice overall reddish brown tone, but then the raw sienna also adds as highlights. But I'm just yeah, going just going with the flow here, just feeling it, letting my hand. As long as I follow the brushstroke directions of the hairs, yeah, I can just kind of do this almost kind of semi kind of on autopilot mode because as long as I just know where the darker areas are, as you can see, it's just are cool, um, really cool effect and I think this color is the most seen Okay, so I'm concentrating around that tailbone area again, and definitely we have to bring this color onto the legs because I see it. The legs look kind of reddish brown. And There we go. I don't want to get too carried away. I'm just going to maybe stop in a little bit. But I really want to just add a few little hair like textures around that snout just to make it that's looking cute. I just want to add a little bit of paint around the ears because that areas a little bit darker. And just a few hair sticking out like that. It's very cute. Okay. I think that's quite a lot of that we've used already, and now we just want to use our darker browns just sparingly. I'm going to have to get more of this color which is Burn umber. I seem to go through burn umber very quickly. I don't know why. Let me just put some onto my palette and let's keep going. Shall we? It's looking very good. I just stood up to have a good look. The burn umber is going to go in those areas that is more around the nose that are darker. We're going to see it used a bit like a little bit on around the nose, just working its way slowly up the head. But we're not going to use this color. As you can see, it's starting to get more sparse as we go up the top of the head. So we just want to try and yeah follow follow the brush strokes. With these darker colors, they are more concentrated around areas like where I'm doing now the neck. Then we're going to use shorter strokes as we go past this area. I'm just a feeling it again. Obviously, I can see that this area lots a lot darker around here, so it's okay to put some of those strokes over here and let them come out in a natural way from the pencil line, pass the pencil line a bit. But as I said, I don't want to get too carried away with this step. This area is a little bit darker and then obviously, the underbelly as well. As I said, I run out of this color very quickly for some reason, so I'm just going to have to top it up again. Sorry about that. Let's just get a lot out. It's a great brown to use. Let's just do this where we see that fur at the bottom here. And maybe around this leg around the knee, and then we the bottom of the foot I'm just going to fade this. We even see things I don't know how detail you want to do this, but the knuckles, the division of the knuckles as well. I just want to darken this a little bit, but we might have to use the stronger brown later this leg to and a few more of those Daka heads over here. And There's a bit of fur here, actually. So, I hope that. I'm just going to dry brush on a little bit more for this toe, for this foot yeah actually see some lines here too. Okay, that's looking really cute. I want to use some of this dark brown. I know we're going to take a break in a little while because I know we've been painting for a long time, but I really want to use this brown to go around the ear to add a bit of a shadow. A little bit around that year. And I can't wait to start doing the eyes when we get back. I think we should take a little break though. I'm just going to kind of paint in the nostril a little bit. This is what we got so far. I'm just taking a step back. I'm just seeing if we need to maybe put a few sparse short strokes around this part. But I don't want to darken the face too much. Just want to make that clear. Even though I'm starting to see that there are a few dark strokes around that eye. Maybe I think if I put a bit of this brown just behind that eyelid, it might make it stand out more. Okay. So we've been painting for Well, we've been painting for less than 20 minutes. So how about we just continue and use our darkest brown and then we can stop. So far, our darkest brown, we want to use this color mainly, I think, for things like the nostril around the nostril area. So I'm just going to dab this on quite lightly. Because I don't want to darken the nose too much, and this is a color that I'm only going to use very sparingly because it's the darkest brown, but maybe just around here, maybe just slightly around the eye, already put it around the ear and I'm just going to just use this very sparingly now. Maybe just the smallest amount sparsely located around that chin, going down to the chest. It's going to paint this part in a little bit because it looks a bit. Now we're going to do this leg. If you feel like it looks a bit dark, just use a damp brush to just spread the color a little bit more evenly and to just fade it out a little bit with a damp brush. Oops, I'm using the wrong brown. Sorry. I'm going to use this brown, which is raw umber, just to add a bit of color and dimension to the feet, which is very important. You can add these little lines if you want, little like lines that kind of show little sections that kind of divide up the toe into little sections. Um, I don't want to make it too dark because this part looks a bit lighter of the foot, and I'm going to probably start kneading, um I'm probably going to have to put a little bit more Raw umber in here. I've run out. No worries. Sorry, fiddling with the lid a bit, trying to put this back on. All right. Just going to rinse my brush, take a little bit more of this, dilute it down a little bit, and we're now on this foot. I just want to make sure that we We're just adding a bit more dimension by just emphasizing the shadow at the bottom of the foot and maybe just putting a few strokes to just darken it. As you can see, I didn't even paint this one yet. If you feel like you put too much color down, just fade it out a bit with a dam brush. And now just a few just a few of these strokes, these dark strokes in the areas that you see a little bit darker. I just feel like maybe the top is a little bit too light now. It looks a little bit I want to just use a bit of that brown to just break up the raw sienna a little bit, but without taking away the lightness of it. I'm going to finish this soon. Don't want to put too much dark color down because we don't need it. Go, look at the reference photograph. As you can see, it's darker around here, around the bum, around the lower the belly, around the legs, around the chest. That's where it is and I might just put just a few little strokes around the face and maybe right under the eye. But it's looking so good already and I don't want to overdo this, so I think I'm going to have to stop. I think this is looking good. I'm just using very diluted raw umber now to just shade that mouth area just ever so slightly. While this is going before we take our little break, I just noticed I would like to put just a little bit of diluted um of diluted, Elozarn crimson to just kind of pinking up those areas that I just noticed, that's a little bit dark, so it's a very strong red, so it's very staining, so you can just kind of lift off if you feel you've put down too much, too strong a concentration. But I think that's acuteness to having a bit of pinkness to the toes, you know, I think it's pinkness to its extremities, the toes, the nose. It just seems like cute to put down a bit of pink in the ears. That's my preference. But other than that, I think it looks really good. How about when I said that, I just want to put a little bit around the eyelid. How about we let everything completely dry now. Look at our guy. He's looking so good while she is. And when we come back, we are going to add just the very final details using some pen, and we're probably going to add a shadow at the bottom. So good work if you've gotten this far. Like, go take a break, rinse your brushes, and I will be right back to finish up this cute little guy. 11. Capybara 2 Final touches: Hey, everybody, and we're back, and we're just at the very, very final stage of this painting to bring it to life. And the first thing I want to do is reward myself by using a black fine liner pen to bring that eye to life that's going to make such a difference. Yeah, you're just going to literally see A capybara come to life now with this magic pen. So all I'm going to do is, I'm just going to do what I did just now by just kind of just very carefully just shading coloring the eye in with black. If you want, you could leave a little you know, circle of uncolord area in the eye, but I prefer to add that on later on with a white gel pen. I think it just stands out a lot more, kind of gives it that twinkle in the eye, so to speak. I'm just going to make sure I got that lash line going because they do have beautiful. Just like that, you can see it's already coming to life, once you fill in that eye. I find that with all paintings, all animal paintings, once you do the eye, just really comes to life. What I want to do as well with the black pen now is just outline that very corner of the nostril, just to add that makes it look a little bit more like that is, you know, more three dimensional and that it's actually going in the light's not escaping from that part of the nose. I also want to use this black gel pen just very sparingly to just add a few definition, a few shadows, just like that. If you feel like you did it too much, you can just use your finger or quickly wipe it away before this is permanent. I'm using waterproof ink because like I said before, I like to pair that with watercolors just so nothing runs, the ink doesn't run. I'm also going to use a little bit of this black gel, not black fine liner, sorry, it's not the same as a white gel pen. The black fine liner, this is waterproof. The white gel pen isn't just going to do those nails, just adds like more depth to it when you use the pen and I can also outline it quite accurately. There we go. See it's already coming to life a lot. I'm just going to do the same with these nails here. I'm just going to add a bit of this little mark here to show there's a toe in hiding behind there. And just using it wherever I want to add some dark details. There we go. If your eye is dry already, you can then use a small white gel pen to just add that little as you can see that twinkle in the eye, I'm going to add two actually, one slightly bigger than the other, just to make it. No, look a little bit more. A little bit more a little bit more extra as my kids like to say, just making it look cute. I also want to use the white gel pen for this picture to add a few whiskers in. Sorry, I have this problem with white gel pen where whenever I'm filming, it doesn't seem to work, so I always have a spare one on hand. I'm just going to very lightly use the very, you know, I'm not going to press down too much because I don't want the white to be too thick. I also want to try and make them look a little bit more natural. I don't want to do this too much. I also use the white gel pen to add a little bit of little few broken lines here to indicate this area is more lit. It's more reflecting the light more, but at the same time, I'm using broken lines to kind of give the impression that this is, um, fur that this is hair on the snout. I also want to use the white jaw pen over here, I noticed that the ear has a bit of a reflection here, just like that, and just seeing where else I want to use it, maybe just on the tip of some of the nails just to add a bit of shine. I don't want it to look too manicured, but yeah, I think that just kind of makes it look if you ever feel like you put too much on, just use your finger to kind of, yeah, remove the intensity a little. Al gay is looking pretty good already. I just want to see what else I want to do. I do want to paint a shadow on underneath as well, like I did for the other capybara that we did. Standing up for a sack, just taking a look and, um, but she already looks quite complete. How about we just add the shadow in, like what we did just now, and then I can start just scrutinizing what else I need to do before we finish this painting, but it's pretty much done. Like before, I like to make my own shadow color. So I'm just going to mix the darkest brown that we're using with some French ultramarine and you can make shadows just by mixing blues and browns together. That's what I do. Because they produce a gray when you do that with blues and browns. The great thing is this shadow color looks more natural and it also complements the capybara because we're using a brown that we actually used on the capybara. What I'm going to do is this shadow is probably going to go underneath the head, so it's going to come out somewhere over here. Then I'm going to also put the shadow underneath the foot. A little bit dry. Let me just use a bit of water to get it going. Just watch out for that nail that we worked really hard on already, so we don't want to lose that. I'm just painting on a rough shadow, how I think it would look if we have the capybara standing with the light over it. I'm just going to turn my hand here because it's easier for me to do a straight line like this way where my hands not at an awkward angle. As I said before, you can even move your book around if you feel like the angle is not helping your hand. I think I should have enough to go we got this foot sticking out here. I'm just going to then we have the butt just sticking out a little bit. I think the shadow should come somewhere like that. Maybe I can bring the shadow up a little bit here, too. So that's the shadow that I got. I don't want to make it too dark, actually. I think it looks great. I might just emphasize the darkness around the feet. Yeah, but he's looking really good already. I think I might just take some of this gray that we made and just maybe use it to add a few of these lines around the feet that look like what we have on our fingers, where our knuckles are just to even though I think he already looks good, and maybe use a little bit of that gray to darken certain areas a little bit more. Yeah. I mainly think around the toes would be a good place to put them and to emphasize just some shadows a little bit more. Where else do I want to darken? Any other area? Maybe around around the nose a little, if it looks a little bit too pink. But I don't want to touch it too much because I actually do think our guy looks very cute and I don't want to overpaint it. This is an important step to remember when to stop because I think a lot of people sometimes have problems stopping like me. I'm just going to use some of this shadow around the eye just to make it pop a little bit more and also around the ear. Yeah, I might as well make use of this gray, maybe just darken some of these areas. See, I feel like maybe I'm doing too much already, maybe that's too dark. I'm going to remove some of that color. In the process, I ended up lightning that area. I'm just going to go over it with some brown. Yes, as I'm demonstrating right now, it's good to know when to stop. Right now, I really should stop. Yeah, I will. I'm just going to use that. I honestly think it looks really good already. But you see because I went a little like I was a bit too eager to apply the gray. I'm just going to fix it up with a little bit of burnt sienna. I think I'm going to stop. There is just one little use of the gray that I want that we made and it's just to add a little bit of shadow. I'm using broken lines for this just under the jaw because we do see some shadow there and I'm just going to bring this down a little bit to the chest. Because these are the areas that are the most heavily shadowed, just a little bit whatever's left there and I'm not going to make this mistake again. I think I put down too much gray there. Okay, maybe just a little bit, a little bit. Yes, a little bit. Okay, but I think I want to stop now. So as you can see, we got another cute pose of our capybara to go with our first one, and this one's a little bit different because it's standing up, it's walking around. And yeah, I think this looks really cute. And I hope you've had fun doing this pose as well. When you come back after having a well deserved break, I just want to do one more pose that's going to be different and it's also going to give us a good look at the face of the capybara. It's going to be a different angle and it's also going to be very cute. Even though this painting is finished, later on, I'm going to show you how you can make this this picture even cuter, even more magical, even a little bit more animated, you know, by giving you another option that you can add to this. If not, if you're happy with what you have here, that's great. Anyway, please, have a break, and I will see you back here really soon. 12. Capybara 3 Sketch : Hi, everyone, and welcome back to our capybara class where I'm going to take you through our final pose that I've chosen. I hope you've had fun doing the last two poses. So this one that I chose is a very adorable pose of our capybara lying down on its belly and chewing very playfully on a stick. Now, for this one, I chose this pose just because it's different from the last two of, you know, the capybara standing up and and the other one was just strolling by. This one will just show us a different angle of the capybara as well. Because of that, I've chosen this really, really cute pose as well, and you can find the reference photograph for this in the projects and resources section of the class as you can for the other two poses. Now, I want to start this one by doing that very bland snout that we're all familiar with now that the capybara has. I'm going to start with that. And I'm going to start working my way up already, and I want to bear in mind that because I'm working with a very small piece of paper, smaller than what I usually work with because I wanted to do a few different poses and I also wanted to make sure they fit. I want the whole body to be seen. I have to be quite mindful here about how big I draw and I also wanted to include that stick in here. I'm starting with that blond snout that you see, which is just that line that's slightly curved and now I'm going to work my way up to the head and it's curved and then it's going to plateau where the top of the head is. So we're going to start with this shape first. Now we can start to slowly refine it a little bit. This is where the mouth is going to open. I'm just doing a little curve there. Down here, we're going to have the lower jaw. And this is going to also we're going to get a shape that looks something like this, and that's going to be the head. Well, here's the mouthpiece and the nostrils are going to come somewhere here. What I want to do now is I want to just start refining this a little bit more. I also have to bear in mind that I want to draw I want everything to fit onto the page. What I'm going to do now is I'm going to start just trying to get the feel the body, so to speak. The had ends somewhere here. Now I'm going to start sketching that body I'm just getting a feel for it because I want to be able to fit the entire um The entire capybara in. Okay. So this looks very strange. It looks a bit like a dinosaur, but what I want to do is I'm just mapping out the shape the rough shape of the capybara right now just to make sure that everything fits on the page. So it looks a bit like a dinosaur, but we will fix that. I just want to check in the photograph, I checked that the head was almost three the body is three head lengths long. It's roughly about that. I just wanted to check that I could fit everything onto the page first. Now I can start refining this a little bit more and making it look more like a capybara. I like this curve at the front here, and I want to keep that. But I just want to, um I think that the bottom part is a little bit too curve, so I just want to fix that a little bit by making it less curved. Now I want to fix this nose. I'm going to map the nose first because I think it's so important. The nose area is going to go somewhere from here to here. That's important. I just want to put that nostril that we see. We see a nostril that's very prominent towards us near us. I might have drawn that a little bit bigger or maybe I could just extend this a little bit more. Then we only see part of the nostril over there. I just thought that was important to map out. Then we have this mouth that's open and going curved around the stick. Then we have this cute little mouth that's a little bit open. I just want to draw that here. Okay, so it's starting to get a little bit more capybara i. So what I want to do here is I'm just looking at the angle, and I think it should go all the way to the top here like that. We're now going to level this out a bit, the head, and now I'm going to just erase this lime that was here. And this is where our ear is going to fit. I'm just going to draw a very rough shape of an ear now. I can refine that later. I'm just in the process of mapping out my whole capybaras body first, and then we got that other little ear that we see just peeking out from behind the head. Now I'm also just going to just extend this line over here or actually up here and I'm going to do a curve line here up to the ear because this is going to be where the eye sits. The eye sits closer to the ear than it does to the nose. I'm just going to sketch that in now. Oh. Okay. There we go. We've got the head. You can start to see it coming alive and it's looking less like a dinosaur, so we know we're on the right track. We've got that shape going on. Now let's just fix. I'm not really happy with what's going on here, let's just fix that a little bit and also erase this line. I was trying to get I was in the process of getting the feel of it and you see that very obvious part of the fur sticking out over there. I think I've shaved it down a little bit, now I'm just going to as you can see, from the photograph, the top part of that back, it just really arches and it's definitely higher than the head than the height of the head when the capybaras recline. Now I'm just refining that shape a little bit more. So that is that to me, the capybara, I always think of that really arch back. And then we've got another little kind of hum kind of sticking out a little bit. I think that's where, you know, just some of the bones in the back. And then it comes down to over here. And let's just do it, check out proportion. So that's one headline, two headline, three headlines. So that's about three headlines. So that's good. I'm very happy with that. And now I want to focus on just finishing this finishing the sketch. Yeah. If you're finding this pose a little bit challenging, let me just tell you you're not alone. I had to practice this a couple of times to make sure that I could draw within the constraints of this paper. As I said before, I don't usually draw this small, but I just really wanted this in my sketchbook. Now that we have mapped the head out, I'm sure later on we'll make the first stick out a little bit more, that will also play a part in making it look more capybara. I will fix the ears later, make it more detailed. I just want to get that whole body completed first. Now we can see that the legs the back leg especially starts somewhere around here and it ends somewhere before the chin. I'm just going to put, This is where it's going to I think we got another little toe here, a toe here. Now I think this one goes a little bit more backward. We've got this toe here. That is our leg done. We got one leg done. I'm just wondering if that looks a little bit skinny. Maybe I should just try and fix that now. I just felt like maybe it's leg looks a bit skinny, but I'm just drawing it from what I see in the photograph. And then later on we can put some detail into it. Let me just do that toe properly. So there we've got these very strange looking feet. Then we have another foot that's going to come out somewhere. I'm just using lines some guidelines just to try and map this out. The other foot should come somewhere here, we can see that there's already just a small space over here between the feet, the two front feet. In fact, you don't even there's a very small gap here, so we don't even see much of a gap. Let's start drawing now. Whoops erasa just broke, so let me just get that. All right. So, these are just the little details that I noticed. I still feel like maybe these two toes are a little bit too long, so let me just shave them down a bit. Okay. And then we can add more detail to that later. All right. Let's just finish these two feet. We got a little toe here. We got another toe coming out here. I know it's such a strange animal, isn't it? And yet another toe here. Then we've got that very small tiny fourth toe is somewhere over here. It's their little pinky toe, isn't it? What a pinky toe is for us. And then the leg goes in there. Okay. All right. I can just erase the lines that we don't need now, this guideline that I drew. I also feel like maybe we should just take the fur back a little bit. I just did put that fur down there, but I think you can see a little bit more of the feet if I take the fur back. But we're not changing anything else. I'm just, you got this hair coming down here. And then we're just going to expose the foot in the front a little bit more. So the fur is going to fall somewhere back here. That's all we're doing. Yeah. That looks good. I know it's looking at a little bit too blockish right now, even though they are barrel shaped and I know we have a bit of that blanket blocking it. But if you notice it kind of somewhere over here is where we see a bit of a curve inwards, and then um then we see pretty much just broken lines over here. That's the shape of our capybara. We've done that already, and if you got this far, you should be very proud. Let's just finish this off now, by adding a little bit more details because I'm just going to stand up and check the proportions. Am I happy with the overall look of it? Yes, I am. Let me just move that ribbon. Yes, I think the proportions are right. Okay. So that will make for a semi realistic painting. And now I just want to add a few little lines that I see. This is where I believe the elbow is, and I also see a line here. I think this just kind of maps where the elbow and the shoulder are going up here. So let's just see what else we want to correct first before we we move on. What I want to do also is just maybe map things like this is where there's a dark area around the nostrils. I'm just refining that guideline a little bit more now. Now I'm just going to erase the lines that I don't need. So now that I've gotten the overall proportions, right, I can start doing things like this to refine it a little bit more. And we haven't got to that stick yet, have we? I also feel like this lip is a little bit too long. So how about we start drawing that stick that's going through the mouth? So what I wanted to do is I wanted to turn this into a cute little maybe a bamboo a little bamboo shoot. So maybe we can do that. So this is where we can get a little bit playful with the art and not copy it, like, exactly. So I just want to map where I think I'm going to end my bamboo stick over here. So it's going to be a little bit shorter than what you see in the photograph because I'm just working within the confines of the page. So let's work on that mouth now. So we're going to see a bit of this upper lip over here, and we see just a tad bit of the upper lip of the other lip. The upper lip on the other side that's away from us, we see a little bit of it is what I'm trying to say. I think it's hanging down a little bit on this stick. And we see this little tooth sticking out here, that's very cute. I definitely want to draw that tooth. The tooth is curved. Yeah, no, this looks a bit weird to draw, but there is a tooth that's curved. We could even get a little bit more playful and maybe since we have to draw the stick a little bit short there to fit onto the page, maybe I can just extend this a little bit more just so I can have a bit more fun working with the texture of the bamboo. Now I can start doing things like erasing this line that I had drawn for the mouth to make it look more realistic. Let's just focus on that upper lip, which is now going to kind of curve around The bamboo. And I'm just going to fix that mouth as well. I'm going to extend the mouth a little bit. And then you see a little bit of tongue, as well, a little bit of the tongue, which is just sticking out here. I mean, this depends on how much details you want to add, but I just want to add it. So I'm just going to add the little tongue shape. Yeah. Okay. Let's just fix the gum a little bit, the gum line. This one has a little bit more detail for the face. Even though we're still seeing a mainly side profile, we do see a little bit of the face tilted a little bit towards us. And now because I did all those changes, I just feel like maybe I need to just just lower the jaw just slightly. Yeah, because I've opened the mouth, but that's okay. Our proportions are all still right. I think our capybara looks better with that jaw as well and we can do things as well like adding a few of those heads coming out. Obviously, we don't have to do all this right now. This can be painted on later. Right now, what we want to do is focus on getting getting the proportions right and getting our sketch right. This whole thing is the nose. We can add details in later, but it's looking very good. I also just want to check up on that ear. I think I drew the ear shape really roughly, let's try and fix that ear. I feel that maybe the ear shape could be better. Let's just try and it's more like I said before in the previous videos that it has an almost strange looking fungus mushroom ear. I don't have to do too much detail with the ear, I just wanted to get that shape right. I think that's important. It has a strange looking ear like that. I also feel like maybe the just checking whether the eyes the position of the eye is right. I think that's okay. I think maybe I'm nitpicking too much, but I just want to make sure that I do the shape right. I'm just going to turn my arm a little bit when I sketch this. It's they have these very distinct eyelids. Just getting that shape right because that's important. They are very, you know, they're known for their dark eyes. I really want to get that right. And then you got this little lighter area under the eye. Just like the other two, we will use some black ink to achieve that blackness of the of the eye that I feel really gives it character. This eyelid is very important. It's quite distinct in the capybara. So yeah, I'm very happy with that now. Now, I'm just going to finish up the sketch now because I know we've been sketching for some time now and let's just finish it. The reason I drew that line is there is a bit of a shadow there where the chest is, and then it let's just bring it out here. This looked a bit chunky here, so we'll make it look more feathery later, but let's just check the toes that we're happy with the toes. I am. I just want to make this toenail a little bit bigger and a little bit rounder, the toenails. And I think there's a bit of a dip here, but then yeah, let's just fix that arm. See, all I did was refine the hand a little bit. This one doesn't have as much detail because it's in the shadow, but let's just make those rounded thicker toenails. It is such a strange animal. And then this is where the foot's going to go. I just want to refine this foot a little bit more. Even though it's in the shadow, I just want to make sure I do this right. And I think we see a little bit of the nail sticking out there and a bit of the knuckle and then it goes in like that. Even though that's in shadow and it will be quite dark, but I just wanted to make that look good. There's our guy looking really good. The only thing I can think of is there is a bit of a mark here. I think that's where the hip is. So let me sorry, I might just have to just turn my book a bit to get that, you know, to just draw a little easier with my arm. We do seem a little bit of a I just think this should stick out a little bit more. Yeah. Okay. I just want to stick out a little bit more just to get that shape, right? So the hips are going to be somewhere here. Okay. And then we got this, but everything else looks really good. I'm really happy with it. Obviously, we will do some lines over here later for the flow of the hair. I don't know, maybe I might just map it now to make it a little bit easier for myself when I paint, so I can see the direction very clearly of where it's going. So we can see that very clearly now. Okay. So Okay, how about we stop now? I'm just taking a final look at it. I really love the way this looks. I'm just going to erase any lines I don't like. Obviously, we'll do a little bit of a shadow later. I just find this a little bit chunky now that I've stood up and had a look. So let's just refine this a little bit more and then we're done. I'm just going to and then we see a little bit more of the hand there. This is going to look very cute and something you can do as well now if you want is, let's just make this look more like a bamboo. We're going to just introduce make it look a little bit hollow here. We're going to also introduce some segments. All you're doing is you're just doing a curve line and then going over that and just making them look like separate segments. And that looks really, really cute already. I think that looks beautiful. And there you go. We've got a really cool little pose of our capybara. And, yeah, I can't wait to paint this. But why don't we just take a little break, go get your paints ready, your same palette that you've been using just now. I hope you haven't thrown your paint away. So let's get started painting this, and I will see you back here in a really short time. 13. Capybara 3 Base coat: Hi, everyone. Welcome back, and I hope you're ready to paint your capybara. And you've gotten your by now very familiar palette of colors that you've used for the previous two. So I just want to say, like, yeah, by now, I think you guys are quite familiar with this technique of mine where we're going to wet the entire capybara and drop in a base wash of varied colors starting with our pink, our Elazarin crimson, for the pinkish parts, and then doing the fur with raw sienna, burn sienna, this brown, which is burn umber and then raw umber for the very darkest parts. And I also mix the gray for the shadows. And I also using a combination of raw umber and some ultra French ultramarine, sorry, or ultramarine if you don't have it to make a gray because I do think that we will have to go a little bit darker. We will have to use some gray to kind of darken some of those feet the feet that are in shadow because I don't know whether this brown will be dark enough. So just bear that in mind, but by now, you're familiar with it. So all I'm going to do again is wet our entire capybara, but maybe not the little bamboo that it's chewing because I do want to paint that a green later. So just the same, I'm just using my size 12 round brush to kind of wet the entire area and we do that just so we don't have harsh lines when we're laying down the base coat. I'm going to go all the way up to the nose here. Even over the eyes because in the end, I'm going to put black fine liner on the eyes, it's okay to go over this right now, the bottom mouth. Just bear in mind the parts that you wet earlier will might dry. So so by now, you know the process. I think I can work quite quickly. I'm just going to use the tip of my brush first because I love to add a little bit of pink around the mouth and the nose. Some of this will get diluted down as well as, when we start coating it with the browns I love to make the ears a little bit pink. Some of the eyelids around the eyes can be pink too. I think I might just drop some of this into just so it has a slightly pink tinge to the toes. Okay. So that's the first color that I use, but this will get very diluted down and we'll probably have to touch it up later. Now I'm going to drop in my raw sienna. I'm still using the same big brush because I don't have to be too precious right now with the base coat. It's nice for the colors to mix anyway. I'm just going to do the same thing, bring the raw sienna all the way around the It's the lightest brown, so it's okay for it to go everywhere. By now, I hope you're quite confident. We don't have to start really worrying about the direction of the fur right now because this is still a base coat. There we worked quite quickly and we dropped in a good amount of raw sienna already. Now, this is where I like to change brushes because I'm starting to use less, um, I'm starting to concentrate more on the darker areas. I'm going to use my small size four round brush and I'm already starting to drop in some of that burn sienna up here. As I did before, I'm going to use the tip of my small round brush and I'm starting to purposely go outside the border of the pencil just to start laying down those hairs strokes. At the same time, we're still letting everything mix together, see? It's blending quite beautifully. I might just take some of this color down here. Definitely below the chin here. Just following some of the hair strokes now and trying to avoid the The bamboo is the word I was looking for. I'm just going to do this following as you can see, following the strokes, the direction of the fur now and making sure I use the very tip to try and start bringing some of that fur out just so the border doesn't just look like a line. We can start doing that now just doing this in a very relaxed way. Yeah, we're just helping to create that overall fur hair silhouette. Honestly, after petting well, a couple of capybaras at this Capybara cafe in Tokyo, they actually feel very coarse, as I've mentioned, I think before, it feels a lot like a broom, really. I've used a bit of concentrated color here, but that's okay. It will slowly blend out. I really worry about is getting the stroke direction right. That's all I'm doing now. As we go down here, you can see the stroke direction changes. It's going down and then it goes out like that towards the Then here we go again. I'm letting some of that raw sienna come through. Okay, I don't want to cover too much of this and maybe some of that raw born Siana we can start putting it a little bit towards the nose as well, and under the chin just because I'm going to make some of those hairs kind stick out with the tip of the brush because it does have quite a shaggy look on its chin and on its chess hair. Okay. Now I'm already going to switch. As you can see, we're working quite quickly and confidently because we've done this before. It's the same technique. We're just doing a different pose. I'm going to start also dropping in a little bit more of this color burnt umber, sorry, around the nostril because I do want this area to get a little bit darker around the nose. Then using the reference photograph, once more, I'm just painting the area around the eyes a little bit darker, as you can see. Just around the eye, and then it gets a little bit lighter towards the top again. But just around the eye around the ear, it does get just a little bit darker. I'm going to go behind this ear as well. Let's just follow those strokes again, the direction. On the back, it's just going to go all along the back like that. And the color is more concentrated up here. You can definitely see that in the reference photograph. It's a little bit darker up here. But we're also going to bring some of that color down here. Definitely under the chin is where we see quite a bit more shadow. On the shoulder, we see that too. Just short stroke lines. Where else do we see? It's definitely darker down here. Around the bum and we can bring some of those stroke lines outside as well. Once more, I always seem to run out of this color and I have to steal some from my travel palette. I really do have to buy another tube of this color as I'm totally out of it, the burn umber. Sorry about that. Let's keep going now. The chest. We're going to put some hairs down there, maybe some here to just fill in the gap a bit. But definitely it's darker around the shoulder area here. Around where the arm is. And what we can do here is just do some lines going out. Okay. There we go. I think that's done. Let me just check. There's a little bit more darker areas around here. But I think that's pretty good. Let's just finish up right now with our darkest color, the raw umber. This is definitely going to go around the nose. I. Just using the tip of the brush and also I don't want to cover up those other strokes I did in the burn sienna color, but I am definitely going to darken this area around the eye. We can clearly see that. We can even paint the little ear silhouette over there. I'm even going to go around this ear. I think I can see that there is some brown there, some dark brown color around the ear. They have the cutest ears when I look at it. Very expressive ears, like my dogs, actually. Sorry, the reflection is making it a little bit hard for me to see this, but I'm going to use some more concentrated paint of the raw umber to try and just darken this area around the eye, but bear in mind, I don't want to make that too dark. That's definitely a darker around the eye, but leave the bottom area around the eye untouched. Then maybe just put a few more strokes like that here just to marry the colors so they're not too separated. We definitely see a lot more of these darker strokes below here. So this is looking great already. I think all that experience we've gathered already. What I'm looking at is where does it look darker on the reference photograph? I'm just trying to do that overall, you know? Definitely around the bum is where we see it's darker too, and you can even make some of that. As you notice, our water is starting to dry. So if you want your strokes to still be blended into the background, we do have to work a bit quickly because the strokes are already, as you notice, starting to become more prominent. They're not just blending into the background anymore. But this is all good. It's not really a real race or anything. I'm just pointing that out to you. But as we did for the last two, we will re emphasize some of those hair strokes using the dry brush technique later. I'm just going to do that because I want to I think that's looking really good already. And what I want to do now is remember this is still the base layer. I can see some of this dark brown around the mouth here around that lip. Let's just do that lip. Even underneath the gum line even on the very inside of the tongue in the mouth there, we're just going to put that down. I think I'll paint the tooth lay up. But right now, I just want to try and also paint the legs. This one's in a lot of shadow, but I'm going to just leave the knuckles unpainted. I'm just going to leave, just that top part. There we go. We've already painted that bottom layer. If you want, you can add a bit more shadow by applying more paint over the areas that we've painted. That little toe has disappeared, but don't worry, we'll definitely highlight that later. Right now, I think I'm done. I'm ready to put my brush down. This was quite fast what we did with the base layer because I think by now we all got a little bit more experience doing it. Why don't thing we can do first. Let's just try and go over just the bottom area here with some broken lines, some short broken lines because this is where the most shadow falls, right? So I just want to do that. But I can always layer on some more colors later, okay, when it's dried as well. As you can see, it's starting to brush strokes, I don't want to lose too much of the color variation now by going over it with the dark. So I'm going to stop now and just let everything dry. I think it looks wonderful. Let's just let everything dry. And when we come back, we can start dry brushing on some more hair or fur strokes. Why don't you go have a little break now, maybe go change your water jar, and I will see you back here really quickly for us to start doing the hair in detail. 14. Capybara 3 Adding details: Hello, and we're back. And we are so close to finishing. And as you can see, this has completely dried and you can see the strokes that I've done have kind of faded into the background and created a wonderful base layer to work with. And now, what we're going to do is the same as what we did before. We're going to start building up those layers of fur. Before I do that, I just want to start with the pink as usual. So a little bit more of my Alizarin crimson just to get the that pinkness of the nose, I don't want to lose that. I just want to maybe that looks a bit pink, but it will fade a little bit. I might just put a little bit of that into the feet because it's nice to see a little bit of pink and just around the eyes and maybe a little bit on the ears again. I also just want to bring that down here to the lip and the tongue. Okay, so now, same thing as what we did earlier, but I am going to use my size four round brush because now we're starting to do details more. I'm just going to move this a little bit just so my hand is not resting directly on the palette, and so I don't make a mess with my hand. Same thing. I'm starting with the light raw sienna color. I'm going to focus that on the lighter areas in the reference photograph and near the top of the head, it's a little bit lighter there. I'm also going to do some hairs here. If you feel confident with the process, you don't have to watch me do all this again, you know what to do. You start with your lighter colors and then you just, you know, follow the brush strokes, follow the direction of the hair. I'm just filling up the lighter gaps, I would say, because this is a light color, so it's not going to really stand out on top of a darker brown. But it provides some nice golden highlights on the lighter parts that we can still see shining through. Okay, I won't spend too much time doing this because I feel like, maybe just a little bit around the ear here. Oh, yes, the lighter area around the eye, we can definitely use some, um, And maybe down here where the lip is as well, I can just put a little bit of that color there. Oh, N, that little tooth that we can see is actually kind of yellow, but it's kind of off white. I will paint it a bit yellow here. I mean, raw sienna. But I might go over that later with a white gel pen just to make it stand out a little bit more. There we go. We've already done the raw sienna bit, and now we're going to do the the reddish tones with our burnt sienna. Obviously, this layers on top better. Once more, focusing on the areas around near the face. We also see it near the top a little, but let some of that raw sienna shine through. As you can see, I've made the effort to make it go create that hairy silhouette. Now we're going to start putting it putting it down here, maybe a little bit underneath. And on the neck. So just using the reference photograph, okay? Okay, so I'm not going to paint it all over in the parts that I felt a bit darker and just following the direction once more of the and trying to get some of those heads to stick out a little bit. Maybe a little bit here because I don't see much hairs here. Judge, if you feel like you can't really see the strokes, maybe that's because your paint is too watery and it's just blending in. Then maybe just use less water to make these strokes. If you can't actually put a stroke down because the brush the paint is just too dry, obviously, then you're going to need a little bit more water. I think I've used enough here of the of the burn sienna because it does give a very reddish tone. Now we're going to take some of the burn umber once more. Yeah, you know the process. As I said, if you feel confident doing this, this technique, you can just feel free to fast forward this. Yeah. But let me just start with all the darker areas now. I'm going to start down here where there's some shadow around the chest is what I think I would call it, the chest area. Then we see it also coming in this direction over here, darker. This will tone down some of that red that we see. But personally, I like the reddish brown look we see some over here at the bottom. That's looking good. I've run out of that color again, so I'm going to get some more. Yeah. By the end of this class, we're going to have a cute little capybara collection. Just applying it a little bit outwards, beyond the pencil marks just to create that little furry silhouette as I said earlier. So I feel like my strokes looked a bit too stiff there, so let me just break that up a little bit. Maybe using shorter strokes. Definitely around the neck, it looks darker here. And I'm just going to get more of that pain. I really do need to buy another tube of it. Stealing a lot of it from my travel palette, as you can see. Yeah. Yeah, I must have used a lot of it in the travel palette. That's why the tubes dried and empty. So I'm going to just start now just sparingly using a bit of this color because we don't want such a very obvious light patch. But I want to leave as you can see, that part is a little bit lighter, so let's leave that. And a little bit more detail in the ear that I'm doing here with just coloring in some stuff. The area around the eye as well is darker and it helps the eye to stand out. So I've never done a class like this where I've done a few different poses. This is new for me too, I hope you guys like that because I just thought I didn't want to just do one big one of the capybara. I just felt like it's such an animated character, like a creature that I just felt like if we could capture a few different poses, I just thought maybe you guys would like that. Yeah. I also want to just leave this area around the mouth is a bit darker and I also want to just put a few rogue hairs here. H, and maybe a few there. I don't want to make the face too dark. I already feel like it's getting a little bit dark there. So how about I just clean my brush out? Just removing the pain and wiping. I'm just going to lift a little bit of that color off because I don't want to I don't want this area to get too dark. So just be a little bit conscious of stuff like this when you're painting because it's easy to now, just, you know, kind of get into it and, you know, not really stand up and have a look. I think that's good. I don't want to but put down too much color here. At the same time, I don't want to remove too much. I feel like maybe I did. I might just leave that for a little while and move to another section. But I think maybe with this brown, we can just use a little bit of it here on the legs too to darken it, but we will need that darkest brown at the end. Just darkening the feet a little bit, leaving the top of the knuckles lighter just to give that three D look. And we're going to have to fix that little toe later. Then I might just dot on a little bit of texture like what I see in the picture. Okay. Finally, now, before we take a little break, I'm going to finally use the dark color which is raw umber for us. This is our darkest color that we're going to use and obviously we're going to use it on places like over here. See, my paints a little bit too dry. That's why I need to start adding a bit of water. Using the hair like broken hair like strokes, I'm just going to go around here near the bottom. We also see it a little bit here, but use short strokes, don't use too long strokes because then they can look a bit unnatural. I'm going to do show the dark areas first, definitely around that the neck, we see how it's a little bit darker in that area. And we'll also see it over here a little bit here. Use broken short broken strokes for that. There we go. And I'm also using this dark paint over here near the nose, and I might just use, like I might just dot a little bit of paint on here just to darken the overall effect. And, um, just around that lip and inside the mouth, it's going to be a bit darker, so I might as well use these colors. Just taking a little step back, now I remove some of that pain here and I'm just going to put down just a couple of strokes because of this color because I don't want to darken the overall effect again. I just have to tilt my book up a bit because the reflection of the paint is making it a little bit hard to see. I'm just going to now go around the eye a little bit in very, very tiny strokes. That looks good, and let's just fix that year up a bit. Let's just do a couple of defined strokes. But then the whole area is still lighter than it used to be. Just a couple down here because the shadow where the chest is. Okay. And just a couple of strokes that kind of change the direction of going straight like that and just kind of coming down as you can see in the so they're just kind of turning the strokes, if that makes sense. Kind of gradually, like, you know, Okay, so I don't want to darken the overall look too much. I think I'm going to stop now. When I say that, I just want to put a little bit more shorter strokes around the eye at the top of the head here because I think it will really make the eye stand out. And just a couple of these transitional strokes that go from this direction to this direction. A couple of them like that. I just feel like maybe this just needs to go out a little bit like that too. Okay. That looks good to me. And I also just want to use the darkest brown that we have to just kind of add more of this, turn it more into the shadow, especially this arm that we see here just a little bit over here. This one's more exposed. I'm really going to have to fix that last toenail. I'm going a little bit outside the line, so I just have to stick to it and adding a little bit more texture here by dotting on some paint in this corner to just depict the texture on the hand that we can see. While I'm at it, I might as well paint the toenails a little bit. I feel like I'm giving them a manicure every time I do this, but we are going to go over it with the black fine liner. Maybe just try and leave a little bit of a lighter spot. That looks really good. I might just use the last thing I want to do is maybe just just supply a little bit more of a shadow there. Underneath it, even though we will do the shadow step. And I'm just going to, like, kind of add a little bit more darkness at the very bottom because, you know, that's where the shadow kind of lies and the hairs all kind of clumped there. So I think that's enough for now. So why don't we just take a little break now, let everything dry. And when we come back, we get to do the really fun stuff that I love, which is using the black fine liner and a white gel pen and adding a bit more detail, as well as painting this cute little bamboo. So we've done all the hard work, and now it's just fun. So I will see you back here in a short time. 15. Capybara 3 Final details: Hey, everybody, and we're back, and I hope you are ready to finish our cute little Capybara. And I just want to move this aside for a sec because I'm actually dying. I've gotten to this point that I really want to get the I done because I just love the way when we do the I, it really starts bringing the capybara to life. And what I want to do is I want to start with the I. So what I'm going to do is what I always do with the marker just coloring in that entire area of the eye, look at that. I just love the way he starts to Well, she starts to come to life. I just want to make sure I get that shape of the eye right. I'm just going to go over it, There we go. That looks really good. I just want to make sure the bottom should also be a little bit rounder, there we go. While I'm doing that, I also want to do the nostril. The nostril is just going to be a weird shape like that, and it's not going to be the entire dark area. The part of the area is a little bit light around the nostril. We don't really see the other nostril as clearly because the head's slightly tilted. Now I want to give our little guy I keep saying guy, but this is a female capybara. I'm just going to give her a little bit of a manicure by filling in the nails, which is fun to do. Those nails are quite rounded. Then we got a nail here. This little nail here is just barely visible, but this is the fourth little toe that I was talking about, what I call the pinky toe. That looks a little bit better now. I also just want to use a little bit of the black just very sparingly inside the ear there. That's looking really good. Yeah, that's why I want to use the black for now. I I'm just going to grab my brush, and now I'm going to start using the paint again. I hope you can see that. Yeah, you can. I just want to do that eye a little bit better, and I'm just going to use some of the burn sienna to just do the very corner of the eye here. How it's supposed to be a little bit darker. May burn Sienna is a little bit too red. I think I might use the burn umber, just to do a little bit of shadow here, a little bit over here. But leaving that eye area quite light, maybe just very lightly dotting it. Yeah, that looks good. What I'm also going to do is I also want to now just use a little bit of diluted raw umber to just kind, I just felt this area looked a little bit too bright. Darken that mouth area, the nose area. Around the nostrils. That looks good. Now I just want to use my white gel pen to add that little twinkle in the eye that just really brings our capybara to life. I also want to use it for a little bit of whisker effect. It only has a few whiskers that we can see. I don't want to get too carried away. I think that will be enough already, and maybe we might see a little bit of fuzz coming around on the other side. Now I want to make that tooth just stick out a little bit stand out a little bit with the um Oops. I feel like I'm just going to use the black pen very sparingly to just do the bottom shadow of the tooth. Yeah. And it's just going to line and just use it to line the inside of the mouth, leaving that nice lip that we've left there. And I'm just going to use it underneath the bamboo stick because there's a bit of shadow there. So we've made the mouth a little bit more three dimensional. So that's looking good. Now we're just putting the finishing touches in. It looks very pretty complete already. I'm just looking to see where else I can maybe just make this ear a little bit bigger because I think maybe it got a little covered with some pin. I'm just going to make that ear slightly rounder and more visible. But everything is looking so good that I don't want to overdo it. Maybe also the feet could use a little bit of white gel pen very sparingly to just do a reflection of the a little bit of a highlight, so to speak, on the nail and on the knuckles. These are just the very final steps. Also, I notice around the nail, you might just add a little bit of white around it where the nail meets the actual flesh. What I do is if I feel it's too bright, I use my finger as a little bit of an eraser, so to speak. Over here, this nail is a little bit hard to see. I'm just going to highlight this finger over here. The nail has a little bit of a mark there. I'm just going to go over this again with the black because I feel like this nail is very hard to see. I might just go under it with a little bit of black just so we can see that foot. This can be the shadow underneath later. Just be careful with your pen, but I just felt like I really needed to do that. I'm just going to use a clean damp brush to just soften that white a little bit, the white gel pen. Yeah, then just add a little bit a white dot on this nail just so we can see it a little clearer and maybe just kind do that where it's like kind smudged a bit, but that's okay. I just wanted to add that line just going over it with black the final time, just to make that nail stand out and that other little foot. The other little toe, I mean, I'm just going to use some black now to go in between the toes just so they stand out a little bit more and they also act as a shadow underneath. A I think I let me just erase some of this line while it's still wet because I think it might have looked a little bit. I might have drawn it a little bit too far in, but now I'm starting to worry about tiny little details when we already I think it looks good. There, right. And let's just stop doing anything else weird to it. Maybe we could just use a little bit of white gel pen to just make this part look a little bit brighter around the eyelid, and I'm just using a damp brush to just kind of blend that a little bit more. Just to make the eye kind of stand out a bit, but I think it looks good and I'm probably just nitpicking a little bit too much. Okay. Also, I just want to use a little bit of this white gel pen around the nostril. The very bottom of the nostril and I'm just going to blend it out at a damp brush is what I meant to say. See? It looks like you can see the reflection of the light. I also feel maybe let's just put a little bit of white here and just blend it out a bit because we want to create this cool highlight of the upper lip. The white gel pen is actually quite blendable. That makes it a cool tool to use. I'm also just going to just make that lip at the bottom, just a little bit lighter as it's binding down. I just want to fix that tooth as well. This is a time to do all these tiny little changes that you feel going to make your painting really just stand out. I just feel like when I put raw sienna, the tooth just kind of disappears. I'm just going to leave it white, I think, after experimenting a lot so that we can see. I'm just going to dot the eye one more time to just make it brighter because the white gel pen kind of got a little bit absorbed in there. Okay, I think this looks good. The only little thing I can think of is just without darkening this too much, I just want to put a couple of hair strokes here. This is where we put, we make our tiny little changes and add the details as you can see. I feel like this is looking really, really good now. I don't want to mess too much with it. You always have to know when to stop. And I'm just going to lift a little bit of this color here off here just to make that last toe visible, with a clean damn brush. Now, the last things that I want to do for this is, I want to paint that beautiful bamboo. I'm just going to move my palette out of the way and I'm just taking a clean palette here. What I want to do is I'm just going to use some sap green also from travel my travel container. So sub green would be a great bamboo color. As you can see, it's this nice light green. But what I want to do is I want to make this look a little bit more natural. It's a little bit too bright now. So what I'm going to use is, I'm going to take a little bit from my palette that we've been using all this time of the raw umber, which is our darkest brown. So we're going to just mix this with the green to just tone it down slightly, as you can see. Okay, so we get this pretty cool green color that looks a little bit more natural. So what I'm going to do now is I want it to I'm only going to paint the very bottom part of it because I'm going to leave the very top edge unpainted, and I'm doing each segment individually, as you can see, because I want it to have a little bit of a three dimensional look. Also, I'm just going to not connect it with the next one. As you can see, I left a little gap between the two greens. And this part's kind of going into the mouth a little. But as you can see, this part's going to be nice and light. And over here. This part's going to go inside the mouth here. Isn't that cute? What you can do also is we can just dab on a little bit more pain at the bottom and let it spread up. So this is how I just improv this. I just thought the green would look would stand out more than just a brown stick. And while that's drying, we can also still add a little bit more shadow to it. So we can make our shadow color like we did last time. This is just the shadow color that we made last time. So all we did is we took some raw umber and let me just move this aside now. We took some raw umber and we're going to just add a little bit of French ultramarine to it to make a nice shadow color. So French ultramarine also from my travel kit. You could use just a Paine's grave you want, but personally, I like making a shadow color because I'm using some of the colors that were that were used inside we used for the capybara. That way, it creates a bit of color harmony, if you think about it. This is our shadow color that we're also going to use for the shadow for the capybara. What I'm going to do is I'm going to just apply this at the very bottom while it's still wet and letting it spread to the top. That gives a very three dimensional look to to our bamboo, if you're interested in just making it look a little bit more realistic. It looks really cute. I'm just going to sorry one of my hairs of my brush have come loose, I just noticed that. I also just want to paint the hollow part in here, just dark to just show it's hollow. So that's the idea I had for this little guy and he's looking so cute, and I think the green actually really stands out against that brown. And now very finally, what I'm going to do is I'm going to start doing that shadow. So with the shadow color, and it's going to stay quite close to the body, it's almost just underneath the body. So I'm just going to use some broken lines. Like I'm well aware that the photograph shows our capybara lying down quite comfortably on a mattress and whip material. So I'm just kind of improvising with little broken lines where I feel the shadow would lie. And just following very closely, between the fingers, fingers, toes, whatever you want to call it. We don't have to do a lot of shadow. In fact, this hands even in more shadow. If you want, we can go over this part with the gray if you want to be accurate like that, and leaving that very top part unpainted. What we can do with the gray as well is besides it being in the mouth, again, I just want to maybe just put it right underneath the opening of the mouth where the lip is. Actually, I notice now that this part of the lip shouldn't be so bright because it's in the corner of the mouth. I can also use the gray to go right underneath the upper lip that's grasping this bamboo as a snack. As you can see, he's just coming to life really beautifully. We can also use the gray to kind of put some of these little dots, right, that kind of look a little bit kind of like the pores on the skin, so to speak, that the whiskers kind of grow out of. So just very sparingly because this is a dark color and I don't want to darken the overall look of the capybara. So as you can see, that's looking so good already. And maybe a few gray strokes where we've got a little bit of shadow going on underneath the face, and I'm just going to use very sparingly a few little strokes around the eyes because I just feel like it just kind of makes the eyes kind of stand out a little bit, just very tiny strokes, broken strokes as well around the eyes. And around the ears. But let's not darken the overall look. That's not our intention here. Everything's looking really good. You can see our bamboo is drying quite nicely. I'm also just going to use the gray to maybe just go between the hairs over here to just look like the hairs are casting a bit of a shadow. But I don't want to mess too much with this area. I don't want to make it too dark. We've already drawn that shadow area around the body. U and maybe just a few little dark strokes at the top. But like I said, I have to control myself at this point to not make the overall look too dark. If you want, maybe where it is a little bit darker on the body, we can maybe just put a few of those dark strokes. But I'm going to start raining it in a little bit. Don't want the whole Yeah. Okay. I'm going to put this down now because I think it looks really good. I just want to add just one last thing. I just want to some of that green has faded all the way up, so I just want to re emphasize the shadow at the bottom of the bamboo. And maybe what we can also do is just, use the shadow color to just kind of, um, just do this little section here. Yeah, but I think it's done. I think I'm kind of not wanting this to end, but right, I'm just going to remove a bit of that white color. Or we could just use a bit of the g pen over here. All right? Yeah. So that looks really, really cute. Just look at that. Our capybara looks like so full of personality and just a very curious little person just chewing on their little stick, exploring the world. I think this looks so good. This was our third capybara. I think that it chewing on the little bamboo already gives it like, um you know, something cool to look at visually. So I don't feel like I need to add any more stuff. Of course, you can do a background if you'd like, or what I want to show you later in this class, at the very end is some ideas that I have if you want to create a different type of look for your Capybara we will use this same pose as a model, but I will show you how to achieve an edgier look, a sketchier look, using a black marker all over your Capybara. I just want to say first right now, thank you so much for doing all three poses with me of the Capybara. I hope you had a lot of fun and it's a lot. You really love what you're seeing right now. I think it looks so cute. And while I say that, I just noticed something. I just noticed that I'm just going to use a little bit of brown here. I just noticed that we lost our hump a little bit, the little part that stuck out a bit. I just want to do that. Maybe I should do that with So I painted a lot of stuff. I'm going to use the raw sienna to just kind of make it stand out a little bit. Yeah, so we kind of, like, lost that little hump formation because I kind of started, like, bringing the hairs out a bit. So this is just a small thing, but I just wanted to keep that same kind of shape. I think it kind of comes out a bit more actually over here. And then it goes down and then it comes out again to do that big back and then back again. So, yeah. Sorry. So what I was saying is when I interrupted myself is I'd like to say, thank you very much for doing all three poses and please stay tuned for a very short section that will be sped up that just shows you how you can create different edgier looking effect to your Capybara. But please, I can't wait to see all your Capybara paintings and how you might have added your own personal touch. So please feel free to upload it in the projects and resources section of this class. Other than that, please stay tuned for that very final section about how you can create an edgier look, and thank you so much again for watching and participating in this class. 16. Capybara Adding pen strokes: Hey, everyone. By now, you have probably finished all three of your capybara paintings that I've taken you through. And I just wanted to talk very briefly about another sort of effect that you could add to your capybara painting. For this example, I've chosen to use the very last capybara drawing that we did of the capybara reclining and chewing on a piece of bamboo. So I basically repeated all the steps that we had previously done for this capybara painting. But at the very end, I decided to use a black fine liner to just outline the entire capybara as well as to add a few bold strokes to emphasize the texture of the fur of the capybara. So in this technique, it creates a bolder, edgier look that also looks more animated. 17. Final Thoughts: Once more, as always, I would like to extend a heartfelt thank you for watching this class or any of my other classes or for following me on Skillshare. Your support really means the world to me. I hope you've had a lot of fun creating your little capybara paintings. So please please please upload them in the projects and resources section of this class so that myself and others can admire your beautiful work. I'd also like to encourage you to experiment around with your paintings. Like, for instance, you could paint a background, or you can do what I did at the very end of the class where I demonstrated how you could use a black fine liner to outline your capybara and add a few bold strokes to give it a more edgy or cartoony look if that's what you're after. Once more, I just want to say, thank you so much for watching this class and all the best in your watercolor journey.