Learn Digital Watercolor In Procreate FREE Brushes included

1. Introduction: Hello, everyone, and welcome. Today, I'm going to teach you how to paint this cardinal, a digital watercolor painting in Procreate, using an Apple iPad and pencil with free brushes that I provide for you. If you've not painted digital watercolor painting on an iPad, using an Apple pencil, I have made an introductory class that I suggest you watch. It is my digital watercolor mushroom class, which was made to teach you the techniques that we'll be using today. That being said, if you have experience painting at all on an iPad, you should be fined to dive right in. As with all my classes, you do not need to know how to draw. I provided a sketch for you and an outline as well as reference photos. Everything you need is provided for you in the Projects and Resources section. We start off by importing our artwork into procreate. We then slowly build up the details by starting with a base layer of a base color that we add details to. We then move on to the finer things such as the beak and the eye and other details like that. This is a super easy class to follow along with. I think it's suitable for all levels. However, you might want to start again with the simple mushroom first just to get a feel for the techniques that we're going to be using. I hope you enjoy the class. Let me know what you think, and please be sure to post your finished artwork in the projects and resources section so that I can give you feedback. 2. Setting Up The Painting: Welcome back, everyone. So today, we are going to paint the cardinal that I promised in the last digital watercolor painting class that we would paint. And here we are. You'll have to forgive the delay. I've redone this several times for reasons that are just comical, really. Anyhow, let's move forward, and let's take a look at what we're going to do today. So, for those of you that have done the digital mushroom class, this is going to be a bit of a recap. I don't want other people to sort of feel lost and whatnot that haven't done that. So just a little recap on setting up the Canvas here. We have on our Canvas, we have our watercolor paper background. All these files are included for you in the projects and resources section in the download section. And you can put these into your photos on your iPad. And so your photos, like, which is da da da da, looks like this right here, button. And then you can import them, okay? So we've got our watercolor paper on here, so do that. We go over here, and we go to add, and we can either insert a photo, or if you were clever and put it into your files, you can insert a file. If you insert a photo, it will default to the photos section on your iPad. So then, anyways, we're going to put in our watercolor paper. We'll put that at the very top, and we want to make sure that I'm going to unlock mine so that I can show you here. We want to make sure that it is scaled. Come on. Okay, sorry about that. We want to make sure that the watercolor paper is scaled to cover the whole canvas. We want it overlapping. We don't want it to be floating somewhere. We want the watercolor paper to cover the whole canvas. Now, you do not have to have this on here. So I'm going to show you what this painting looks like with and without it. So let's zoom in here a little bit. What it does is it gives the texture of the watercolor paper painting behind it. Okay. So this is the painting. It still looks. You can still see all the watercolor marks and everything else. And this is it with the texture on the background. So that is totally your choice. You don't have to have that. The second file that you're going to add in the same way, is the sketch drawing here. I'll turn off the cardinal, and that is the drawing on there. If you wish to draw your own cardinal, feel free. You do not have to use this. It's there for convenience for you. And again, just like the watercolor paper layer, we're going to lock these only so that we do not paint over top of them. Lastly, here, I have the original painting on here, which you do not need to put into your files here, but I do recommend you put it over here into your reference picture. Will also include the high resolution image of the actual cardinal that I originally painted from, and you're more than welcome to use that for selecting your colors or as a reference to draw from. You don't have to have this reference window here. You can either just make your colors as you go, which I quite often do because I find this little window gets in the way, and I'm pretty good at selecting colors and figuring out what colors, what and adjusting them. If you're there and you're that advanced, then that's fine. But however, if you want to make sure that you're getting the right colors and everything else. The best way is to put in the actual painting or the reference picture that you're painting from. You can put it in this little window here. And if you notice over here, look up here into this little circle, you'll see the red color, but now if I come over here and hold my finger down on the black, that will change that to the black. So whatever color, I move this around to that little high light window, we select that color. Okay. And that is it for setting up our canvas. My canvas here is 14 " wide by 11 " high at 300 pixels per inch, and I am painting on an iPad pro. The 12.9 or whatever size in here. So I have the ability to put in several layers because it's a much larger iPad. The larger you make your file, the least number of layers you will be allowed to make, only because the iPad can only handle so much in procreate. It's scale proportionately to whatever iPad you're using. Okay. So that's it for setting up the canvas. We'll come back and dive right into the painting. 3. Creating the Base Layer: Alright, so we're ready to start painting now. The first thing we need to do is establish our base layer. I'm going to show you a couple of brushes really quick. That you can choose either one. I'm going to give you one to recommend. Let me give you one if you want to experiment and get creative with, okay? So I'm going to turn off this layer here because, well, we don't need it anymore. I'm gonna lock it just so I don't paint over top of it. And I've made a new layer here, Layer five. Feel free to name it whatever you like. If you want to experiment with brushes, perhaps you would name it after the brush. For example, the brush that I'm going to paint the base layer with is Paul primary two. However, you might want to try this one here if you want to get really crazy and creative. First thing you need to do is come over here, pick your red color. It's going to show up as a little bit diluted. So I always like to pump up the saturation. Saturation is this way, desaturation is that way. You can see the color gets lighter, and this is how dark it is or the value. Okay? So we're going to put the value sort of up here and the saturation pretty close right over to the right. Don't go all the way over because it gets blown out. That's just an unrealistic color at that point. Alright, so Paul primary one. What does that brush do? Well, it's a cool brush because one, it has a lot of texture in it. It's actually got watercolor grain in it from watercolor pigments that I made. And a couple of things that are neat about it. It blends better. Like it's easy to blend. So imagine now it's like you know, the brushs got a lot of water on it, and the underlayer hasn't dried yet, kind of. Now, the lighter I press, the smaller the brush gets, the harder I press, the larger the brush gets. But it does have a lighter texture. So you're going to have a hard time getting these deep rich colors in here. It's not impossible. You can double the layer, duplicate the layer, or you can adjust it over here in the color balance or curves, for example, I can now take that layer, and I can make it lighter or darker, like that. Okay. But to keep things simple for now, I just showed you that in case you want to play around. But even to keep things simple for now, and we're going to use the Paul primary two brush. So this one does not allow you to it doesn't change the size of the brush as it goes. But it's simple. It's got a softer edge to it. It's not overly crazy. It's got some texture in it, but not too much, but it does give us a darker value. One thing to keep in mind with this brush is the harder you press with this, this brush is designed to have as though you're adding more water. So I'm pressing down, and the more I go over it, you can see this is actually getting lighter in the middle. I'm actually putting water in and pushing those pigments out just like I would with traditional watercolor painting. Pretty cool brush. Okay, so let's get started. First thing, get your brush to a comfortable size. Okay. If you put your brush as big as it can go, it's going to be a awkward. If you don't need to worry about getting the little feathery bits in right now. Like, just get it so that it's a size that, you know, it's a nice, happy medium, and you can go around without lifting up the brush. If you lift up the brush and you go over top of it, you're going to get some marks. You can remove those. We can blend those later. But for now, just do your best, so just put it all in one layer. Don't stress about it, just do your best. I'm going to speed this up now and fill it in so you don't have to listen to me talk while I do it. All right. So we've got our base layer on a couple of things. You'll notice. I did leave some white gap areas in there. You'll see those also in the original painting. Those are natural to have in traditional watercolor paintings, so I intentionally leave them in when I'm doing this. Everything you can do to keep the characteristics of watercolor painting, and make it look more like a low watercolor painting. The other thing that you'll notice that I have here is I have some lighter areas that I have in my painting here. And so I went over those several times. Remember I showed you at this brush. You can paint it on. And then the more you go over it, The lighter it gets, the more water you're adding into the brush, okay? And I did that because in my Whoops. I took away my whole painting. I did that because I've got some lighter areas in there. Why not? Skip a step. If you if you want to just make yours all one color, we can add in some light areas later, not a big deal. You'll notice there, what I just did is I hit the two finger tap. I those of you haven't done my class before or are not familiar with painting in Procreate, two fingers undoes your last move, three fingers redoes your last move. Okay? Two fingers undo, three fingers redo. Okay? So I just tapped. All right. We're going to come back and we will add some texture. 4. Adding the First Textures: Adding texture. Alright, adding texture. So what do I mean by adding texture? I mean, some of these details in here. Right now we've got a blob, a red blob that is somewhat in the shape of a cardinal. We've got some lighter areas, some darker areas. We've got some little white bits that were left where the paint didn't touch the paper. But we have lots of things going on here in our cardinal painting. We'll try to make this larger here. To give it that watercolor look like what is going on here? So let's look at some of these down here. We've got these actual paint textures. So can we put those on with the paint brush? Yes, we can. But the trick is, how do you get it right to the edge? Right? So let's say I take my black brush here, and I'm just going to use Let's go back up. Let's use this and I come to the edge here. Okay? I've got a new layer, and I can paint over top. Okay. But you'll see You know, it goes over. Now, you would have the same problem in traditional watercolor painting, right? Yes, you would. However, we can cheat in this. So let's cheat. I'm all about cheating. So I made a new layer. I'm gonna make a new layer above this one. I'm gonna click on it, and I'm gonna make it a clipping mask. Okay okay? Those of you that did my previous class, you'll know all about the clipping mask. The whole point of that class was to learn these techniques. The clipping mask, what it does is it only allows the paint to go where there's paint underneath it. So I've got my brush here, and you'll notice nothing's happening. The minute I go over top, wh, look at that. Okay? So we can either put this on with our brush like it is there, and I can paint on, some of these areas here, which you know, we'll do some like this because why not? Now, look at that over that white area there, nothing happened, right? And the lighter that my paint is, right? The lighter the area is underneath, the lighter the overtop layer is there, okay. So I'm not copying this exactly, trying to say, Okay, where's that little bit there? Where's that little bit? I literally just took my brush and one, blah, blah, blah, blah, blah, blah, blah, right? You don't have to say, blah, blah, blah, blah, blah, but you can if it helps. Now, let's say, a, I don't quite like how that looks. Then let's grab our eraser brush. We can use the Pall base watercolor brush here. It's a nice feather, easy to use brush. It allows us to adjust the opacity. And we can say, you know what? I don't want this up in here. I'm just going to take that little section out, and I'm going to lighten up some of these areas here. We're getting that hard and those lost and found edges that we love so much in watercolor painting, right? Now, we can do the same thing with a lighter color. Okay. We can paint on a lighter color in here, I can select some of this and make it's going to move this over a bit just to get so you can see what I'm doing here. And I can paint in some of these areas here. Okay. Now, this is the brush that has lots of texture in it. This is the PC primary 11 brush, okay? And I put that on the same clipping path. Yes, I did. Okay. Same clipping path layer there. And again, I can add this in if I want, and then I can erase it later. The problem with putting it on the same clipping path is then whatever I erase, I erase. So I erase both of those sections there, which I want to keep that. So the easiest way to get around that is to make another layer. I can either repeat the whole process of making a new layer, slick on clipping on, clicking on clipping mask, or undo, undo. If I click on the base layer underneath, and I click the plus button, it will automatically make that layer clipping mask because it's in between this one and the last clipping mass that we made. Therefore, it has to be a clipping mask. Sorry if that's too complicated, it's just an easier step and it's just how I do it, and I don't want you to be confused if I'm doing it that way. We've got another new layer here. We can paint on our whops or we can erase. We can paint on our clipping mask layer and add in some light areas there. If you didn't do this, you can do that now. We can come back, we can erase some, make them nice and faint there. Let's say I want to get a nice big chunk of something like this, like a brush stroke there. Okay? Well, let's make another clipping mask here. Let's select this dark color. Again. Come back over here to our brushes, and we can use these stamps. Stamps are a bit different than brushes. A stamp will give us some texture, but it also it allows us to let's take this one, for example, actually, let's see which one did I use there? That one is probably, let's just say it's that one. We'll try this one. And so what the stamp does is it's essentially a stamp. So it's a watercolor stain that I've made on watercolor paper, cut it all out, put it into a brush, made it into a procreate brush, and now provided to you. Because that's just how swell I am. What's going on here? Well, look at these crazy edges there. We've put that on our clipping mass layer. It's all by itself on our layer. Now if I select my selection tool here, I can move that around. Look at that. Isn't that cool? Now, I want this to take this little green stick at the top, we'll call it a stick, and we can grab the bottom of it here and move that up a little bit. And we grab this down here. Now, I have this on Free Form. If I click on Uniform, it will scale everything proportionately. I usually leave it on free form because it gives me more control, and I don't really care, like if it's proportionate or not. It doesn't really make a difference. Okay. So we're trying to line this up kind of similar to where it is on the other one, and I'm pretty sure this is the brush that I used, and we'll move that up there like that. And now I'm going to click this blue arrow again, and now that comes off. Okay? Now, I want to keep my edge there on the wing, this part here. I'm going to erase that, my brush is massive, so I'm going to shrink that down to have a bit more control, and I'm going to erase that there. And now, I'm just doing it gradually, like, you know, I've got my opacity sort of midway there because I want it to be like gradual. I don't want it to be like, okay, it's like, like hard edge there, okay? Now, what else do we got going on here? We've got on our this wing here. It's like, we'll take some of this off actually there. Okay. So now we're kind of similar to there. Don't try to make it exactly the same. You're going to drive yourself mad trying to duplicate every single brush stroke. It's just not going to happen. And I'm going to just tweak this a little bit there. Bring that down. A little bit larger. There. You're never going to get that. Like, it's never going to come out to be exactly the same. And all you're going to do is drive yourself crazy. So look at it more like adding the value in on here. So what do we have here? Now we've got this darker wing here, this section right here is quite a bit darker. So let's make another clipping mask path here. And we'll come down here. We'll click on our cardinal layer, and we'll click on that. I think we've got an empty one there. Oh, well, doesn't matter. We'll squish them all together later. Okay. And for this, you know, feel free to experiment, right? Try some of these so each of them has different textures you can see, like what they look like is what you're going to get. Right? There's no right or wrong way to do this. Feel free to make them lighter or darker. You can adjust the color if you want to black, for example, you can move this over more. And just feel free to experiment. What you're trying to do is not copy this exactly. You're trying to get the values in the right places to show to make it look three dimensional. That's it. Same as you're doing with traditional watercolor painting, but you're using different techniques. Now we've got this guy on here, like that, I quite like that. Let's move him down here so I can see what's going on. Oh, that's pretty funky. I think I did it twice. Yes, I must have. Let's start over there. There we go. Yes, There was two of those whys or two again. Probably because I had the other one up there. I'm going to just delete that together. I'm going to come on this layer here, and now I'm going to try that one more time. Touch once. There we go. There. Now we've got just the one. Okay. What's going to work best for that section up there? You know, I don't want actually, I don't mind that. It's a bit dark There play around with this a little bit. I'll stretch this out here. There we go. I quite like that. There we go. That's I like this little bit at the back there. Now, on our head up here, it's actually lighter, so I'm going to erase that. I selected my eraser, and I'm going to keep that there, like that. I'll take a little bit out of there. No, actually I'm going to put that back. Because the one thing I do want to make sure I get correct here is the lighter area because there is a highlight there, and I think that's important. I think our bird likes that there. Okay. And I also want some separation from these two areas here. So where this wing comes, this is like a wing here, but I can put that in later and still use this little bit there. I hope that makes sense, and I'm not just rambling on. Okay, let's put in one more up here. Let's try another brush here just to drive this theory home here. And I'm going to pluck that guy on there. I'm going to grab the move tool. I'm going to rotate it around. I'm going to bring it up. I'm going to put it on there, and I really like these hard edges there. Those are really nice. So I'm going to leave that just like that. I don't need to do anything. It did not show up here because there's no paint there. So it's stopped right underneath where the black area is. Okay, where else do we have some detail? We've got another section here, we've got our whole back of the bird here. We've got some shadows going on. So let's do one more. We're going to grab another clipping mass layer. We're gonna grab that layer. We're going to grab a brush. Let's take this brush here. It's nice and long, and it's got a dark edge on it. I know that because I made it. You'll know it because you're going to experiment with it. We're going to plop it on there, and we're going to take it, and we're going to rotate it around. I'm going to scale this down so I can see. We're going to rotate it around like that. And what we want is we want this section up here, this dark section up here. And we're going to use that here to bleed down. I hope that makes sense. Probably won't get it all perfect because there's no such thing as perfect. So there we go. Just like that. Now, there is some lighter areas there, like in here, I want to make sure I get those. Like basically what this is is a shadow where that little lip is formed there, okay? So now I'm just taking my eraser brush and just kind of taking out a little bit of that. Nice and small. Put in some nice lines there. There we go. Okay. Looking good. Looking good. All right, we do have some other lines, and here, we're going to come back and we're going to paint in more details like those at the end when we get into some of the finer details, we'll do those. But for now, we've got a good start, like a great start on some of our details, and we will now move on to putting in the mask next. 5. Painting the Black Mask: Okay, we're ready to paint our little mask area here. And before we do that, let's take a look at what we've got so far. We've got a lot of layers going on here because of all those clipping masks. I know for myself, I'm happy to compress all those onto one layer. If you're not sure and you think maybe you want to go back and make some adjustments layer, you can leave them, but it might get a bit overwhelming and confusing. So to shrink them together, you basically take your two fingers. I'm using my thumb and my finger. I'm going to start at the bottom here, Layer five, and they're both called layer five, and the top layer five here, and I'm just going to take them and squish them together. Squish, squish, squish. Okay. So again, I'll undo that. You can see and then redo it. I just put them all together. Now they're all on one layer. We zoom in here and we look at our mask. We can see our mask. Where is it? It goes over top. The feathers come out over top of our bird. So what are we going to put that layer? Well, you guessed it over top. We'll come here. We've got our layer on top now. We need to select our dark color. We call it black for the fun of it. And let's just grab the Paul primary watercolor to brush again. Nice and easy. Make sure your brushes. You don't get to the right size there, a little bit too big. Come down. It's bigger because I'm zoomed in. And again, just now try not to get, you know, to go over this too many times. Because you remember this brush, the more you go over it, the lighter it will get, and we don't necessarily want it to get lighter. We want this to be kind of feathery and and loose. You'll notice in my red, I went a bit over top of of the eyeball. Don't worry about it. We can fix it later. And again, remember trying not to go over this too much because it will lighten it the more you do with that brush. If you decided, oh, I made a mistake here, like I went up a bit high there, I'm just going to come back. I'm going to make my eraser brush nice and small, and I can just erase that that's too small, and I can just erase that. Okay. I can come around here and zoom right in, and I can see, let's hide this layer here. So I can see where my eyeball is there. Okay? Get rid of that. Let's come back here to our brush, make it much smaller because we're zoomed in. I'm going to erase some of this. I want to see that eyeball there. It's just going to make it easier later on. So this line around here, there's kind of a double layer. I'm going to leave that so that I can see it later and I don't have to hide things, and now I'm just going to come in and I'm just like, you know, think of this as like a cran or a colored pencil. I'm just scribbling away. Okay. And I'm just going around it. All right. So a bit too far there. Grab my eraser, double back. Okay. Is a bit more up here. Now you're saying, Hey, Paul, but you're making layers on the paint. Yeah, I don't care because it's black, and you won't see it later. Uh huh. Okay. And it's just saving myself. I've done this painting several times now for lots of reasons once because I filmed the entire thing completely out of focus, which is a funny story. Be more, you know, if I zoom in and I move my hand like this, the camera on auto focus will focus on my hand. And it will take away from the painting, and it kind of zooms in and out and it gets annoying to watch or bugs me anyways. However, I didn't focus it correctly. Even though on my screen, there are like these bright red lines. I'd say, like, focus, not in focus. Anyways, I'm rambling. So there, we've got our mask done. Don't worry if it's kind of patchwork, because as you can see, it's blended in quite a bit. There's some soft edges there and different things going on. This is the area around here. So basically what this black in here is this black up here. I kind of went around the area there where I've got, you know, that white linish. We're going to fill that in later. I just want to have it so that it's nice and easy right now. Okay. So just keep it simple. Don't stress about it. Just basically paint the black mask. You'll understand later why we do it that way. Okay. And that's that. 6. Painting the Beak: Alright, let's move on to the beak now. Getting all these, like, base layers down. And the beak looks very simple when we look at it as a whole. But what's going on with the beak? Let's take a look here and see. So the beak is sort of a shiny object, right? It's got You know, you can see there's a reflection right there. There's a lighter area right here. There's a shadow underneath. It kind of curves in where the mouth is. There's a line there. There's some shadow here. So there is a fair bit going on with the beak. I think I did my mask a little bit differently. I came in a bit on the beak. I'm gonna leave it for now. I can always change it later, but I'm just going to leave it for now. And so I've selected this lighter color here for the beak, and I'm going to stick to the Pall primary brush for now just because I've got it, and it's easy to use, and I'm basically going to put on one base layer, cover the whole beak there. Don't worry if your color isn't exactly the same. Now, I'm underneath the black mask over top of the red base layer. It doesn't matter if you're over top of the red base layer because they don't touch, but I am so you know. And basically, I've painted a triangle here. Well, pretty impressive, right? Okay. Now, let's say we want to now add, which we do want to add. We want to add. We're going to go here to you can use a hard edge wash, you can use a variable wash. Variable wash makes it light and dark a little bit. So you can use either one here. I'm just going to show you the difference. Let's select this red color, and I'm going to put it over top here. What to opacity. Not enough opacity. There we go. I just want to be able to control this. So what's going on with this brush here? Well, as you can see, again, it's very similar to that one where the more we go over it, the more water we get, okay? And it gives us that hard edge, that water color edge, right? Okay. What we might want to do is you might want to make a clipping mask. However, because we started with a light color, it's going to be very difficult and you're going to end up making lots of layers. So just get the right color that you want to have and painted on. Nice and easy. Don't stress about it too much exactly. Try to keep it, remember, you're trying to make a watercolor type painting here. I think I'm going to add in some more because I want more layers, so I'm going over top of this. And it's darker here. The more I go over this, you can see how it's getting darker now, quite unlike the other ones there. I think I want a bit more saturation in my color there. Look at that, I can go over top of that. Again, the lighter I press on this brush, the lighter it shows up there. I'm basically what I'm doing is I'm painting in and around, leaving that highlight area there, and I'm just adding in my brush layer. Now, this layer in here, the little white line here, where that highlight is is going to be tricky. I'm just erasing that a little bit. There we go. Come back to my brush. There's also this triangle in here, where the beak shadow is. I'm going to make this a little bit darker now. When you're zoomed in like this too, a lot of times it might not look. You might think, that doesn't look. What's going on there? Not enough opacity. I'm just going to fill in some of that area that I erased. But as you start to go over it more and more, you'll say, Hey, look, I'm starting to get those colors in there that I had, right? Okay. Again, pressing on this, you'll see it's basically pushing up the water line, it's as if you've got lots of water on your brush. Each time you lift your brush, it's going to get a little bit darker. Overdid it there. If you find you get those weird little marks that you just saw there, don't worry, you can just go over it again. Made it a bit darker now. Again, because I'm underneath the black mask, it looks like I'm painting over top of it, but because of the layers, it's just underneath there and it's not showing. Bit darker even now. I want to get that triangle in there. I also want to see some gradation between. I wanted to blend a little bit between the mask and the beak because of this, see how that is there. It's very subtle. It's not an actual hard line. I'm right at the edge, I'm right on top underneath, basically I'm underneath the black layer and just moving my brush in. You can see now it's just pushing those colors up. Be patient with this brush because it I adds it in as you go. See there, it highlights and pushes the water out. Then you keep going and then it'll fill it in. It's just the way the brush is designed. Which might seem weird, but it actually works well. I think this in here is a bit. I like this brighter part there. I'm going to try and put some of that in. There we go. There we go. See that's spreading that water mark around like that. Okay. How's that look? Pretty good. This mine came out quite a bit darker than the original, but I'm okay with it. You can try and lighten it up if you like by moving this over. We'll come in here, see if we can lighten that there we go a little bit lighter now. Just play around where they get it, how you like. I kind of like the darker. I like the mood feel of the darkness myself, but if you want it to be more like the original, then by all means, change it up, paint over top. Let's make that even lighter, there we go. Put in that. Streak there. You can just This is a nice brush that you can basically it's very forgiving because you can keep working as you go. You can see like I made mine. I made a mistake, not mistake, but I don't like how see this highlight goes that way. I want it to go along the beaks line there. So I'm going to fill that in. By painting over top. Like I just said, if you make a mistake or whatever, you can I don't want it white white, but I do want it fairly light. Make this nice and small now, and I'm just going to now I can paint it in. See that. Here we go. Again, this brush is the new hard edge wash brush. Brought to you by me. Let's add a bit more shadow down here. Blend that in a bit more. Okay. Now, I'm turning two fingers, I'm turning, and I'm going to turn my pencil layer off so that I can see. I need to see whoops. You see roughly where that line is. But I will turn it back on in a second. I'm going to make black here, and make my brush small, and I turned it because I have a hard time drawing a straight line this way. It's much easier for me to draw a straight line this way. I turned my canvas. Just in case you're wondering. Wops, about the opacity all the way up. And get that line in there. There's a line, it's a bit off from where the pencil line was, I think, yeah, too much off. So I'm going to move it down a bit. That should be better. Let's see what it looks like now without the pencil line. That's better. Now, look in here, why is mine so much more strong than that is because I went over after with my brush and just s. Bring it up a little bit, lower the opacity, and it's just blending it in a bit more. That makes sense. I need more brightness, I think there. Is too big. It a bit tricky. W Come on. I I hit on do a bunch of times. There we go. Sometimes I will do things like this repeatedly over and over again to get it right. These little finicky bits here. I'm just closing in some of that line, making it more subtle by painting in the red that's underneath it. Hope that makes sense. I don't want to erase it. I just don't want it to be so strong, I'll put some on top. I want to see it. There we go. I like that. Okay. So, mine does look quite a bit different than the original. So will yours? Don't worry about it, and make your mine a bit brighter. I probably I spent a fair bit of time on these kind of details when I'm painting because I think they're really important and they make or break your painting there. So I just grabbed a brighter color. Now I'm going to lighten that up a bit. Maybe see how that looks. And I'm going to call that Big done for now. We can change it later. Nice thing is. Remember, we can always come back in here. I'm going to grab the curves, and I'll show you how this works. I've showed you this in the mushroom class, but I'll show you this here again. I put this as the midpoint in there. I want to lighten up that midpoint, so I put a little dot there, and I can slide that up and down, right? See if I go way up or way down, right? I'm making that nice and light. If I want just the highlights, I can move it up this way, if I want the shadows, move it this way. Play around with it. It's very easy to understand once you do it. But it's also works really well. You can also adjust the saturation. Make it a bit brighter, and all of a sudden now we're starting to look a bit more like the original one there. And now I just adjusted the brightness, and let's call that Beak De. I'm happy with it. Okay. Beak is done. 7. Painting the Eye: Okay. Now we're going to move on to the eyeball. I zoomed in here on my reference picture so that I can see the eyeball. I had my pencil layer turned off the last time. And let's first fix the area there where we painted over a bit. Let's go to grab my eraser brush, get the size right. I don't want to go too crazy with it, but I just want to get rid of that red. We're going to paint over it. So it doesn't really matter, but I want to be able to see the lines at where everything is. That white area, that white line is not this thick, okay, like as I have it there, but it's just easier to fill it in than it is to do later. Oop, sorry, I bumped my camera. Okay. To the brush. We'll use the hard edge wash brush again because it allows us to build up gradually as we go, which is what we definitely want to do here. Where do we want to be? Let's put ourselves underneath the mass, but above everything else. Actually, we'll go above the mask for now because it's easier, and we can always move it later. Alright, so let's start with the lighter color in here, which is this brown color in there. And we're going to take our brush, get our capacity set right. I had it lowered the last time. Get the size right. It's a bit too big, Paul. Okay, that's good for now, and we're just going to color that in. Try to keep it as even as you possibly can. Again, remember, we can go over top layer if we need to with this brush. And we're zoomed in quite a bit here. So don't stress about how this looks. Basically just get the light areas where the light areas go and the dark areas where the dark areas go. All right. I kind of got that. Mine came out a little bit gray, I think because I selected the color there, so I'm going to undo that, and I'm going to move my slider over here to the orange section. And because I want a bit of a brown color. Essentially, that's like the eyeball color in most animals, birds, whatever this part is brown. It's not actually looks kind of purple in there. And so brown is essentially just a dark value of orange. So when you're trying to make brown, move the slider over to the orange and then adjust the value to look darker. Okay. Same thing in watercolor, traditional watercolor painting. It's just a darker version of orange and any painting, actually. That's just what brown is. Okay, so we've got a nice brown outer eyeball. We'll call this. I don't really know all the technical names for the eyeball bits, but we're going to call it the outer eyeball. And now let's grab the dark in there or the black, and we're going to fill in the inner eyeball. You might want to go over this a couple times because you can make it a little larger, because it starts off light, it's diluted. It's watercolor. If you can hear my brush is lifting, I'm lifting up my brush to make sure that I'm getting going over top so that it comes on darker. As I put it on. All right. There we go, right? We're all done. No, no, no, we're not. There's lots more going on here and don't overthink it. Keep it simple to what you're looking at. We've got dark areas and we've got light areas. Get your brush to a size that is manageable now, and we're going to come in and we're going to basically go around here. We can see you've got a darker area all the way around. So now we're just going to paint in a darker area all the way around like that. Nice and simple. Now, this white area here is quite a bit different than this white area is here. It's easier to paint in the dark area than it is to paint in a light area. So we are going to now grab our bruh grab that gray color there, and we will fill in this area here with that because it's not pure white, and we don't want this big bright white. If we leave it white, it's going to be far too overpowering in the end when we zoom out, you'll see. I filled that in that gray area. Now I'm going to come back, I'm going to select my whoops. I hit on D by accident. I'm going to select my black. My brush to a good size there. Now I'm going to lower my capacity a bit. I want this to be subtle. I don't want it to be too strong because I'm basically making shadows, a shadow is like a subtle gradation. This wide area, think of it like it's like a curve. It's got a highlight in the middle part, and then it gets darker in the shadow part. It is darker. Now I'm to make a little bit larger. And I'm making my shadow underneath the eye there. I'm not worrying so much about You might pull this brush, we'll pull a bit. If you're going back and forth like this, you're going to pull some of the brown into the black, so just go back over top of the black if you do end up doing that. Take your time. You might want to take a few tries at this, but don't overthink it. That's the part that I think messes most people up with this. There's a trick to painting eyes and other realistic things in animals and whatnot. And that is looking at what you've got and saying, Okay, what, here's what mine is. And a lot of times people would stop and they'd finish like that and they'd say, Okay, mine doesn't look anything like Pulse, right? What's going on? Well, what is going on, right? So what is happening here? So, right now, okay, look, I've got this light brown area there, which I do have in here, it just shows up in very subtle areas. So I need to then painted over top of it. I need to make that darker, right? So I need to go over top of it very gradually, and I'm just got my lower capacity, brushes, nice and large, things nice and soft, easy, peasy. You could use also, if you want to make it even easier. You could probably use one of these base watercolor brushes because they're very subtle, right? Almost like an airbrush, really. Okay? And they have a little bit less pull. Play around with them, see which one you like the best for doing the job that you're doing. And you're just subtly going over and saying, Okay, you know what colors are there? Does mine look too light, too dark, right? Don't worry about the white spot there yet. Leave that alone for now because that'll just mess you up. We will get to that later. I'm going to speed up a bit here and what I'm going to do is I'm going to go around and I'm going to bring in my area in here. I'm going to close this gap in here. I'm going to do that. I have to make my opacity darker, and I'm going to close that gap in there. I'm just going to speed up the camera now and let you see what's going on. All right. So I've got my area kind of done in there now, and I've got some lighter brown areas in there. If I went too far, I could always come back and pick up that brown, take my brush nice and s. Maybe that's too big of a brush. Yes, it is way too big of a brush. And I can come in and I can add those in by I'm keeping my pay and low, but there. Okay. So I went back in and I kind of put in a little bit more and there. Go back and forth. You're not going to get this like, you're not going to get it bang on exactly how you want it. You're going to have to do some undoing. I do this countless times. And, you know, it might look like, Oh, wow, yeah, but you just bang it off. Yeah, but I've painted this painting probably ten times before starting this class to make sure that, hey, I know what I'm doing, and I know how I'm going to do it. So don't worry about it. If it looks like, Oh, it's really easy for me, trust me, it's not. You know, it's just as hard for me as it is for you. So don't worry about that. Just, you know, do the best that you can and learn from this, right? Go over it a few times if you need to Whoa, too much there. Okay. Now, let's grab some white, okay? Make our brush nice and small, put our capacity nice and high. And so what you want to do with this highlight area is you want to put it on small, Zoom out and say, how is that? That's not bad. I think it's a bit too far forward. I'm going to try moving it back a bit, undo, I'm going to bring it back a little bit further. Much better. Kind of gives you the direction that the bird is looking. I'm going to make it a little bit larger, I think. There we go. All right. So I hope that made sense. Do it a couple of times, right? If you want to add in, like, lower your pacity, a little bit, one that you can do is you can add in some kind of glassy bits. Remember the eyeball is kind of glassy. You know it's got a shiny texture to it. So I can put in you know, some shiny bits there like that. Make this a little bit larger. Which I do have underneath here on the original one. You can also put it like say over here, right? Keeping it three dimensional, It gives it that kind of where the light is shining and making that curved surface there. We'll put some down here. We'll try it down here. There we go. All right. However you think play around with this. Okay? I don't like that because it takes away from the direction that my bird is looking. Put something there. Yeah. I'll leave it off. I like the way it looks. Okay. We're going to come back after this, and we're going to make some more details. 8. Starting the Fine Details: So let's look at a few things here. Let's get our shapes like our values and things like that we get our three dimensional shapes properly. So there's a few things. Let's look at our original painting. We've got some more shadow areas in here that kind of come down in this part of the head. There's a shadow area in here. We've got a different texture up here. We've got a separation here like these cheeks around the head, around here. We've got some darker values under there and a bit brighter up here. And where else do we have? We have in the wings. We've got some feather kind of lines back here that we can put in. We need to separate this wing a bit more, make it a bit more we need some shadow under there to show that wing. We need to put the feet on. We need to add some more details down here. These are all small tiny adjustments. So let's just go through them one at a time. Alright? So first of all, let's take a look at the mask, and let's make that mask blend in more with our cardinal. So to do that, I'm going to use a bit of painting and a bit of stamps. Same stuff that we've been doing all along, just a bit more of it. It doesn't matter what stamp you use, you know, really, as long as you kind of, you know, basically, I want a line that goes along here and some that goes along here, and I just wanted to feather out a bit more on there. So I'll show you what I mean by that. I'm going to plop that whoops before I do that. I better make sure. I don't want to do that on my eyeball layer. I want to do that on. What layer, do I want to do that on? Let's do that on, Let's do it on a new layer. Just a plain layer. We don't need to put anything on it in particular. We're just going to put it on a new layer there just so that we can move it around, scale it around. And all I'm trying to do is I'm trying to add some texture that's in between this layer here and my cardinal layer there. I probably picked the wrong brush the wrong stamp for that, but that's okay. I'll let's put another one on after over top. I like how that looks. I'll bring that down there a little bit. Okay. Click Okay. And let's see what else we got here. Let's grab one that has a bit more value in it. Actually we'll grab this one up here. We'll plop that on. Actually, I don't want to put that on its own layer because blend that down because I want to be able to move it around. If I don't put it on its own layer, then I can't move it. Select the move tool, and It's got its own natural feather here. There, like feathering by that. I mean, it feathers off of the image. And I'm going to squeeze that in. I don't want to going over top of other bits there, so I'm string it right down, and I'm going to stretch it out a little bit. Keep it off of the eyeball. There we go. You can see what's happening there now. Stop it. Just by moving that in and keeping it off the eyeball there. You see what I'm doing here, I'm adding this on above that, and I'm just adding a little bit of feathering there. Okay. All right. Let's put another one of those on. As I'm doing each one of these and I'm happy with it. I'm just compressing them on. You don't need to do that. You can leave them on your layers if you like. I know that little mark is there. Okay, and I'm going to use the same brush there, and I'm going to put that over here. I want that shadow on the eye there. I sure I got it right. I want to have to zoom out and see where my getting the angle right is important. I think that looks good. Stop, doing that. Okay. One. I don't want. There we go. Some of the things can be a the tools, they try to make them so intuitive, but sometimes they can be a little bit frustrating. We've got that line there, and we've got, if we look at our drawing lines there, we can see where some of these shadow areas are there. So I'll make another new layer. I'm going to plop that, another one of those on there. Scale it down. Scale it down and get that in the right area there. I'll turn it around this way. There we go. Okay. And that's underneath the cheek there. Some of that, I'm just going to erase off of this at the end there. So it doesn't ruin my already existing stuff that I got going on there, I'll lighten this one up a little bit. Oh, no, I can't light that on the wrong layer. All right. And who? That looks good. Let's make one more though. Shall we for up top here. And again, we can use the same brush, doesn't matter. If you want to try a different one, that's fine. This one is just a nice, simple, easy brush stroke. And we've got this right above our e there. I think I might turn it around. And see, yeah. I do, I'm going to turn it around. There we go. Okay. How's that looking? Do I want to erase any of that? M. Maybe, maybe not. You get the idea. There we go. Okay. So what have we done there? Look, what have we done? We've added in some of these shadow areas there. Another thing you can do is let's say, you know what? I put that on really strong. If I click on this little n here, underneath, you'll see opacity, and I can adjust that opacity so that it's not overbearing, right? I'll do that again on this one here. See where that opacity is there, lower that down a little bit, make it more subtle. And this one here in the middle or by the eye. This one here, I'm just going to erase some of the edge of that there, just to make it a little bit more soft and feather it in a bit. Okay. All right. Now I got a whole bunch of these and I'm going to get really confused. I'm just going to shrink those up a bit. Now on this layer here, I can stay on this layer because I'm above the red. I want to add in some subtle shading. So for that, I'm going to use one brush that I can control the opacity with. It's one of these base water color ones here, and I'm just going to the right brush side, bring my opacity right down there, and I just want to be able to blend some of that in. So that it's not like this hard fall like fall off, right? It's not like a hard edge there, right? Whoops. Sometimes there's one hand thing that you do hand gesture that you do and it accident and it turns on the eraser. I've never been able to figure out what it is, but I hit it like every time I make a painting at least once. But generally several times. So right along this edge here, this line, I'm just smoothing that out, making that more gradual. Don't worry so much. And I also want to just fill in some of those lighter areas there. Okay. So in traditional watercolor painting, this would be using a fairly dry brush. Okay. Good stuff. Alright, I'm going to erase a little bit of this because I think I a bit overboard there. But generally, I like what's going on there. I like how that's coming together. I'm going to go to my blending brush here and I'm going to think I'm going to use this one. I'm not sure. I can never remember, which You know what? I think it is the hearted wash, I think. Yes. I think. And just to get some of these little feathery bits here, and I'm blending those in. Yeah. You can see them how they come up here. I'll do it so you can see there. All right. Just your opacity, your brush size, get different. You don't want a whole bunch of lines just like that. Because basically what it is. It's a tuff of feathers that comes out and they're more grouped together at the base, and then they single out a bit more as you go on there. Whoops. Let's see what I did there. I pulled the red over by mistake. I don't want to do that. Lower my opacity down here, and I'm just going to bring some of this in just to meet up with some of that beak there. And I'm going to pull some of this in here for the triangle. Basically, I'm just smearing my paint around. You would do this in traditional watercolor painting by using a wet brush and going over and grabbing some of your paint there. You can do the same by pulling some of the red down like here. I'm going to pull down over top to make it look more natural. Bring some of these up here. And this is these little bits here doing this kind of stuff. So you might think, Okay, you know what? That's not really like watercolor painting, Paul. That's more like traditional painting. And yeah, you know what? You could be right. But it's up to you. You don't have to do these parts. I like doing little subtle things that add in. I add in a bit more dark here to blend this out. I like doing things that add in, you know, just kind of so that it's not like too abstract that it looks funny. But I want emotion, I want feeling in my bird and whatever my subject is that I'm painting. I want to get some of those, like effects. And so doing little things like this really bring that home, right? They really bring that home. So I'm going back and forth. I'm pulling some of the red towards, and I'm pulling some of the black off onto the red by doing this. So the reason I'm doing that is, again, I want a subtle gradual blend between. I want, like a soft curve there. Okay? All right. I'm going to come down here onto my red layer, and we're all I've got this brush here. Go to bring some of that up here. I'm going to show you another brush that's great for blending if you want to play around. I use this quite a bit in my um oil painting ones here, where it gives a I'll show you a large what it does here. See that? How if you wanted a wet edge, so you wouldn't obviously do that on this painting. But to get that wet edge that you'll see there, kind of, it's basically grabbing the paint like with a lot of water, and it's smearing that out. So you can do that two ways. You can bring the color even though there's no white in there, right? Imagine you had a big blob of water on your brush, right? Okay. Just a neat effect, and that's the big, beautiful blends brush brought to you by me. All right. Where were we hard edge wash, there we go. Bring up some of that opacity, get some of these little feathery bits. Just to get you know, I said we'd fix that later. Well, this is us fixing that later. Right? We're getting some of those feathery bits. We can do that again down here on the end. Bring up the size. There we go. Well, we got the cardinal rotated this way. Let's take a look here and grab some of these grays here. And put some of those lines on, and then we can grab some white, and we can put in the highlighters in between. Bring up my opacity, lower my brush size. See how my brush curved there. That's because I have such a hard time drawing those straight lines. That's why again, I rotated the brush. I don't know why. It's just a dexterity thing for me. Please don't mock me. Okay. So we got some lines on there. We got some feathers on there. All right. We're going to stop it here. This is the video is not too long, and we'll have trouble uploading, and then I'll come back and we're going to do some more details. 9. Continuing the Fine Details: Okay, good stuff. So let's take a look here what we got going on. We've got some lighter colors here. So let's grab one of those. Let's make a clipping mask above our red layer here. And clipping mask. This is probably too dark. I'll make it a bit lighter. We're going to grab one of our stamps, whichever one you like, and we're going to put it on here. Rotate it around, move it around until you get the look that you like. Basically, what I want to be able to have a few of those little highlight areas there that you can see, kind of the edge, you know, like our top of our bird. There we go. That looks good. Now, we also have some of our highlight areas on there. Let's grab our new hard edge wash brush, and we can paint a couple, not on the clipping mass. We'll close. I'm going to close clipping mass. Again, you can leave it open if you want. I'm going to paint right on top of my red layer. I'm crazy that way. If you're not comfortable, make a new layer. You know, if you're worried about making a mistake. In traditional watercolor painting, you don't have this option, so it's not like you get to choose. You either make a mistake and you live with it or you start over again. So it's a good practice to kind of play along the same way, I guess. We need some more texture down here, and I think we've got some red in here that I like, that's a bit. My painting is a bit to what do you call it? Light there? That's the word I'm looking for too light. So I'm just going to paint in, again, new hard edge wash brush. Come on. And if you wanted to go real crazy and get, you know, in let you try this muddy race brush here. And this will plop on, like, you know, let's take a look up here what it's doing, right? It kind of plops on the harder I press, the lighter it gets, right? It's putting on a big watercolor stain, right? Okay? If I started out like that, nothing happens, but the harder I press, and the more I go over it, I get a big watercolor staying there. Okay? So let's see if we can make that work in here a little bit. I'm going to make this a bit smaller. No. 'cause it's got red on underneath it already. But that's okay. It's still giving us the look that we want. We'll try it up here with this dark color. I'm going to put a new layer over top, and I'm gonna come in here, and I want to get some of this stay there. I'm gonna put a bit more Don't overdo it, like I just did. You will regret it. Lower that down a bit and make this a little bit larger, a lot larger. That's too much. It's very easy to get carried away with these and the gimmicky. They become too gimmicky. We need some more dark along this ridge here, where our bird is, our bird's tail is here. I make that ale bit larger. O. Almost got it there. So what this is doing is it's putting on the dark and the light area there. You'll see in a second. There we go. Okay. So now I can grab my new hard edge wash brush, grab some red, make it nice and small. Come on. Is going over above it. Trying to be above it anyways. There we go. And well, look at that. We've got our feather with the shadow underneath. Now, let's fix up the shadow a bit and make it more defined underneath there. And I'm going to show you that again because that was pretty tricky, pretty sneaky of me. The way I did that. And I want you to be able to see that. So I'm coming underneath here. This is the new hard edge wash brush now. And yes, there's a big hard line there. Don't worry about that for now. We just want to see that shadow. Alright, let's grab our smudge brush there. And we're just smudging up some of that shadow with what's underneath it there. And now let's zoom out and take a look, Walla. Look at that. Big tail feather. Okay, so, what did we do there? With this brush here, this is a newer brush that I've made, Paul Water smudgy race. It's got all kinds of names on it. What I did is I went over the top above above the feather, because what I wanted to do is I wanted to have that little highlight area there. This one's red on top. I could put some dark up there, but I like how it looks. And if I press down hard, you can see what it's doing there, right? It's putting on, there's light underneath there and there's dark over top. It basically just painted that on and one brush stroke as opposed to using a whole bunch of different ones. Feel free to do it in easier way I feel like, but I think that works pretty well. S. What layer, am I on here? That's why I'm nothing's moving. I'm on the wrong layer. I'm just going to feather that out and make this a little bit more pointy. And we can call that section done. I think my I'm not sure if I put this on up here. Can I? No. This up here, I think is too dark right there. Let's grab that new edge. Let's use this one again just to show you. And let's just wow, too big. There we go. Just using that to push some. You're pushing like water color and some paint around there. Covering up some of that shadow area. Alright, making some watercolor stains. You can do this like subtly, like, we're going to take some darker colors now. Make this a little bit larger. And I'm going to put this actually on I think this will work with a clipping mass. You'll have to forgive me because sometimes I get so voles. What I don't want to do is I don't want to lose that white under there. Yeah, there we go. Okay. Let me make this even a little bit larger. And I want to have some more texture underneath here. So I'm holding my brush down and I'm moving this along. It doesn't matter how fast you go. And you see what that did, I just put in that nice watercolor texture there, okay? Again, this is a newer brush for me. But it does add in this, like, different layer, so you've got dark, light, dark, right? So that may or may not work, depending on what it is, what area you're trying to use. They're all different brushes, and they're all different techniques to do all different things. You know, there's no right or wrong way to do it, so don't stress about it too much. We need some more gray down here. Oh, let's try this brush since we've got it now. Will that work? Yes, it will. Perfect. Might be a bit too much. No, it's okay. Too much yet it is. I lower the opacity. Down. Ump. Come on. Put that back. And maybe make this a bit more red. Try that. Good. Okay. Let's get our new hard ed wash bush. We went over our white line there. I want that back. If you want, you can come in here and add it in a bit more like on top, whoops, a clip mas. Here. Let's push these together. Woops. Try to push too many together and there. All right. Okay. Our feathers need to be here at the back. We need to bring these out a little bit. And I think we need a bit more red in there, but for now, it's okay. Now, up here, I made a bit of mistake with my white lines, so I'll fix that up a little bit. And I think I will put in a bit more red. So what brush would we use for that? Let's say we're going to use. I want to stick to the same one. Okay, M it a little bit bigger. I just want to get some brighter red in there. Oops, I lowered the opacity and not the size. There we go. Just a few more tones in there, so it's not just a big solid blob of gray. And whoops, I think that was a bit too much. You can zoom in here to see a bit better. I'm going back and forth until I get exactly how I want. Smudging is your friend. All right. We are really close now, I think. We need a bit more shadow up here, so let's just grab that color. Let's lower their rapacity down, make our brush larger, and we'll just a little bit less pacity, I think. A bit bigger rush. That new button is so handy. You know how many times I find myself trying to use that in real watercolor painting? Okay. It never works. And let's bring some of this in here I'm just adding in some more tones. We're getting really close there. I like I think I need some more Okay. I'm just putting in another shadow area there. And now I'm going to try blend that in a bit. So now I'm going to pull these down over top there. All Sudden now it's no longer a big line. And we've got another layer, another feather layer there. Perfect. All right. I think we're good on the details. Let's come back and we'll add in some very simple feet. 10. The Feet and Final Details: All right. Before we start on the feet, O area that I think I need to address here, and that is there isn't enough shadow here underneath this wing, right? It's kind of blended and we left that part out. So really quickly, again, drive this home clipping mask above the red layer. Let's grab a dark color, and let's just grab one of the stamps here. Which one do we got here? Let's try that one, so that does. Perfect. Good. Okay, and we'll bring that down, we'll turn it around till we get what we want. You could also paint this on if you like. I'm just doing this because I don't think we did enough stamping. I'm sure we did, but just in case people want to see more, and now what we're going to do is because we want to keep Tab doesn't look at that. We want this. And here, make my brush a little bigger, and I'm going to erase the parts that I don't want. Just slightly going over very softly. There we go. Nice shadow there. Now, if I want, I'm going to go back to my new hard edge wash brush and make the brush small. I'll just get in the dark part there and actually cover up some of that white line even. I'm just scribble it along here. Not too fancy. See how that looks. Beautiful. Almost a bit too separate, but I like it. Let's see what layer we got there. Yeah, we could probably smudge some of this down a little bit. So it's not all consistent and hard there. Perfect. Okay. Now, feet. I originally, as you can see, I drew these feet on, and then just it kind of took away from where the painting was at, and I still think it does. So I'm going to keep it the way that I did it. And basically, all I did is I knew hard edge wash brush and put the feet underneath your red layer there because we want underneath the body. Okay? And I just very simply just gave a hint of, yes, there this bird does have. Feet. I just didn't want to paint them. Because sometimes those details will take away from your painting. Make it darker underneath the body because that's where the shadow area is, and feel free to add in a little highlight area there. I don't think I did much on mine, but, you know, just to give some three dimensionality. See, there's my not being able to draw a straight line unless it's pointing the right way again. There we go. Down here, we have um, What am I trying to say, Paul? Where's the brush I'm looking for? Big. Wet and granular. Yes. And we've got some little round bits under there that I think we should add in where the feet come in. It's not just, you know, they'll just stick out underneath there. So this big wet and granular brush basically puts big wet and granular marks on your paper, your canvas, whatever. Let make a bit of red in there. So of blends. There we go. Maybe too much. And I don't like this blob there. I don't know what that is all about. You get rid of some of these. Whoa. To big. Too much. And just smoothen some of those out a bit. There we go. And I'm going to say we are. Let's turn off our drawing layer, pencil layer. We are done. Oh, wait, no, we're not. What do we forget? We forgot the paint blobs, the accidental paint blobs. We got to put on the paint blobs. Okay. So let's make a new layer at the very bottom because they're underneath. Make them nice and bright so we can see them. And this is a fun brush I'm including for you. Special today. And PC watercolor splatter. It's essentially exactly what it says. It's watercolor paint that I splattered on a paper. And I think it needs a bit a bit darker, maybe. So let's adjust some hue and saturation and brightness there. Let's get some more saturation, darken it down a bit. There we go. The brightness is a little bit off, but that's okay. The color, I mean, that's okay for now. Alright. We got our paint blobs on. We got our feet, we got our legs. We got our details, eyeball, everything else. You can go to town and you can add in more and more and more details. If you like. I'm going to stop it here because I think this is already getting to the point where it might be overwhelming for some people. It's more about learning the principles and about how to do these things and practicing them so that you can do it more on your own. I will make more classes like this as time goes on. Thank you for watching. I hope you enjoyed.