Aprenderás a dibujar un gato atigrado naranja con lápices de colores

1. Introduction: All right, so this is an orange tabby cat master class. I'm going to give you a few seconds here just to get everything together ready to go, but I really hope that you enjoy this class here. It is, a four by four size. It's pretty small, but it is a full body cat. I'm hoping that this is going to help you get a better understanding as to how to draw proportions, as well as drawing this feature with the rest of the body, not just the head and neck there. 2. Drawing the Eyes: We're going to go ahead and get the dark sepia color pencil out. Now this is in favor castel, if you do not have this kind of pencil, you can use a darker brown, I'd say. Probably like a brownish gray color. And we're going to start out with the eyes. Now. The eyes definitely have cat like features because it's a cat. But what I mean by this is it has that almond shape and they're pointed up and out like at an angle. You want to try to draw that angle as best as possible. Even if you're drawing in this small size as well, you want to have your pencil sharp so that you can actually get that detail in there. I know I get a lot of questions of how do you draw so small, like how can your eyes see that in. I really don't know how, honestly I can't tell you. But I will say that I've definitely trained my eyes to see details really well. I'm able to see all those small, tiny details even better over time. Eyes I'm practicing, If you keep practicing, it will be the same. Now, we're going to use the black color pencil. And this is going to be any black. It doesn't have to be favor cast, but you can use any kind. And drawing the pupils here which of course are like the opposite direction, almond shape, the same as the eyes draw that. Now don't fill in quite all the way because there are some highlighted features you want to just draw very lightly and try to point them in that same direction as the eyes as well. Now I do adjust they throughout the portrait because I see that they just don't look quite right. You end up having to adjust the eyes, don't worry, you can definitely do that. Now this raw number, 10% I'm going to say this is like an ivory color. So it has a very light creamy, but almost a yellowy tint to it. So that's why I'm calling it an ivory color and we're going to fill in the eyes with that. Now, there's going to be other colors in there, but I am filling that in for the most part with that color first. Then let's move on to the next color. This is Bester by Faber Castell. I always find this word so awkward, but I do think it's like a light orange, brown color. If you can find something like that, just draw that around the outer part of the pupil. Not necessarily all over, but I will say more so with the right on the pupil itself. And then you can go back over with the dark sepia and strengthen up the outline of the eyes, especially in the top part, not nearly as much in the bottom. You don't want to make a solid outline all the way around because most animals actually do not have that feature where it is the same thickness around the eyes as you can see here. I did mess up a little bit, so I am going to adjust that and make the eyes a little bit bigger. I do think that's really important. I do spend quite a lot of time on these eyes. The reason why I spend a lot of time on eyes, period, I really want to make sure that they look as realistic to the pet as much as possible. That's why I think I probably spend more time on the eyes more time on the face in general than the rest of the body. Because it brings in the pet's personality, it almost brings in their soul. In a way, I really want to spend the time to make the eyes look realistic. I'm going over what I just drew. I'm going over it with the raw number 10% just to burnish it up, lighten it up, and smooth all of the colors together. Then I'm going to go back with the dark CPA and fix the outline of these eyes. I do think that the eyes need to be a little bit bigger. I'm actually drawing a little bit heavier outline for, for the bottom part a little bit and some of the top part as well. But not that solid outline. Like I was saying, it almost makes them look like they're wearing makeup. If you draw like a solid outline all the way around, try not to make that mistake as well, but keep following along. You'll see it can be difficult, at least in the beginning, because you're using a lot of mental effort to make them look accurate. But once you have that done, the rest of the portrait is going to be a little bit more easier. Because you have more room to draw bigger spaces, more sections, a little bit more freeing, if that makes sense. Because the eyes are definitely more enclosed and have more restrictions on them in terms of the details. So now I'm going to use raw number 50% instead of a ivory color. It is about 40% stronger and it is almost like a, it is a brownish gray color and almost has a little bit of a green tone to it. I will say maybe because of the yellow in it. But if you can find something similar, then that'd be perfect. But you really don't have to use that color specifically. You can skip that step if you want to. Or just use like a lighter gray to add little bit of a shading underneath the top part of the eyelids there where when you look at eyes and it has a little bit of shadows, shadow in the eye because of where the light is directed. That's what I was trying to use, that raw umber 50% with. Now with the dark PA you can point the eyes a little bit more right at the inner part of the eye and just make some minor adjustments here and there. Try not to make too many major adjustments because that makes room for more error. 3. Kitty Nose: Now with the better, let's go ahead and start drawing the rest of the features here. I'd like to start from the eyes and go outwards. It's just more a matter of preference at that point because you can start from anywhere. But I really like to start with the eyes and then work my way outwards from there. I do go to the nose next, I don't know. Sometimes I will go to the nose next, but sometimes I'll just do the ears next instead and then work my way towards the nose. But since this was such a small portrait and the nose is pretty much right there, I do that part next with the burnt sienna, 10% This is by Karen Luminants. But if you don't have this color or this very specific one, you can just use a light pink, almost like a pink that comes off of a pig. That colored pink, just draw that tiny little, it's like an upside down triangle in a way. Or almost like a heart shape where it has that dip a little bit in the center of the top part. And then I'll use a little bit of other colors to add some shading to it, but it is so small that it really doesn't need a whole lot of detail in it with the burnt sienna 50% now, which is like a darker version of that. I'm going to use that to darken some areas on the sides and a little bit on the top. But really I'm trying not to darken the whole thing. I don't want it to be one solid color. If you can use a sharp point and just draw a little shading mostly on the left hand side, because the right hand side, that's where the direction of the sun is coming in. Now with the paster, let's go ahead and finish up the nose area now it's not going to be like 100% finish just because I do like to finish certain sections and then move on to the next. And then come back and adjust a little bit here and there. It really is helpful to know that you're not 100% finished with one section, then move on to the next. If there are any mistakes, it's a lot easier to fix those and make those adjustments when it's not 100% finished rather than when it is. And you really don't want to have to make any adjustments because it's either one harder to you work so hard on that part that it's just much harder to try to make any adjustments. Now let's use the walnut brown. Now, this walnut brown is basically a dark, warm colored brown. What I mean by warm is something that has more red tones in it than blue tones. Something like this is really great for the nose because it has a lot of warm tones in the nose. Here, I'm just trying to draw it is almost like an outline, but it's darker towards the bottom. Then working my way around that, I did say that I wasn't going to add too much detail, but honestly, I probably did. It's probably a lot of detail in that tiny little nose there. If you can follow along with me and do the same thing, then it's definitely going to be more detailed work on that a little bit. And I'm just playing around with the colors two to see what works and what doesn't work. But now we can use the walnut brown and start to drag out some of the color right around the eye here. I'm trying to use a small strokes with light pressure, you could see the point of the eye does, has some good shading pointing downwards. I want to emphasize that using the darker brown. 4. Details of the face: Now, probably you're finally ready to start drawing the actual face here with the better. Let's draw in the same direction as the fur, start this first layer down. Of course, you want to keep your pencils sharp and make sure you're using lighter pressure for this. You can tell when I'm using heavier pressure or when I'm using lighter pressure. But you'll be able to see it mostly in the first few layers. But as I'm building up the layers, I do apply much heavier pressure. If you start to see that and you're wondering what kind of pressure I'm using, you will, should be able to just assume that I'm going to be using heavier pressure when, after probably about five or six layers on there. But for this we're definitely using lighter pressure. That way you can blend more colors together. This color is pretty complicated. I don't know how to explain it other than it's brownish orange color. K, like a faded skin tone, orange color. I don't know how to explain it, but it's called brown ochre, 50% If you can find something similar, I would be very impressed. But you don't necessarily need to have this exact color, even if it's in other brands. Just find something that is like a skin tone has a little bit of a hint of orange to it and that should be perfect. But we'll be using that throughout the rest of the portrait, so keep that handy as well. This dark flesh, 40% I use this on a lot of my portraits. It is very much a pink skin tone color. We're going to be using that for a lot of the blending as well as like the undertone part of the cat. Because there's a lot of pink in this cat, you'd be quite surprised how much is really in there. We're going to use that on top of the layers that we've already applied and start to drag it out closer to the left, or I'm sorry, to the right ear and really throughout the rest of the face, but we're just trying to work section two, section right now. All right. So this brought 50% I told you we were going to use it a little bit more too, throughout the rest of the portrait. I just love this color so much. It almost has a green tone to it actually. I think that it has this very natural look. I think it works really well on animals because I would say a lot of animals actually have quite a bit of green. And especially if they're reflected from being outside. You can see a little bit of green in the reflection. But I think it's important to show those kind of colors to make it look more like you see it in person than if you were to see them on a picture. Oftentimes, I will end up with at least one client or two clients sending me filtered pictures and I really can't see the true colors on there. So that's why I like to ask for just the original picture so that I can actually get the true colors. Now this raw number 10% which is kind of like the ivory color we're going to use to burnish over what we just drew, super, super important. Burnishing is a method of basically applying a heavier layer. So something that heavier pressure, it's creating this wax coating over the top of all of the colors that you just drew. It helps to blend everything together. Now I will say I like to use the lighter colors to burnish. That way I don't impede on the colors underneath all too much. And I can still use darker colors on top of that. Because if I were to draw burnish with darker colors, I won't be able to draw on top of that because it'd be too dark. Now to add some orange to it, we're going to use this brown ocher. 50% Add a little bit of orange underneath the eyes. Just a hair, not a whole lot because you're going to be using other features in there. Then with the bester here, we're going to start to add some detail. Now between the bester and the walnut brown, there's going to be a lot of use between those two with the patterns all around the face and the body. Keep those handy for sure. There's this line that comes out of the left eye of the cat here. Want to draw that? But try not to make it too straight or too solid. You want to look like there's strands of hair coming out of it away. A little bit of breakage happening then using the Mal Brown, create those patterns that you see around the cheek, then pretty much the same thing going up the forehead and then to the top of the head there. We'll be using quite a lot of that here. Right where the ears are. Right where they start, It is pretty well defined with darker features. Use the walnut brown to define that a little bit more in that way it actually keeps it sharper and you know where the ears began and where they end. I'm using the bester to smooth out some areas and change the color just a little bit. So kind of blending the walnut brown and the bester colors together. Doing this, instead of using the ivory color, let's use the white pencil to burnish some areas. The reason why I chose this color instead of that ivory color, I wanted to smooth out a little bit better, but not in on the colors. That way I can go back over with the same colors. I have a little bit more control over what kind of colors I apply. Then with the raw umber of 50% I'm adding a little bit of that greenish brown color to it. I just think that it really makes the portrait look three D more realistic. Actually, I'm starting to apply more of those colors, the darker, raw umber colors to almost all of my portraits, honestly. Because it makes it look way more realistic and looks like you're actually looking at the animal in real life and not through a picture with the dark sepia. I'm emphasizing some of these marks here on the face. I'm not applying too much pressure because this is a darker color. So I don't want it to be too strong. But I do want to emphasize some of these lines and specs and everything on this cat, because that's what a tabby cat is, has all of those very specific lines that are happening. Using the Darcipia will really help to define it without intruding on the right colors that you want, such as more of that orangey brown color. It just basically darkens it because it already has that warm tone to it. Okay, you got to love a burnt sienna. I absolutely love this color. It brings in more of the red tones, but it's not 100% red color. It is more of an orangey red. It works perfect for this pet, because this cat has a lot of orange to it. But it does have a bit of that red tone. So I wanted to bring in a little bit of that. But if you don't have this kind of color, that's okay. Just continue what you're doing without this color. The slice tool is my best friend. This I got off of Amazon. I really love using this one. It helps to create these etchings in the fur. Here, it scrapes away to the first couple of layers that you applied. It gives those nice little highlighted features. I wouldn't use it for drawing the texture of the fur just because it is a little bit too sharp. But I will use it for applying some highlighted features more. So I don't use this color too much, but you do want to keep it handy for later. Brown ochre, 10% is just a very pale skin tone color. If you have something like that, we will be using that a little bit more later on. But then with the brown ochre 50% we're just going to add a little bit more orange in there. Just a touch of it so that all the colors even out a little bit better. Now, I did say I was going to make some adjustments to the eyes because they are clearly not done. This is me just making some adjustments. If you want to do the same thing, just follow along. If not, then just take a break. Feel free to go get a drink. Just relax your eyes. Relax your hands and then come back to this later with fresh side of eyes to start the next steps. 5. Drawing the Ears: All right, now that I've fixed the eyes a little bit better, let's move on to the ears using the baster. I'm drawing a little bit of an outline. I don't want it to be too strong of an outline because that will definitely show through after all the layers. Just really trying to get that so that I know where my guidelines are. I use this dark flesh 40% to add some color to it, but I don't want to start filling in the rest of the ear just yet because I really need to get those lines of the hair, the white hair coming through. This method is definitely going to be tedious, but if you can just trust the process follow along, it will look amazing. I do draw those little strokes going inwards so that it has that illusion of the white here. And then we'll start to use darker colors, like a dark walnut brown color to darken up Some of the features here just follow along, you'll see exactly what I mean with the raw umber 10% I do burnish it a little bit. I don't want to burnish too heavy though, but I'm just trying to get it to look a little bit more cohesive with the rest of the portrait here. Use the dark sepia to draw tiny little dots right behind where the white hairs are coming through. That way it looks like that's the darker part behind of the earn the, of the little hair coming out is in front. If that makes sense, then just use other colors like dark flesh, 40% here. Blend it a little bit better, make it look more aligned with the rest of the portrait, and smooth out any of the tooth of the paper showing through as well. With the walnut. I'm darkening it up a little bit more and then dragging it down on the bottom part of the ear to blend it into the rest of the ear or rest of the head. Actually, you'll see what I mean here. Just follow along and try to do like little short strokes to blend it into the rest of the head. Okay? And then use the white to burnish, make it a little bit more emphasized. And blend it in a little bit better. And what that does is it smooth out any of that tooth of the paper showing through or that sketchy look that happens with drawing with color pencil with the right ear. I'm applying the same exact methods. It's just angled a little bit differently and has a little bit different features. Just follow along here and use the same methods that we did with the left ear. I noticed that it is looking a little bit too pink. So I'm going to use a little bit of this burnt sienna and apply some red tones just right at the corners of the ears. And just a little bit, barely anything right inside the ear as well, but not a whole lot. It's really just to create a little bit more mix of colors than anything else. And then burnt Santa 50% I didn't use that one really in the left ear, but I am going to use it in the right ear just a tiny bit because there is a little bit more pink in this right ear than the other one. I'm going to use that while trying to avoid the texture of the white hair coming through. 6. Fluffy Chest: All right, we're done with the face. Let's move on to the body. We're going to use the Raw umber, 10% start to draw the white part of the hair here. There's actually quite a lot going on in the white hair. We're going to use the raw umber and draw in the same direction as much as possible. Try to keep your pencils sharp, but just follow along and you'll see each step that I take. Then I'll help you with the more detailed areas here in a little bit. Warm gray number two by Faber Castell. Now this is just a warm gray, if you have something like that, then definitely go right ahead and use it. This is really helpful on top of the ivory to create a little bit more shading and a sense of depth to the white fur. Follow along, you'll see how I apply it, but I am using it a little bit underneath the chin there, then I'm going to be using it more on the left hand side where there is more shading happening. Then I'm drawing a little bit of the arm here just so I know where it's located. It does make it a lot easier to be able to proportionally draw the rest of the features if I have a little bit of just outline to tell me where to stop. Essentially, you can do the same if you want with the brown ocher 50% With the baster. Let's go ahead and start to draw the arm there. I'm going to draw left or right, because that's what I normally do. The reason why I draw left to right is to prevent smudging as much as possible because I am right handed. If you're left handed, I could definitely see it being a benefit to draw right to left instead. Just keep that in mind when you are, so that you can prevent smudges and any blemishes from occurring. 7. Left leg: Okay. I'm using dark sepia lightly, just emphasizing where the jaw line ends and the neck begins. Super, super important. You don't want your cat to look like it has no neck line and it is just flat face. I'm just drawing that a little bit, then I'm going to use the dark sepia to darken up some of these tuffs of hair too. I, I like to say this a lot. Here's the trick for drawing white fur. You want to think about the shadows more so than the mid tones or the highlights with white fur. Look at the shadows and see what's underneath that fur, what color it is, what direction is going on. And focusing on those shapes, more so than thinking of, oh, oh, that midtone has like this color or whatnot work on those shadows a little bit more, and then you can worry about the other colors afterwards with the dark CPA. That's what I did. But anyway, moving on, drawing a little bit more on the right hand side just so I can start to see the shape happening because I'm working my way top down at this point. And if I can get the shape of the cat done a little bit better by just working very small sections at a time, that's going to really be beneficial to understanding and seeing your proportions better. It really is just like a guideline at this point, if you can think of it like that at this point, I'm surprised I haven't whipped out the silver gray at all. I love using this color for every single portrait that I draw, but I use it in the highlighted areas. I like to mix cool tones and warm tones a lot. What this does is it helps to create that sense of depth and character to the portrait. When your portrait is just one solid warm tone all the way, it really does lose that three D effect. If you can use a little bit of a cooler tone to it, then you're solid. You're good to go. I do use a little bit of a lighter pink color later on, but you'll see that just a little bit here. But with the dark CPO, very carefully, lightly and delicately think of it like you're doing tiny little strokes, just very delicately applying this texture to the fur. I'm not trying to draw the shadows, I'm just trying to draw texture. So think of it like that, especially with a small portrait like this. Now it can move down to the right hand side where the leg, the front leg is behind the tail, but then the back leg is jutting out a little bit. We're going to draw that little ramp of the back leg there. This part, you don't have the drug exactly in one direction. I'm just trying to do little circles to get that first layer, but don't go all the way down because you can still see a little bit more of that white fur coming through, more so than the top part. Then with the better, let's go ahead and start drawing the texture to it. Just follow along here, you'll see how I apply the texture and definitely have some patience. Now if you need to take a break, go ahead and do so. If you haven't, I'm definitely not going to tell you to draw this whole portrait all in one sitting. That would be way too much. But definitely want to make sure that you are taking frequent breaks so that you're not going to burn out or get too frustrated that the portrait is not looking right. I know that whenever I draw for too long, I sometimes lose the freshness of looking at the picture and I start to lose some detail. Because of that, I have to take breaks to be able to come back and see what is it that I need to add or need to fix. But anyway, continue on with the bester color and creating that texture. I will see you in just a few minutes here. Okay, so with the burnt sienna, we're going to apply a little bit of that red tone in there. Super important. I know it may not look like it in the reference image, but trust the process. Just trust me in what I am doing here, but don't apply too much. You really aren't trying to create texture, you're just trying to create the color and blended it in with the rest of the colors. With the walnut brown. Let's go ahead and darken some of these areas using the same method. Now this is more about texture, I'm going to apply a little bit told it's a little bit of both texture and color. Keep that in mind as you're darkening this area. Now, I do go back over this section quite a lot, but if you feel like you don't need to keep going back over it later on, definitely don't worry about it. But for right now, I'm trying to get this color to look really good. I'm going to be blending a lot of colors to it. Okay, so I hope you are having fun still. I know it's a lot of work, especially in this section, and if you're losing patience, definitely take a break, come back. Please don't give up and move on to other things or other parts of the cat because it really is important, The details are super, super important. Using the walnut brown here, I'm applying more detail. Trying to emphasize that tabby cat pattern that's happening here by avoiding the white spaces, leaving those for the last part and not working on it right this second. Now for the tail here, I'm going to use the warm gray for the first layer and then also using it for right behind the tail as well. This helps with the shading to emphasize that this is a white part of the cat and not the orange that you see. Now with the brown ochre, we haven't used this very much. But I do think that it definitely needs to be brought back out to bring in that flesh tone kind of color to it. Kind of brighten it up, get that like peachy color essentially. 8. Fluffy Tail: I was wrong, I actually didn't use warm gray, I used raw umber for the tail here. This part is just more of getting that first layer down. Apply lighter pressure for this part. Definitely don't have to fill in every single gap. But I'm just trying to get that first layer down with the direction of the fur and where the tail ends. Then with the bester, let's use that to create the little patterns that are happening here. Definitely can use a little bit of heavier pressure to emphasize it and work your way up, but we will be using other colors besides best to add on top of the pattern. So it's not just one solid color then at the end of the tail to definitely do not apply nearly as much pressure or as much as this walnut brown definitely lightens up up there and you want it to make it look like it fades. I did see that there's not a lot of orange in here. So I am applying a little bit of this brown ochre, 10% to a little bit of the darker sections of the tail. And not necessarily in the white spaces all too much, but just in that darker, like the middle part of the tail with the dark sepia, you can apply a little bit of a shading happening underneath the tail and break on the bottom part of the tail as well, I guess behind the tail and then underneath the tail to that's going to help it look like it is closer to a surface of some sort and further away from the light. You don't have to use this method or this tool here, but I do like to use it here and there. I'm just using the slice tool to etch and define the top part of the tail a little bit better, just so that it has a good separation between the tail and the leg there. 9. Right Leg: Now that that part is done, we can move on to the rest of the body. The chest here goes pretty deep, goes right in between the two legs. But we're going to use the raw umber 10% and draw a very light pattern going up into the top part of the chest with the darker raw umber. We're going to do the same thing, create a little bit of a darker pattern in that white fur there. It just makes it look so much better when you have these warmer tones to apply to the white fur you'll see here in just a few minutes. What I mean by that, it just looks so much better than applying a lot of cool tones to it when you have more of a mix between the two. But this one definitely had more warm tones, especially because it's an orange tabby cat. The right leg is the same method as the left leg. Hopefully you were able to get that done pretty easily, But now where you're going to use a brown ochre, 10% which is like that fleshy tone color. Applying that to this right hand side, a little bit more so than the left hand side. That's where the sun is facing, Is that right hand side? It is going to have a little bit of a different color compared to the left side. Then with this row number 50% I'm going to apply it behind the tail a little bit in this leg. Just little features here and there. But I'm not going to be applying it like it is an actual texture. Just applying it a little bit more to add that color in there. I've noticed that the more colors that you use, more variations of similar colors, such as raw umber, 10% raw umber 50% or lighter and darker browns variations of, I guess, the values of those specific colors. The more realistic the portrait is going to look. Keep that in mind as you start to draw on your own. Definitely do not be afraid of trying out different colors and applying them. I was afraid in the beginning, but as I started to branch out and started to play around with these colors that I never thought I'd use ever, especially like something like purples, I really started to enjoy it, and now I know what colors to use, just in the back of my mind because I know how it looks on the portraits that I've done in the past. But anyway, moving on, starting to work on this chest, the lower part here like in the belly area, in between the dark, Pia I'm using too dark in that area just a little bit and then start to work my way out. But you don't want it to be too solid of a color because you're trying to apply texture for the hair that's coming through. You can kind of see some of the patterns here and the right leg. So I'm going to use the walnut brown to darken some of those patterns and make it look like the left leg. Let's apply a little bit of a pinker color, such as the dark flesh, 40% to kind of like emphasize the separation between the right leg and then the back hind leg here. 10. Finish up the right leg: Okay with the warm gray number two, let's go ahead and try to work on this chest here. And start to pull it all the way up to the center of the chest by using that very light method and just trying to work on the delicate aspect of it. Once you've got the lighter part of this white fur down, then you can use a dark sepia and just slightly darken it up a little bit, not a whole lot. You really just want to use this part for implementing more the shading that's going on underneath the fur. Not necessarily trying to draw the actual texture, if that makes sense. 11. Right Leg: Now that that part is done, we can move on to the rest of the body. The chest here goes pretty deep, goes right in between the two legs. But we're going to use the raw umber 10% and draw a very light pattern going up into the top part of the chest with the darker raw umber. We're going to do the same thing, create a little bit of a darker pattern in that white fur there. It just makes it look so much better when you have these warmer tones to apply to the white fur you'll see here in just a few minutes. What I mean by that, it just looks so much better than applying a lot of cool tones to it when you have more of a mix between the two. But this one definitely had more warm tones, especially because it's an orange tabby cat. The right leg is the same method as the left leg. Hopefully you were able to get that done pretty easily, But now where you're going to use a brown ochre, 10% which is like that fleshy tone color. Applying that to this right hand side, a little bit more so than the left hand side. That's where the sun is facing, Is that right hand side? It is going to have a little bit of a different color compared to the left side. Then with this row number 50% I'm going to apply it behind the tail a little bit in this leg. Just little features here and there. But I'm not going to be applying it like it is an actual texture. Just applying it a little bit more to add that color in there. I've noticed that the more colors that you use, more variations of similar colors, such as raw umber, 10% raw umber 50% or lighter and darker browns variations of, I guess, the values of those specific colors. The more realistic the portrait is going to look. Keep that in mind as you start to draw on your own. Definitely do not be afraid of trying out different colors and applying them. I was afraid in the beginning, but as I started to branch out and started to play around with these colors that I never thought I'd use ever, especially like something like purples, I really started to enjoy it, and now I know what colors to use, just in the back of my mind because I know how it looks on the portraits that I've done in the past. But anyway, moving on, starting to work on this chest, the lower part here like in the belly area, in between the dark, Pia I'm using too dark in that area just a little bit and then start to work my way out. But you don't want it to be too solid of a color because you're trying to apply texture for the hair that's coming through. You can kind of see some of the patterns here and the right leg. So I'm going to use the walnut brown to darken some of those patterns and make it look like the left leg. Let's apply a little bit of a pinker color, such as the dark flesh, 40% to kind of like emphasize the separation between the right leg and then the back hind leg here. 12. Cute paws: I accidentally did not realize that the camera cut out before finishing up the portrait in this little section here. So I'll just explain to you what I did in that part. It's really just similar to how I did the chest there by using some of that raw umber 10% to add that color, not necessarily the texture. And then I used a little bit of darker like a dark sepia and the warm gray number two to apply that texture there. But now we'll just move on to the pause here. And there's not a whole lot to it, but I am doing a rough outline using the dark sepia. I normally don't do outlines but for this part, needed it because it is the bottom of a whole body there. I wanted to make sure that it was going to look darker towards the bottom, then towards the middle and top, it starts to blend and get lighter as you go. Let's use the warm gray number two by favor caste. You can just use a regular warm gray if you don't have this one. And start to blend that in the inside of the Paw there to the base. And then we'll work our way up as we start to build up darker layers. But for right now, we're just going to apply a little bit of that texture by using the warm gray. Then with the raw number 10% Let's go ahead and blend all that together by using a little bit of a burnishing method. Get it all nice and smooth as much as possible. Do leave room for the highlighted areas just so that we can make adjustments as we go along. But now you can see that the darker parts lightened up. I'm going to use the D to darken the bottom of the paw a little bit more. I did notice that it needs to be warmed up just a tad, so I'm going to use the paster by Favor Castel to just warm it up. Add some of that beautiful color that way it does match the rest of the portrait there. You can use the sepia to add a little bit of shading in between the front paw and the back paw. Super important because it shouldn't be flat. And by adding that little bit of shading, it shows what's in the foreground and what's in the background. 13. Touching up: From here on out, it's just about making adjustments. If you think yours is great, then you can end it here. But if you want to make some adjustments, just follow along and see what adjustments I make. I will say I do add a little bit more detail in this front leg here just because it's not quite dark enough. The little bits of patterns aren't defined enough for me. I'm going to incorporate some darker colors in there. In the meantime, like every pet there are some whiskers. I'm going to use the dark pa to incorporate a little bit of whiskers. You want to make sure your pencil is very sharp for this part and just be very delicate about the whole process. You can also use a little bit of the sliced tool to etch in the white parts of the whiskers and then go back over with the dark. Do a little bit of an underline of it that way it defines it a little bit better. But that is a little bit of advanced, so if you want to just use the dark sepia to create the whiskers, that is more than fine. This is the last step. So I really hope that you've enjoyed this video. I know it is about 2.5 hours long. Oh my gosh. If you made it this long, I am so proud of you. It takes a long time. It really does. So if you did make it this far, I really want to see your results. So definitely send me pictures which way that you can through e mail messaging, whichever way you normally contact me would be awesome. Thank you so much for watching and following along, and I will see you in the next video.