Lion: Loose Watercolor Masterclass

1. Class introduction and supplies: Hello and welcome to my loose watercolor painting masterclass. Our subject will be this beautiful line. We will paint his portrait and I will explain the whole process step-by-step in detail. I will show you how to give your painting a strong foundation with a beautiful, loose, colorful watercolor wash. We will discuss these colors. I will explain how to pick them, how to choose a brush and how to load it. We will then evaluate the results and you will learn how to make corrections if necessary to start building tonal relationships, volume and realism in your painting. I will surely helpful technique how to get a good starting point on the drawing on building precision in the painting, we will work on the lines face with our Align tool with water-soluble pencil. It didn't just the right amount of details. And then we will use this drawing to create shadows as the next step in the development of our portrait, we'll, we'll go back to watercolor to add depth and precision to those shadows. And then you will see how I put the finishing touches, small details and highlights to give out portrait even more life. Little style of watercolor is very popular with art lovers. But from personal experience and from other artists, I know that this is not an easy style to master. We need to know how to apply watercolor loosely and how to add just the right amount of detail, not to overwork our painting, but at the same time make it believable and realistic. I will tell you right away, this is my favorite style. I spent years perfecting it and working on it. And today I will share all my secrets with you. This painting, we will need our usual watercolor supplies. We'll be using 300 pounds or 640 gram watercolor paper, 100% cotton. I recommend a good quality paper for this technique. Slightly lighter weight will work as well. I will be using just a little sheet, but you can use a block or a **** out of a pad. I will be painting with watercolors. I have all the pigments listed in class materials in a PDF file that you can download in the project section of this class. I will need just a few brushes. The ones I'm using are flat angled brushes. I have three larger sizes and I have a dagger brush. I listed them all in the class materials as well. And I will be explaining during the masterclass a little bit more about them, why I use them, and how to apply brush strokes with them. In other material that we will need is a pencil. I will be using Darwin's intense, any watercolor pencil that you have, or even some colored pencils or markers will work for this technique, we just need something that we can add line work with to add just the right amount of details on the lion's face. Of course, you will need to have a couple of water containers for washing your brush and for clean water. And also have some paper towels or some clean Red's ready to pick up the drips. A couple of additional materials I need to mention would be a regular graphite pencil. A soft flat brush doesn't have to be this big. You will see how I will be using it during the painting process. And we will also might need one or two pieces of charcoal. This will be optional for transferring the drawing on watercolor paper. And I will show you in the masterclass how I do that. And of course, we will need something to use to add the details that opaque white material. It can be white ink. I will be using Dr. Ph Martin's pen white. There are some other brands of white inks. I have calligraphy ink here by Winsor and Newton that will work as well. In alternatively, you can use white gouache. Here I'm showing em grams titanium white. But basically any opaque white tool or marker that you have will be fine for this painting. Alright, without further delay, let's get started on our lion portrait. 2. How to work with reference: What can we do if we wanted to create a portrait of this beautiful animal? First thing we can do is of course to just look at the colors in the reference photo and try to match them with our pigments and transfer that to our watercolor paper. So that will be one way to go which is perfectly fine. It will be a realistic painting. My personal opinion about this is that this is a highly artistic photo. We have to use a reference photo. I personally don't have lions Rome industries, so it can take a photo of them. Maybe the way you live, it's easier. I don't know, but usually we use reference photos. And once the photographer took that photo, and also you can tell it's been processed in Photoshop. And this is that photographers, artistic vision. We're artists. We have our own vision. So maybe we don't want to just copy what we see in the reference photo. We want to have our own opinion and we want it to be our own artistic expression. So I was thinking we could use this reference photo, but put our own twist on it and put our own vision on it. So how can we do that easily and kind of safeguard ourselves from failure? We don't want to waste the watercolor paper. One way to go would be what I'd like to do is convert the photo to black and white. So I eliminate color. I only have form and I only have kind of tonal relationships in the photo, right? And then freeze my mind and freeze my eye from photographers vision. And it allows me to work more freely. That is usually my suggestion when working from reference photos and trying to pick colors is not to go by the color reference, but to use a black and white reference. And after we're done, we can compare with color and see, it will be interesting to see the end what we did differently, what decisions were made during the painting process? In this printout of Photoshop, the original color photo, I did a black and white filter on it. But if you don't have Photoshop, you don't actually need it. If you have the photo, you click Edit and you turn saturation all the way down, it will become black and white and you can easily print it. And this serves a dual purpose. So that frees me from the colors. It will helps me to make my own color decisions. And also, I can use it as a guideline to transfer the drawing on watercolor paper. Because I could draw this, but a little bit of help never hurts. I can just draw the eyes, the nose, and the mouth and have some sort of a reference to go by and make sure that my lion looks like a lion and I don't stray somewhere. 3. How to choose colors: I did a little color sketch when I was preparing and I was trying to jot down some ideas what I could do about colors. Let's start on the right. The first thing I was thinking, nothing wrong with just copying the photo in black and white. This will be an excellent exercise, especially if we have a little bit of trouble with light and shadow. Sometimes, you know, watercolors tend to look very flat and uninteresting because the darks and missing. So this would be an excellent exercise to just use one color and try to find all the light, midtone and dark areas on the line. And that could be very beautiful watercolor painting. What I like to do is maybe add one color as an accent. Obviously, the eyes will be the focal point. If I just use a little bit of lemon, yellow or green or something like that for the eyes that will make the painting pretty stunning. So that will be one way to go. If you wanted to try that sometime. Another way to go would be to pick just a few colors that are close to each other on the color wheel. These colors are called analogous. If we stay, let's say within the reds arrange and went from warmer reds to cooler ones, we can very easily and successfully paint this line as well. This is called analogous palette. And you'll see what I did here. So I used warmer reds for light, and I used cooler reds for darker areas. If we think about how we show three-dimensional objects on the flat sheet of paper. That's what we usually do. We use warmer colors for lights and cooler colors for shadows. Sometimes you can do it the reverse. You can do cool lights and warm shadows, but they have to be opposite for the object to look three-dimensional. And that's what I did here. I did not use black, I did not use some other color. I just stayed within that red range can be yellow range can be blue, range green, whatever you feel like doing. And I created a painting. That could be another interesting option for us. The third option that I will tell you right away, this is my favorite, would be to use complimentary colors. I know that lions are kind of tan, orange color. So if I went with oranges, maybe yellows, somewhere in this range on the color wheel for lights. How do I create shadows? The easiest way to create a shadow is to use a complimentary color, the color that's on the other side of the color wheel from the main color that you're using. So if this is my primary yellow, I would go into purple today. I think we're going to try this complementary palette. It's my favorite, are very often use that approach. It does not have to be yellow and purple. It can be orange and blue, it can be red and green. Sometimes I paint, I use opera pink and it really looks nice with torque with, this is kind of read, write and this is kind of green combinations a Endless. The main thing is to understand that we are using the opposite colors to show shadows. We're not using black or Payne's gray or anything like that. We are neutralizing our main color with its complimentary. Alright, let's see if it works because, you know, don't take my word for it. We're going to try it 4. Start painting: watercolor layer: Does that painting, I did not transfer the drawing yet. I feel it's a little restricting. Also, you can get a lot of lines and once you put watercolor on top of them, you can't erase anything. I'm going to try to win it and do the first watercolor wash just on a white sheet of paper. If you don't feel comfortable doing that, that's fine. You can wrap some charcoal on the backside or some soft graphite. Put it here and just transfer the lines. Now we'll be doing that. After I do the watercolor wash, I'm going to try it just free hand. Let me situate my line right here. I'm going to spray my watercolors with water and I'm going to give my paper a little spritz or water as well. I'm going to use a big brush advice for beginner watercolors. Don't be scared to use a big brush because it holds a lot of pigment, a lot of water. It will just believe me, it will take a lot less effort for you to paint with it. Once you get used to it a little bit, then using a tiny brush and tiny brush strokes, It's very hard to paint like that. So what I'm going to do, I see, when I look at the black and white lion, I see that it has light areas, right-click on the face. It has midtone areas, kinda transitions, and it has darker areas like in the nose, it's very dark in the hair or some dark areas. The way I'm going to relate this to my colors is this three. So this will be light, midtone, darker mid-tone, and then darks will be mixed with purple, right? We're going to neutralize the yellow with some purple because that's the complimentary. If you don't have many yellows, let's say you only have primary yellow lights will be that primary yellow diluted with water. And to get this color is very easy. Just a drop of red into your primary yellow and you can get this kind of light orange. Don't worry if you are if you don't have all the colors that I have, just used, the ones you have. Alright, let's get started. His face. We can actually, lemon yellow is so easy to lift and to even cover with other colors. We can even just give it a nice big wash with lemon yellow. Another reason I like to kinda start without a drawing is also that I can really be kinda scared and use the colors with quite a bit of intensity. I like intense watercolors. I don't like kind of pale, delicate watercolors. Some people do beautiful job with them, but I just, it's not my thing. So I like to paint pretty bright limb. So you see what I'm doing, right? I apply that lemon yellow. Now I'm switching to slightly warmer yellow to paint light mid tones. Looking at my line and kind of vaguely following the drawing. Don't worry about it. If something is not quite in the right place, we'll fix it later. You can lift, you can repaint. It's no big deal. And I'll tell you guys, I'm using the method of site measuring to pin this, to do this, to paint without the drawing. If you took my class on sketching people, I know some of you did. We talk about site measuring there quite a bit. Okay. I'm going to surround him. I decided that my darker areas will be based on this. Very warm yellow are kind of, this is permanent orange actually this movement is called. So I am going to surround the line with this darker color, darker, warmer color, I should say. Free-flowing wash. Don't worry about it, but it's not quite there. Not right. Everything is correct. Whatever you do is explored. And I'm going to spritz it with some water to make colors move. Feel that his cheeks a pretty pronounced, maybe a little bit of an orange on the cheeks. If you learn to mix colors on paper instead of your palate, I think that will enhance your watercolors quite a bit because it just looks beautiful when colors mix on paper and then not pre-mixed. Okay, So kind of vaguely something resembling the line. And this is a lot of brush strokes. What I'm going to do is grab a dry brush, doesn't have to be this big or anything. You just need a soft dry brush. You can move the colors around two. So I'm going to just smooth this a little bit because it's too much a little more water. And if you have some white paper showing in places, That's very good. Just don't try to cover every square inch of your painting. It's not necessary. White paper in watercolor is very valuable and it looks really good. Okay, So this, I wanted this kind of soft warm wash. That's all I wanted to create. This stage. I will show it to you a little bit closer. So it's very amorphous and vaguely following what I see in the reference photo. Let me actually pin my paper to my drawing boards so it won't warp and move on me. See, it's already starting to warp and you'd have to be careful you can touch the painted surface. I'm using the tips of my fingers to pin it down. What we need to do next is an interesting trick that I learned when I was learning to paint. When we look at a face, animal or person, we just concentrate on the features. We just can't take our eyes like I'm I keep looking at his eyes. I can take my eyes away to help me evaluate what I have on paper compared to my reference photo. I'm going to turn the reference photo upside down. And I'm going to turn my painting upside down. This helps me to see this is shapes, light, midtone, and dark instead of the features. And this way it will be easier for me to evaluate this wash and see if what I painted is correct or not. You can even paint upside down, but that's harder, so I don't want to make it too hard for everybody. But now that we have kind of gotten away from the face and we see the shapes better. I can evaluate the results. And I see that where the chin is, this area here, it's a little too much, so I need to lift some pain there and make it lighter. So let's do that. And lifting water color and I'm making corrections. People say, Oh, you can make corrections in watercolor. You can, it's harder than with other mediums, but it's possible. You just scrub and you'll lift paint. We're going to paint his What's it called the muzzle, right? His, his nose and the mouth. And this is slightly lighter. And this kind of goes, I see that shape. It kind of goes this way. And it goes this way. His beard and stuff. We can we can lift a little bit like on top here. But I'm also going to use a peak white to add a little bit of detail. Maybe lift here a little bit. And let's see. So this says here, there are a couple of lighter areas here that we can mark. It also, I see a couple of lighter areas on this side. They're not supercritical, but I'll lift paint. There's just so we can see. So not forget about them. Okay. I think these are all corrections that I'm going to do. Maybe a few here. Well, we need to let this sit a minute and dry before we can proceed. 5. Continue working: pencil drawing: Let's see what we have here. I don't have any shine on my paint. It's still a little damp, but I think it will be fine if I continue working on it. Actually, let me show you something guys about this really need to it's called heated craft tool. So it's like a little he'd gone. This is actually let me turn it on. It's a lot quieter than the hairdryer. This actually works. Just great. I mean, you can get a heat gun and construction store, comb supplies store, but it will burn your paper, but this one is not too intense and it dries your watercolor very nicely and quickly. It speeds up the drying time without burning your paper and without making a horrible racket. So I'm going to try this just a little bit and we will continue painting. We're going to switch to our Align tool. What I want to do next is actually transfer my drawing and give myself a guideline. Yeah, this should be fine. So the way I transfer drawings, I am going to take a piece of charcoal or you can take a soft pencil and just rub it and I can see the lines face. I'll just rub it on that area because that's the most important for me. The main we can kinda winners and figure out where things are. But I just would like to transfer the eyes and the nose a little bit of charcoal. Let's put this back on our watercolor paper. I printed this to size so I would know how to match it, right? If you don't have big printer like I do, you can just even print the face right and put it on there. And all I need, I'll use my pencil, but you can use that with dark side of the brush. Just need something to transfer the drawing. This is not cheating because we're just using whatever tools we need to get the results that we need. And I know from an artist who even asked the international show, watercolors show judges, and they have no problem with drawing being transferred on watercolor paper as long as you have the right to use that photo, right? They have no problem with you're transferring. I don't think I have charcoal there, but maybe I do. Okay. So this is all I wanted. Little bit of a guideline. And now, if you guys need a little more, you can do a little more, a little more detail. But for me this should be alright. Water-soluble pencil. Darwin did tense. The color is dark purple. And I'm sure you understand now I did not select that color randomly. Purple is a complement of yellow, right? So I'm going to use this color to neutralize my yellows and to create shadows. So I'm going to be working on dark mid tones, dark and dark as dogs like the dark accents on the line. I keep looking at my black and white photo while I'm doing this because I'm not copying colors from the reference. If you don't want to use a pencil or you don't have watercolor pencils, you can keep working with watercolor. Pick a purple that you have on the palette, whichever one you think will work or complimentary color to what you have on paper already. My only recommendation will be, let's try starting with a line. So take a small brush and pick up pigment directly from the weld with a lot of intensity and try applying it on paper because then I will be softening the lines. So I want you to be able to do something similar. Usually we paint watercolor layer by layer, but maybe today we can try something different. But basically any line tool can work. You can also use a marker and even if it's not water-soluble, we will add purple watercolor later and you will get a similar result. What I'm hitting. Alright, so I'm just going to basically draw my lines face here. I'm looking at the black-and-white reference, and I'm just applying that pigment that I have in the pencil to my watercolor There will be very dark area here on the bottom. And I think it's easy. Like I said, we're trying quick techniques because the paint, this line with all the details with watercolor will obviously take quite awhile. You know, it's a pretty complex form. A lot of little shadows going on here, a lot of lines. So it won't be super quick job, but we want just the fresh spontaneous sketch. And we want, we don't want to spend a little time, maybe today, maybe another time we can do super realistic detailed painting of him. I'm also varying the pressure on the pencil to get different marks. Variety always looks good on paper. And so if you can, if your tool allows you to do that, just vary the marks a little bit. So here's some markings on the face here. It looks like a grumpy old man. But he's beautiful at the same time. So he's got the main there, his ears, we can see a little bit sticking out from his main. So this will be his outline. Some way shear. There will be another ear. They're pretty dark, darker than the main, so we can add a little more colleague here, little more pigment. There is a darker area here. I'm trying very hard to stay away from drawing his every feature and every, he's cute nose and mouth and everything. But to work with shapes, with tonal shapes. Pause here somewhere I can sketch that in real quick. And another one is here. Alright, and now for the fun part, activating the water-soluble pencil and adding tone. Let's try to do first with clean water. Minus has a little bit of yellow in it, but it's pretty clean. And then we will see, maybe we will add a little more watercolor. So once I activate that pencil, it softens the lines and it gives me that tone. And that purple on top of my, you can see it especially here on top of my yellows and oranges. It neutralizes them and it creates that shadow colors. So the deeper tone that I need that I see in the reference photo. So the magic of color theory that I teach in detail in my painterly peds class. Because, because we need it, because it works. In the background behind him is very dark. But I'll get to it in just a second. I'm going to do that with watercolor. I don't want to use that much of that water-soluble pencil over there is very defined, lighter areas under his eyes. And like I said, I will be using a little bit of a peek white also as well. His eyes, I actually in shadow and I have them very lemon yellow, so I'm going to drag a little bit of color onto them and add a little bit of shadow there. And if you have too much of that intense color on your brush, you can just rinse it, right and get rid of it. Or good idea to always have a paper towel or just a piece of gloss or read any other hand. And that way you can control the amount of water and pigment that you are working with at all times. If I need a little more, I can always add a little bit more color in certain key areas. Okay, let's move on. Don't want to concentrate on one area to match. Line tool will also be good. See how he has those whiskers. So this will be very easy to do with the line tool as well. Just some little bit of hatching here. And this is all darker under his chin and on the size of his face. And it's dark under his chin. It might not be dark enough because I lifted color there, so it might not be dark enough, but I have my watercolors. I'm not worried. I can always add a little more tone if I need to. Because I didn't. Watercolor will work with layers. So you want to more or less gradually build your painting and don't jump in super dark all at once. It's usually not a good idea. It might lead to some problems. Let's see. So there's his face. The dark comes right up to his eyes. And he looks weird because his nose is very dark, but it's not dark in my paintings. So I need to paint his nose. I need to paint his mouth. And you can lift intense while it's still wet. But once it's dry, it's just going to stay there. So we need to walk through it fairly quickly here. So this dark line of the mouth connects to the dark area here on this side and on this side as well. So we go into drag some pigment there. Okay. And this is all going to be dark, soften. And I really like guys, I don't know about you, but I really like how cancels create additional texture on paper. I think it adds a lot of visual interests to watercolors. So I'm not worried about leaving this marks and covering them or anything because I think we can contrast them with smoother areas. And it looks really attractive and really interesting for the viewer. So I'm all for that kind of mixed media effect. 6. Continue working: refine shadows: We've done this. Now. I'm going to take a smaller brush and I'm going to add a little more colors. So I used a dark purple. So I'm trying to think which color will be best. I think ultramarine violet will actually be a good color for me to go with it will, it will match the pencil best, so this will be the closest. And what I'm going to do now, I'm going to add darkest accents. I have some, but some areas need a lot more, a little bit more work, not a lot more work. And to see those areas, to again, I'm evaluating the result and I'm trying to decide what else I need to do. And to evaluate the result better. I'm going to squint when I'm looking at my painting and then squint when I'm looking at the reference photo, I can see that some things are not quite right, so I'm going to fix them now at this stage with watercolor. And notice that I'm not putting watercolor on my palette. I'm not mixing it with water or wet the brush. And I'm picking watercolor straight from the well, because I want that intensity. And if it's too much, I can always grab a clean brush with some clean water on it and soften at all lifted. So that's the way I'm going to do this. I see the very dark area on his ear right here. And this, I could've done it with pencil, but I mean, I have watercolor as well. So when both on my painting. So that's what I'm going to do. And you see I'm softening that area. Here's the hair sticking out. So we can do that. So the trick is to do just enough for people to understand what you're trying to say here, but not overwork it, right? And we all have that problem. We just paint and paint and paint and then we decide that it's a little too dry, a little too overworked, and it's hard to go back. So working with layers gradually and evaluating your results, like I said, squinting and looking is a good idea and it will help you to be more successful. And I'm guilty as anybody and I tried to fix stuff. And then it's like, why did I do this? This is just not right. And you just have to start over very often. Okay? So the top looks better. Darker maybe here as well. This is a dagger brush, quarter-inch, my favorite, very versatile. You can paint with it flat or you can paint with it on, on the edge. So that's why I love it so much. It helps me to do a lot of things that I need to do with just one brush. His cheeks, need to be darker, so I'm going to just apply watercolor here. Okay. He's nose is actually not black, not all black, right. So we need to leave some of it lighter and fill in some ligand, the nostrils, It's very dark. It's didn't know, especially if you squint, you will clearly see it. It's very dark and the nostrils and on the outside, but it's lighter. The front of it that flat areas lighter. Let's do this cheek, hillock, his eyes need to be a lot darker, maybe slightly larger. Correct? The pupil a little bit. Make sure they're in the right place and they're the right shape because transferring is all is very helpful, but it might not be very precise. So we still need to look and, um, make sure we, you know, we were doing things right. Okay. He's got very pronounced markings under the eyes here. This can be even darker. Will now write that watercolor lightens after it dries. So we need to go a little more intense than we wanted to look after. It's dry. Okay. And another thing I want to do, maybe soften this a little bit. Okay. And let's see, there's dark area here. See how because these areas, they're not super dark. That kind of mid tone. I switched back to my orange. So don't think that you can go back to the color that you need, right? And we can do whatever we need to do. So this is light, so I use the yellow, there's the dark area, but the nose is kind of middle tone, so I'm going to darken it just a little bit. Chilly, looks much better. Let's see. The cheeks I think are fine now. Maybe a little bit orange to connect the cheeks to the main. Take it into the main a little bit. You can see here why I tell you, only use small brush for details. I'm trying to paint smaller areas with it. I really should switch to a bigger brush by now. It's just hard because it doesn't hold a lot of paint and water, so you constantly have to pick it up. I'm going to take a bigger brush. This one is three-quarters of an inch and it's also angled, is now my favorite brushes. I paint almost everything with them. Darken his beard a little bit. And let's tone down the area around him because I like how he has the darker tone there. So I'm just going to give it a little bit of purple wash. And because I'm working transparently, it mixes with my underpainting with it 1.2 orange that I painted underneath. And that pushes the background away from us, right? And the focal point, the lines, lines phase starts coming forward and that's what we want because that's the main subject of our painting. And maybe here on the bottom we can tone it down a little bit too. I have sort of an outline in down here. So it gives me a little bit of a guideline. Okay. This down as well. Alright, here we go. We're almost done. This is our line. I'm going to let him drive for justice 7. Finishing touches: texture and highlights: Alright, last thing I need to do to my lion is to add the highlights. These areas. I tried to leave them light, but it can use a little bit more definition right? Under the eyes. I had some paint run over, so it's not quite as bright as I see in the reference photo. It's not super bright here, but I think a little bit of white can really help us bring that line to life. And he also has a tiny highlights on his pupil. I pick white that I think looks best with watercolor is Dr. Ph. Martin's pen white. This is opaque white ink. It's light texture. It kind of blends with the paper and with the watercolor very well. I used to use white gouache. But white gouache kind of sits on the surface and you can see it. This, I think, blends a lot better. So I just use it with a brush from the bottle. I tried to keep the brush clean so I don't contaminate my ink. Make sure I rinse the brush really well and we really need just a tiny drop. You can even put it on your palette so you don't dip ten times. Once you pick up the watercolor on your brush. So I'm going to just add, again, squint when you look at the reference photo and add a bit of highlight, just a little bit. Maybe in the eyes. He has kind of lighter patches here. Above his eyes. We can even add some more texture with this because we can brush it on with light brushstrokes. And of course, here on his muzzle, these are the lightest areas. And we can do him whiskers. See what I can do that dagger brush, I can paint very fine lines with it, but I can also paint slightly larger areas. Can be blended a little bit. Very sophisticated technique, painting with my fingers, matching things with fingers. Okay, Let's see, has a little bit of a lighter area here, kind of very pronounced cheekbones. Maybe a few highlights and the main won't hurt. I'm going over his ears and everywhere. And then his beard rain. We can surround our focal point a little bit better with highlights. I feel like I need a little bit on his beard. Yeah. Just defined his beard a little bit better. Maybe blended. Yeah. I think that's that's good. That's all we need to do. And always sign your artwork if it turned out good and you like it. And here's our line. 8. Class project and final words: Let's briefly summarize what we learned in this masterclass. We started with a loose watercolor wash using a big brush and working with colors that we selected after analyzing several color palettes. We did not do preliminary drawing, not to restrict us. We worked free hand. We analyzed the watercolor wash after it dried and make the necessary corrections to give it just the right amount of precision. We gave ourselves a starting point by transferring lines features with the charcoal rub. And then we worked with water-soluble pencil to draw his face with softened that drawing with water to start building shadows. And then we'll continue to work in with watercolor to give those channels precision, depth, and realism. We stopped from time-to-time to evaluate the result because we didn't want to overwork our portrait. Our goal all the time was just the right amount of information to convey to the viewers that this is aligned. But we kept our painting fresh and energetic. Our last tip was a few finishing touches with opaque white to add a little bit more texture and highlights. So kindred this class and I hope you will give blind portrait or try and post it in the project section of this class. But don't feel that you're restricted only to this subject matter into this reference photo. This technique is, you see works for many different animals for class project you can paint if post your favorite one, I would love to see your work. Look more examples of this technique on my YouTube channel. Learn to paint with Taenia ins. They're grouped in a playlist that's called painting paths and other animals. I hope you check them out. And also, if you want to see more of my artwork, it's on my website. I never have.com. Thank you so much for taking this class with me. I hope you will check out some more classes that I have here on Skillshare