Paint a realistic bird using acrylics | Joe McMenamin | Skillshare

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Paint a realistic bird using acrylics

teacher avatar Joe McMenamin, Artist - Illustrator - Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to the course


    • 2.

      Introduction to image preperation


    • 3.

      Tracing the bird


    • 4.

      Tracing the foliage


    • 5.

      Tracing the final details


    • 6.

      Preparing paints and brushes


    • 7.

      Introduction to wet blending


    • 8.

      Preparing for wet blending


    • 9.

      Painting the head


    • 10.

      Painting the neck


    • 11.

      Painting the body of the bird


    • 12.

      Painting the top feathers


    • 13.

      Painting the layers of feathers


    • 14.

      Painting the long skinny feathers


    • 15.

      Painting the overlapping feathers


    • 16.

      Painting the lower feathers


    • 17.

      Painting the brown layer part 1


    • 18.

      Painting the brown layer part 2


    • 19.

      Painting the beak


    • 20.

      Painting the white neck and pollen


    • 21.

      Painting the feet


    • 22.

      Introduction to painting the foliage


    • 23.

      Painting the foliage


    • 24.

      Introduction to dry brushing


    • 25.

      Dry brushing the pollen and neck


    • 26.

      Dry brushing the foliage


    • 27.

      Dry brushing the bird


    • 28.

      Introduction to adding the details


    • 29.

      Adding the details to the foliage


    • 30.

      Adding the details to the top blue feathers


    • 31.

      Thinking about contrast


    • 32.

      Adding the details to the claw


    • 33.

      Adding the details to the beak


    • 34.

      Adding the details to the eye


    • 35.

      Adding the details to the neck


    • 36.

      Adding the details to the white feathers


    • 37.

      Fixing up mistakes


    • 38.

      Introduction to finishing the painting


    • 39.

      Hanging the painting


    • 40.

      Coating with danish oil


    • 41.



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About This Class

So you have made some acrylic paintings, but you want to learn how to take your skills to the next level. You've seen artists painting in a realistic style, and you would love to be able to paint like that, but you are not sure how to. This course will give you the skills and techniques as the tutor, Joe McMenamin, completes every stage of a painting of the New Zealand songbird the "Tui".

Meet Your Teacher

Teacher Profile Image

Joe McMenamin

Artist - Illustrator - Teacher


I am an artist, a teacher, a dad and creativity is something I apply to all of those things. For 14 years I was known as Mr Mac the art teacher, getting teenagers amped up about making and learning from them as much as they learnt from me.

Then in 2017 I did something I had dreamt of in those ‘what if?’ moments we all have. I stepped away from being a secondary school teacher and I put on my artist hat full time. I have pursued my love of organic, flowing patterns, diving into painting, drawing, making a beautiful mess with dyes and printmaking.

In my Feilding studio I follow a few different creative pathways. I might pick up an ink pen and let my mark making lead me to some intricate doodling. Native birds take flight – my pen imagines their song and nau... See full profile

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1. Introduction to the course: enjoy human and welcome to this course how to paint a realistic Songdo using acrylics in this course, we're going to learn how to paint this booth here. We're gonna start off by talking about how to find a really good image of a bit and being how to transfer the image onto the world. They were going to start developing Kala pellets and looking at how to blame some of the different blues and greens into the boot and then using some different bleeding techniques to get some of the beautiful blends in the table. For this year, we're gonna look really closely about how to paint the foliage and how to make the good stand up against the background and the folio sugar that has more contrast. We're also going to look at some of the fine details in the feeders. We're going to talk about how to draw the details in the eye in the core and how to do all of the nice feels around the Mekas. Well, that make this a distinctive New Zealand to a right At the end. We'll go talk about how to seal the woods with a Danish will and that helps to protect it. And just to bring out the metro running off the wood here. So I thank you once again for watching this video. And if you would like to learn how to paint like this, I just encourage you to roll in this force. 2. Introduction to image preperation: in the section of the course we're gonna be covering how to prepare your image for painting , and we're gonna talk about how to find a really good photograph that you could use. Now we've supplied a photograph with this course so you could download the image off this boot and use it for your painting if you like, or you could choose your own image. Now, if you want to find your own image, it's important that you don't just go onto Google in search for an image in the image. It all you need to find an image that either is on a creative comments or there is free to use from copyright. The other option is to go out and take photographs for yourself will ask a frame to take photograph off a bed for you. So I found this image of A to e news beautiful New Zealand songbook, and I'm gonna be using this for the painting today. Now I like to paint on play with, and so I have applied with surface, but you can justices. They use a canvas if you prefer the first thing you need to do once you have your image is to figure out how large you want your painting to bay and then use your prints seatings to print your image out just in black and white, the size that you wanted to be on your campus. Once you printed out, it will be over a number of pages. You just stick them to give up and have the and greedy to trace the image onto the wood or the section off the course. You're going to need your image printed out in the size that you wanted to pay. You're gonna need some masking tape so that you can stick the image onto your service and you're gonna need some carbon paper to be up to trace the image onto your surfaces. Well, when you're positioning your image on the surface and you're thinking about how large do you want to print it? Just think about the composition that you want to use. Composition is how the different parts of later on the frame and for this composition I've used put the bird fairly central in the middle. And but I've also balanced the lying here with the line of the branch coming across here. So you might just want to think about what you want it right in the middle or off to the side or your What's a composition you want to use? 3. Tracing the bird: now I've chosen to take the boot off the age, and I think this is actually the full sighs bird. But I've just decided to kind of crop it off here toe just to give it a more interesting composition. So you printed out on your left in wet paper, and now we're going to use carbon paper to trace it onto the wood. If you don't know what carbon paper is, it's this paper here which allows us to put it underneath you and draw of the top and comes through, sir. Like that. And I'm just gonna tracks it now. I'm using a thin black teen to do this job. You don't want a priest too hot with Deen. If you can just do it nice and lightly, then it should come through looking fairly similar to a pizza. Boring. Now, just cheek. See how that's looking? Yeah, you can see that's coming through there. You can pick up carbon paper from any art supply shop or you can look online. Usually comes and picks of 25 or 50. Now, when I'm tracing the image, not gonna draw every detail. All I want to do is just give myself a reference for the painting. When I look at the image, I'm going to see that there are some changes here between the blue feathers and the brown figures on the back. So I want to get a sense of were that changes right here and right here. But it's a bit harder to tell on our black and white image, but those are the kinds of painting clues that I want to be able to use, you know, with this tracing this reference. Now, if you're really sharp, that drawing from observation, then you could just get the image and drool straight from it. But I find this. If you get proportion role on the bird, then it doesn't really help the overall painting and sometimes just it just that tiny bit of proportion. Can you kind of make the painting feel not right? So because I'm just using an a four piece of carbon paper, I do need to keep moving it around. But the great thing about carbon paper is that you can use it as many times as you like. It's quite dark in here, but ah kind of figure out the details that will give it to painting. It's really important to try and get through the overlap of these table for this because we're gonna be able to do some really nice tonal work with these to get the D so on and created a sense of kind of overlapping layers that makes it feel realistic. No. Yeah. Coming. Yep. It's looking good. You can just keep checking back and seeing what series of the word haven't been drawn yet on. You noticed that I just taped the the image on. So it's not gonna move around once I start tracing it. Don't worry too much about the see the ring around the edges of the booth because we're going to do those later with some detail painting. And in this part of the painting, we're going to try and edge some of the details to show the texture of the poor, which is different to the theaters in the branches. It's a really good chance to show a good level of detail, painting the league in the foot kind of broken down into the sequence, so you kind of want toe. Just get a sense of those, um, which makes it feel more realistic. Yeah. The bottom of the food comes up here, I think. Yes, we've already got that piece. So just looking is the whole image. Now it's quite dark in here. So you're not going to really see the details that are missing a bit of stuff right here. Here we go. So just keep checking back and seeing what you have a way you don't have. 4. Tracing the foliage: The next step is just to go around and trace the tree. I could just have say, this one branch coming through here, but I like the sense of balance that the composition here's with the bird and mean these three pieces sort of opposites. So I'm going to include those in the painting. You notice is well that you might not be able to see on the frame, but the picture doesn't quite reach to the each. So I just have to make up the image to the edge of the picture to make sure that works so you can see that I'm I'm not being too perfect about the detail of the branches. Those will be kind of in the background. And the other reason that I wanted to include the foliage with the bird is that it's standing on a native New Zealand flex bush. Grab the image here. You can see how the polling is on the beak and the heat of the boot, and it's come from eating or putting its nose into the Syria here. So so that sort of, you know, helps to reference those. And then we'll have a nice little pop of yellow. Um, when we painted 5. Tracing the final details: So the last thing you can do with the drawing face there's to look at the image that we've got and just see if there's any areas that I didn't catch up with the tracing so I can look especially around the Syria here, where the blue changes to brown. I can start to just kind of reference off my during and just kind of work out were that might be happening, so sort of operate here, coming down here. Now I don't team to draw the white detail fevers until the that. You can just get a sense of clean being in the Serie here. Okay, so this is my completed drawing on, and you can see that the carbon paper lines have the quality of pencil lines. You can actually rub them out as well. But it's a little bit harder than peace, which will rubber. So what? This is my starting off point. I can begin. Teoh, you're the Knicks tip, which is to prepare my paints and brushes 6. Preparing paints and brushes: in this section, we're gonna be talking about how to prepare your paints and brushes for making the painting What we're gonna be talking about, how to lay out your pain for the section you're going to need some water, some newspaper. You're also going to need a flat, clean surface to work on, and you're gonna need your paints annual brushes, really for you to stop. And the last thing you need is a color printer off the boot that you've chosen to. Now we're up to the part where we're gonna start painting our base coat. But before we paint the base coat, we need to prepare the brushes and the paint that we want to use. Now we're gonna be using a range of brushes over the painting, and I'll explain each one as we go along. But for now, we just wanting to use synthetic squeegee and brush eso kind of a medium in a small I've got a really small one, but I'm not sure if I will need to use it today. These hog bristle brushes, whichever rougher than since elect I'm gonna be used. But later on for Dr Rushing Layer, so put those ones away and the detail brushes that were used at the end of the painting on . Just keep these two here. Now, the next thing is, we're going to use that paint I like to use, um, acrylic paint and my brain that they use is called global. What I would just say is just trying to get a good quality paint. You don't want something that's too thin. Uh, you know, it doesn't kind of, um doesn't hold it, hold its form very well. And I just found these to work really well on plywood on dso. Once you've got your paint, you're gonna have to think about the colors you want to use. So what? I'm looking at my two weeks I'm looking at these kind of, um, blues and rings that were going on up here. Lots of blues, obviously, down here in Tampa rounds. But I'm gonna just start off by preparing for the base coat for these blues and greens. And the other thing that you want to do when you're using paint is don't use pure colors. That is straight out of the bottle because they 18 to look kind of to fake or too bright. You can mix a little bit of great with the colors, or you can use colors like this, which is a green oxide. So it's already got a little bit of kind of gray mixed in with it. So, what I do, I have I just use, um just a piece of old call flutes plastic. And what you want to do is sit up your palate so that your paints just separated a little bit. We need to leave enough space to be able to cleaned in Mexico, paint between them all. Right now, we always need black and white because we're gonna be having different tones of the same color. So we just dropped some sums it down here, all right? And I think we'll just leave the brown for now and we'll come back to that a little bit later now. And you can see how I set up my palate like this so that when I do stop mixing the colors, I've got enough space here to be on a Mex colors in between and have different kind of spaces around, mixing light with each color and dark with each other. So just make sure that your your paint is nicely kind of spread out around your palace. Okay, so now that we have a paint pellet prepared, we need to start blending some colors. Blending just means mixing two colors together. So what I'm gonna do to start off as I'm going to try and create some of these bluey greens that you see coming through the heat and around here and the best way to do it is just to grab a little bit of paint from here and a little bit of paint from here and just mixed them like sir, just keep craving a little bit as you come And then this looking kind of nice. Now, what don't do at this point is just grab a bit of wife check a little bit of white down here, mix it around on the side, and you can see that That just gives me now at lighter version off lighter tone off the skeleton of Max. I can also makes it to the side. Here you have a bit more blue just looks like one of the colors in the range. And the next thing is, I want to just close, and I can do the same thing with the black. Just get a little bit of black. Let's in here. It's a little bit of blood here now. We can mix these colors as we go, but you can see just by sealing up the pellet light. That's now I've got my kind of mid tone between Blown Green. I've ended white to it. I've got a more blue light blue version. I've got a darker sort of more green version, and that will give me enough range now to create a lot of times that I want to create in the huge All right, let's get painted. 7. Introduction to wet blending: in this section of the basic Oh, we're going to start week blending some of the paint, and the reason we want to do this is because we want to pick up on some of the beautiful blends that happened in the wings and tail. So instead of just painting them flat color works, we're going to mix the color to create a first layer of blended. When we're thinking about the color in the futures. We really want the beautiful, bright blues in these figures on the wings here and also tail just to really stand out and give a nice contrast with the darker, darker blues and grains off the christen the boat, we can show that this this layers and layers off things happen in the way that we do. That is, we have lighter tones along the front, each off the wings in darker tones with a go underneath, because what happens is light colors come towards the viewer in dark colors, go away from the viewer, and so we can create the illusion off layers and layers of futures and wings just by using light and dark tones. 8. Preparing for wet blending: in this section, we're going to stop painting the base coat now. It's important at this point to think about whether you have used ah wooden surface like me with the of use a campus, because if you have used to canvass, the problem with that is that it is a clean white surface to work with. And so you're going to have to turn down that white surface so that you don't have bits of white popping through. If you're using the wood for your surface mean it's a little bit more forgiving, and the color fits a bit more with the natural boot that we're trying to paint here now, are we painting the base coat? The important thing to remember here is that we're just trying to get at first layer of paint down on the surface. We don't need to worry too much about making it look perfect. The only part that we need to be a little bit careful log is the aegis off the boat because we're not going to paint the background. We just wanted to do nice, sharp peaches, but for the little part, we can just put it down. And if it's not quite right. We could work over there in the next few layers. We're gonna start off with a base color and we can build up layers on top of there. And we just really want to start off with the basic colors of the blues in the greens. In the Brown Indian, Stop working from there to get more and more detail of the top. 9. Painting the head: so taking the paint that I mix really yet And I have the image of the two in front of me here just starting off with the top of the here. Now, what I use like to do is use the end of the brush. Try and keep the pain as much as possible on the end of the brush and just have that run along the beach like this so you can see how we get enough shop each. But the beck isn't Doesn't need to be that shop. So just moved the, uh, the photograph down here so that I can reference some of the colors while I'm paid to them . So all I'm doing here is just really looking in looking at these colors in here in trying to translate them over two year, just paying attention to some of the different tonal tonal ranges. All right? And because the paints quite whittle, Really? Because it is. We paint, I'm able Teoh just do a bit of blending. Um, like this Now, the Syria and here is quite dark. It's quite a docks and blue tell. So what I'm gonna do, You just make some of that dark blue here, which is just the black in the blue. And it's gonna work my way, have around there you might think it looks kind of pure black, but we want to try and save those really pure tones for, um, some of the higher contrast serious that we won't do later. Now, if this if you find a little bit difficult with this size brush, you can always move down to a smaller brush. So you just want to choose a brush. That's gonna be kind of the at the level that you feel in control. You see how I'm living around here. It's a little bit difficult to get into those areas. The eso I'll come back a little bit later with a with a smaller brush and see how a guy and it's quite dark down here, sir. Now, is this it really? We don't need to worry too much about this fluttering under here because we're going to do that with a fine brush later on. But we just want to kind of have a nice each there on we can we're cover it later so you can just see because the paint sweet. I can easily just ed in different colors and just kind of bring them together. Um, see, this kind of ah, really lighted area of blow up here. I can just make some light of blowing here, and this brings back, okay? It's looking good. All right. I'm just gonna swap over to the slightly smaller brush now, just cause it gives me more control around the mouth area here. And I could go small again if I felt like I couldn't kind of get the level of detail that I wanted you. Obviously, there's all of this yellow here, so we just We do want to just get a little bit of dark, turn into it so that the yellow overlaps and we don't have that, um, the wood showing through, but for now, and we just leave it there and then the biggest Well, it is a similar color, but it's quite gray upon here, so I think we'll won't make that a doctor Grey rather than darker blue 10. Painting the neck: I'm just gonna just move my images out of the way or my eligible Tell us out of the way a little bit. Now, there's some quite greeny blue colors down here on the briefs. So we need to sort of try Pete some of that down here. And it's a bit hard to tell what's going on behind these weight feeders, but I like to make it quiet dark on those areas. Um, just because then the white is nicely contrasted and you can also see some pops of quite bright blue in here. So that's why I just use him just a little bit of whites and pure blue. - Now , you might notice also the brushstrokes that I'm using. So I'm doing kind of small Little, um, flunky strokes them make sense, not long smooth ones, because we are trying to create the texture off the fevers as well. Now we'll do that kind of a lot more when we get into the detail layers, but it doesn't hurt. To have the base coat is having some of it, um, some of the texture in there as well. Okay, now I think that's looking good. Might just makes a little bit more black into some of the Siri here, especially under here, and you can see just by taking black and mixing it on top, it picks up a little bit of the paint that have already been working with, and you can see how that the brown and the blue kind of fading together. So I'm not trying to have a sharp each year in the one sexual drive. Gonna come back over with Brown Way might even come back of the debt with more blue. 11. Painting the body of the bird: So, in order to get to the bottom part of the boot, I need to actually move around so that my brush is running along the beach here. If I try and paint it like this, then I'm not gonna have as much control. So I want to just move along with this. Um, keep a good amount of paint on brush, and that does mean nice shop, inch to question. 12. Painting the top feathers: we're going to start off with. The feet is up here because they have. Ah, really nice. Kind of like blue and dark blue blamed on them. So what want to do? You can see all over here of mixed cup of the colors. So I'm just starting off with, um, the light blue along the top here and again, you can see how the each of the brush is facing towards the the outline. So I'm able to get a nice sharp line on that. All right. Now what we're gonna try and do here is we want to create a bit of contrast here because, um, the this part of the see that goes behind this part of the fetus, what we're gonna do here is just great. A little bit of a doctor come up. If you don't feel comfortable doing that with this brush, you can use a smaller brush. But we just want to kind of painted onto the huge like that. And it's the same thing that we're gonna be going over. Yes, we can state it on here. Rub the brush in the paint off the brush in the gleamed, the pain out so we wanted to get a sharp image on the right hand side in a blur village or blended each on the lift. Now it's a little bit complicated because on here we have a line in See it via this line comes down over that here, you know, rounds. But we still want to create a little bit of a shiner under here. So what will do with this case is greatest slightly darker, blowing Let's and destruct that it's there. Now we're gonna work. We're gonna improve this about later on when we do the drive rushing lab. But for now, you see how it's sort of believed in debt being just clean off the brush, But grab a light blue again and we can come back over and do the talk. Don't worry too much about that part there, because that's gonna be we have to use a fine brush in winter that Okay, so that's so pretty similar up to the until we get up here. And they were going to the doctor tone coming around here about this and fast. Still a little bit of black truck, a little bit of black here because when I look at? My image is really black. No, you, um So there's kind of a couple of things going on here. Tonally, we've got the two sides of the fever. One is dark, one is light. And we've also got the tone. The ducks, Yes. That goes underneath this overlapping fever, which creates state seats off kind of layering. So when we come on over later will add more details of that. But for now, we're just gonna work our way through this. We're gonna work our way through these. These feed is here trying to get the different layering on levels here. 13. Painting the layers of feathers: 14. Painting the long skinny feathers: now. The trick to doing these long skinny for this is to paint each side from a different angle so you can see how I can get a not shop egx here with the dark it time and I've already painted the light tone from the bottom. I'm just using bloom. It's what black for these few this so you can see how just getting a match sharp each with me and then describing some of that last turn again and just going back over it, allowing it to blend in now. You do need to do this quite quickly because you don't want the paint to dry before you finish blending it. So it's best to just do. I've been to two lines, but it's actually beast to just do one minor time from that. Now I'm keeping the the painting in a stationary position for the video, but I would normally just stay. Keep my position same, but just rotate the painting around so it makes it easier to excessively different sides. Good, and you can see because both ages off the pain of wheat, it's estimated rubbing your brush over the space between them and that creates the blamed, but you really only have a couple of minutes to do that before us. That's too dry with it. For example, you can see how the dark turn isn't really strong enough. So what I'm gonna do, just come back in here with before, Dr. And just because it's still wait, I can just run the doctor like that along each rob must the paint off the brush and just blamed it to you. Work, sir. What? What? Well, you are. Huh? Um, the show. You gotta watch and I'm gonna show Show you something that you have waas worth in death. 15. Painting the overlapping feathers: So the idea we're trying to get across here is that we want to create the scenes off, um, layers off over letting fevers. So we want sort of every layer that goes underneath to have a little bit of a dark shadow to help it fuel like it's going behind. So the theory is that, like, things come forward dark things received into the bigger And so every time something goes behind something else, we just needed a little bit of black and with it just like this and then that there is the visual cue for our eyes to tell us that Ah, yes, there is behind there. So you can see I'm just mixing a little above the black in with this kind of gray blue, and I'm gonna put a little bit more black in it just around the each year. Just paying a teaching to the shape of this fever and especially an eerie like that where it comes from, Doc, we can do a nice little black contrast there. I mean, just read the play off the brush and just really into that black. This you can see now just his sense of going kind of underneath that you re there the same for this part. You were just going to use quite a lot of black with the same color of gray, blue, and again, I'm using the brush here now because this is quite a small here. I'm just gonna switch over to the smaller brush, and then it just allows me to have a bit more precision of us. The detail here so can use both sides of the point brush. So coming here. But again, the Syria here is going behind. So we just wanted his some black here, blend it down and around. 16. Painting the lower feathers: 17. Painting the brown layer part 1: all right. Now that we have finished the base cut for the blue area, we're going Teoh, paint the brown now. So we've got the Syria here, the brown feathers on the back in this extra, some dark brown feeders under here as well. We just want to base coat the brown areas, going darker down the body. We wanna have it a little bit lighter on top because that's where the light pits the boot and create step that tone, that range of time, which helps to make the good feel war around it. We're gonna build up more layers of detail over the top later. But for now we can just base coat that with a smooth bleed. 18. Painting the brown layer part 2: and we're gonna need there needs some brown. And I like to use beard number. That's breath. We need some watch and some Blake, and you can see how I have. I'm cleaned off my palate from the blue layer, and now I am starting fresh, um, with the different colors again, Just remember being a little bit careful off on the each service moving up, moving with my brush of lonely, each of him. And when we get to, um, the difference. So the areas with a blue and the brown over let we're going to be just kind of over letting a little bit, so we'll just do some kind of little flecks with each of the brush. We're gonna kind of, um, ed more detail to this later on. But well, to start off by doing that once a nice doc groans as well is the brown blames behind the feeder. Sometimes he turns over here is where with my brush strokes, I want to try and create a scene off the feeders. I don't want to do them up and down like this. I want to have a sense off movement or the direction of the fetus and we're gonna add details over the top of this later on. But for now, we just want to get a sense of it off the feeders moving in the direction. So just like this, just kind of that kind of coming down. And then he ever coming a little bit flatter down here and at the at the top, they sort of moving along the top and that even though it's just a base that just helps to create, it seems solved. Um, picture and direction. Now the other thing to note here is that it's quite unlike along the top here, and it's because that light is heading the Buddha top. And then is the body kind of is rounded like this? The further down here we come, the DACA the brown is gonna pay. So I'm just mixing a little bit of black with the brown here as well and again, just trying to sort of slid off looks that over let and cover up the base cover up. The supers were painting. - Now , with the top bidders here, we just wondered again, We just want overlap the blue and will probably come back over with a bit of the blue and another layer just so we get a seats of the feet is really over letting rather than just being. This is not a hard line, um, a little bit more than talk and coming Teoh. Here's and just kind of visually checking that there's no sort of spots that are showing through, especially if you've got a white background or what surface. That was good. All right, now we're gonna come down into the part underneath the boot here, and the only part that I can see on my image is is a little bit of sort of lighter turn brand right here. That's the really sort of. It's a little touch of brown, not much. And I'm looking at the direction of the brushed hers in the end. Along bottom here is and quite, uh, Doc in brown, almost black, and you can see it just mixes and nicely with the that really dark blue. Let's be careful with the ages. You can create a little bit of see the ring like that, but you don't really want fuzzy edges on it. You want to create No, it's shop you just when we do the details later. At that point, the brown tunes into gray for the feet. Soldiers stopped, and there we go. That's the brand lab. 19. Painting the beak: and what we're working on the ground. We can actually come up here to the beak and work on the beach with the same colors. It's like spray along there, and we might come along later and just pop in some stronger watch when there as well, we'll see medium gray blending down. So that means we want to try and get both parts of the paint, which and just erupted. Brush over that is a little. There's a thin line of gray here that runs down the beak in kind of kills around here. You know that. No book. Fix it later, but just keep their place in you. Most of this is gonna be yellow up in hand, so we don't need to worry too much about that. The bottom while the beak is not black sister Dutch dark gray teetering on the cancer. Just leave a space for that Now . There's a slightly darker line here underneath it. Last time there was gonna pick that up with more of a blank, it will mix in with the gray. It's sort of the nostril. Pigs have nostrils. That's part of the beach here. What the doctor telling around that? So it's like it's blending in. Yeah, I think it's good is a base coat for the big 20. Painting the white neck and pollen: now with the, uh, the puff of fevers under the chin. This is a distinctive feature of the TUI, and we want that to be really beautiful in kind of always a focus point of the picture. So it's gonna take a few coats when you use pure white. It's quite hard to get a nice that kind of coat on it. So what I do generally is just well, it probably end up doing maybe three layers of wife and, you know, weekends and details of the top. So just getting it on nice and thick, not worry too much about the tones there on the picture there. This area is actually some little individual white lines, so just leave those from now. But the rest of it can just be based coach in white yellows similar to white. It's very like to color, and so it finds it difficult to go over the top of the dark colors. So I'm just gonna put the paint on quite sick and just this will probably need through four coats as well for the Knicks coat with the next two coats. I'll just mixing a little bit of yellow up, but have read and just warm up the yellow and it will hopefully give us the color that we're going for. 21. Painting the feet: Now we're gonna paint the beat off a bit on, but mostly we're gonna be using gray. So I'm gonna use the same color that I've got here mixing up some gray but the gray, his ah, slight brown touch to it, too. So we're gonna be using this now along the top of the feet. The legs is where it catches the lives. So we're just trying toe. It's a lot of ground nip. And as a general rule, it's easier to paint the light areas fist and then come back over the top in kind of working with the duck. Do not worry too much about the level of detail here because we are still paying the base coach, and we're gonna kind of work out of this war is we go. All right, so I got my black and I'm just mixing a little bit of kind of brown and tow. It just turns it down a little bit as well. So it's not sort of pure black and white just noticing that member, that principle we talked about of the, um whatever is in front, there's lights. And when it goes behind his doctor, So you can see that that part of the chlor just goes in front of this part of the court. So we're just gonna use that principle and make that part. Tucker, - Huh ? So they're just trying to cover up a little bits of brown that is showing through and just create that vice layer takes ship. Now, I will use a smaller brush for the chlor because we want to be able to get a nice kind of point on it. Now it's not quite black. It's a little bit back from black, so just a really dark great. It's what more years in the advantage of using a point brush here is that you can use both sides of it to blamed. I started to get a shop each holding Why, my hand? Nice and assume on the surface. You know, I'm just using my fingers to move the brush. I'm not I'm not having to float here, Teoh, you know, Hold it. Nice. And Stevie Good Chlor behind it. 22. Introduction to painting the foliage: we're painting the foliage. We need to think about just toning down the colors so that they're not as bright is the bird. The bird is the focal point in this painting, and so we want the foliage here just to complement the bird, but not to take it over. So as you can see, we just got some subtle greens and browns happening in here. There's a little bit of this yellow tone happening on the beans off some parts of the branches, but they're not, is bright is the colors there in the booth? 23. Painting the foliage: All right, now, I'm gonna work on the foliage, and there's a lot of different colors mixed up in here, so I'm just gonna just start with a quick base coat off a greeny brown in the you know, we have to build up some of these these lines and textures of it later on. - So is you can see from my painting the base coat for the foliage I'm not too worried about. I'm getting it really perfect. And most of the colors have used it quite toned down sort of colors. Um and so they will hopefully just kind of bleed into the bed craft. And the other technique to use to is to actually use kind of a fuzzy each to the brush. Um, and that can create a kind of ah, um, slightly blurry fit on the foliage and that credit since off depth of field. So, just like in photography, where you want to have the image nice and sharp in the foreground and the things in the background a little bit blurry, we shouldn't create the same its feet with painting. So I'm trying to use muted colors and colors that a similar to the kind of background off the brown what you're going to be leaving. And then I'm just using a sort of not necessarily a sharp, each off the edges of the shape center. So is it been painting the foliage here? I've just been thinking about what do I want to be in focus? And I think it's important, given that the TUI has bean kind of putting it speak into this flower here. And it has the Poland on here that this part here is in focus. But I think as it comes away and then making that kind of bluey and but more deep the field type thing. So I'm just I'm switching over to just a smaller brush now because I want to try and just get a bit more detail in, uh, in the end, off this flower, and you noticed to have used a slightly brighter green in here, and I think that will help to just really bring out. In contrast between this, in the recent of foliage, that's a really lunch green leaf off to the side here, and I'm using a small brush just that I could get nice shopping. There's another one. Just when we do the details that will come back over this And for now, I'm just gonna leave the color of the polling here because I have to make that when I woke up here as well. Okay, so that's the base coat for a foliage. 24. Introduction to dry brushing: in the section, we're gonna talk about using the technique of dry brushing to add some more subtle blending in time toe, where painting Dr Bashing is a really good take. Make for ending tone really slowly in really subtly to the painting, and it gives us a fuzzy kind of each to the to the gleaming. So it's really good for here is like this where we have a dark time going underneath the fetus and where we want to subtly change the time to either lighter or darker. We can use dry rushing to tone or smooth out some of the areas that we just want to tone down. So, for example, up here on the branches, we don't want to see really sharp brushstrokes. We want to just to get a nice, soft kind of blamed that is in the background. So it's really good for take makes like that 25. Dry brushing the pollen and neck: Okay, so now we finished the dry brushing layer and you can see they're All of the tones of the painting are looking nice and smooth. Nice bleeds and graduations and especially these features around here of creating a seats of layering and deep just looking really good. So just a couple of little jobs we need to know before we get onto the detailed layer. And there is to mix the rights yellow for this, um, show you and Theo into in another base coat white to the Knicks leaders here, and they will move on to the details like Okay, so we're trying to mix a warmer, um yellow, which is actually kind of a light orange or a yellowy orange. So it's pretty easy, really. Just mixing a tiny bit of read with it and just trying to get it here now if you want. If you do want to Kalajian, sometimes what you can do is just a little spot. Besides, were you painting you're copying and that will show you that it's looking about right differently, a lot better than the cool yellow that we had before. So again, it's quite a thin color, so we're gonna need to get in a few coats, but we just start off with this now. I'm also going to use, um the fine brush because, as you can see, along here, um, the pieces of polo just kind of diesel along there. And here it is. We kind of create a couple more details, and there were a couple of layers will more. And there's also a little highlight here, so it's a little bit lighter in there and actually a little bit Dhaka more orangey to stand the bottom hand. But we different. Gonna need a few coats to kind of get that looking good. Now what? We've got the fellow. We're just going to use that to paint these pieces off polling here. And when you're painting something like this, just put the paint on nice and thick, and it will probably still need another Curtis. Well, And then what will happen is that that calorie will reference that color here, and we'll just create a seats off kind of coming teaching during those two together. Now, I'm just gonna mix it into a slightly orangey orangey time. We'll use that a little bit later when we put some details into the rest of the flowers. Yeah, we have a nice clean brush. Uh, now we're just going to do another coat on the whites and, um, what we can start to do now, Actually, we'll just do one more pure coat of white. But once we have done another cut, you'll see it's slightly darker around the bottom in their Assam. That'll individual lines going on in the several try and will probably bring those in on the next. Kurt. So just another quite thick coat, white and just trying to just think about brushstrokes in the direction of the feeders kind of moving like this. So if it is going to show some births strokes just to kind of, um do them in those directions 26. Dry brushing the foliage: Okay, now that we've finished our base coat and winked blending layers, we are going to start on the dry brushing layer. Now, the driver thing layer is where we start. Teoh tone down some of the areas, smooth out some of the brushstrokes. And we want Teoh basically trying to get all the blending looking really, really nice. So we just by the end of this, let the bleeding's will look good, and then we'll just have the details left to go. So for this, we're gonna be using these bristle brush is gonna be using, Yeah, these large brushes and it's good that they're a bit course we don't be using synthetic pressures for this on Don't show you away in a minute. So basically, the way this works is we get a little bit of paint on the brush and what, sir? And then you brush it off on the newspaper. Okay, so you know how when you do a brushstroke and at the very end of the brushstroke several, it gets kind of crusty and dry. That's fits their fixed. We're going for that last little bit. So it's like this. The technique is to hold your brush quite a price. And to just rub it back and forth like this. And it applies a really thin layer off. Whatever the covers that you wanted to use, you can Russia like this as well, and you can see that it's quite slow, actually takes a while to come off. And so I'm just going to stop working now over the foliage and I'm looking at the image and I'm saying that his some areas of, um, green and brown and I'm just going to stop kind of blue leaning over the top of this Dr rushing over the top two to create this. Let now the thing about Dr Ocean as you don't want to do it too close to the each because it does leave a fuzzy, does each, Um Although if you use it only if you use the end of the brush, you can get a shot. Why? So like this and it's quite soft and subtle. So get that age, and then you stuff lending lines over now. I mean, we talked about earlier about wanting the foliage to be sort of in the background, so I'm gonna take quite a quite a loose kind of feet with this, I'm not gonna keep really lovely shopping. Just I'm gonna hit the aegis looking a little bit fuzzy, a little bit out of focus and pretty pretty turned down as well. So I don't want to be using any very high contrast colors. Really? What you want for this layer is just to have the impression off the branch. You want to know that it's a branch, that it looks realistic. But snow gonna draw your teaching, not going to take your eye off the boot because the paint is applied very lightly and in a very thing, layoff. We can use quite strong colors to actually through drivers. So you can see here. I'm adding almost pure white and it doesn't look what just creates. Um, a little kind of lights highlights on the green so you can use quite come trusting colors like black and white. Or you can use colors that are really similar to the best brands to tone it down. And sometimes you need to go over the layers a few times, Sister, keep them looking like now this particular branch fear has some yellow pieces. Cumin. Here like this. So I'm just gonna give the impression us with that, actually making it to Bryce the other way that you can do it is to and come up and a little bit of a color one. So, like Blake like this, for example, better the line going up the branch, being brushed the rest of the paint off and just brush over like that to sort of turn it down just sort of makes it disappear into the into the image. - So the other thing that Dr Rush is really good for is adding a color tinge to your area of painting. So you can see here. I'm just adding a little bit of brown into this brunch, and it's really easy. Just a layer it down on top is a transparently. It shows the teacher through, um, but it just changes the time literal. Sorry. Um, and of course, the other thing is really good for his create sheriffs. And so, through this, we just use a bit of pure black to put a little bit of black kind of along base. Here is a little shiver that runs unreleased with foot right here, so just kind of applied the black, and I'm gonna rub most of it off my newspaper. You can brush it out. There's also some little what highlights on here, so I can just pick up a little bit of that. And the other thing that's really good is that the branch has some vertical texture lions running down. And we're gonna pick those up a bit later on when we do some detail work. But with the white and with the black, we can actually add some of those dicks is and some of those lines. And just by making sure that we work in the direction that we want to worship. So the lines of the driver she actually moved in the direction of the teacher with the driver flare. All we wanted to do is just get the tone right, get the blinking right and me and we can have the textures in the details and over the top 27. Dry brushing the bird: So let's do some dry brushing on the food itself. Now, the main part that we want to drive Russia is in the field. This bit here in here. We want to get these looking really totally, really beautiful and trying. We really want to try to emphasize that since off each fever, being underneath the one before it. So dry brushing is a really good way of doing that. And because we're not using, we don't really need the hope hell up because you're not doing week cleaning at moment. So we just use a bit of newspaper and we can do a driver from here just as part of our Mexicans. Well, so starting off by just Mexican nice light blue and we're just test it out and see how this goes. But we wanted to work a bit this way and you can see how, just really straight away we can just step blending there and picking up that, each getting it looking nice and shopping. It's the doctor. Now, if if you come too far this way with the light, then you can make more of a mid blue and blamed back towards it. But what I like to Dio has just work work through all the light areas and because we're not having to do with blending, it doesn't. We don't have to waste and try and blend with the other color. We can just go here and do all of the light. Here's so that's where you wait in here. Sometimes it looks good when you just pain to that. But then once it dries a little bit, it kind of disappears tones down. So you need to just kind of just let it set for a minute. Just see you. It's working. See, that's starting to look good and remembering that we can come on on the other side of this is well in the doctor now what? What? But after you are, I am show you gonna watch. And I'm going to show that you have that wants to work in. How about you get me? But watch this, Dill. You're running presents off that group. Who and make a then staying on that floor. But well what? Huh? 28. Introduction to adding the details: in the section, we're gonna talk about how to paint the details off the food so that we can make it look really realistic. We're going to look in particular it across in some of the teachers in little details that go on the air to make those really stand up. We're going to look at the eye and how we need toe do the really fine details around the eye and the little popular white that will give it. It's a really nice contrast and make it into a focus point. We're gonna talk about the beak and how to paint the subtle graze in the nice shop beaches that would look really going that well. And we're also gonna look at the watch futures around the nick and under the chin, and we're gonna talk about how to use a really fine brush to create little sharp lines. That look help them to really stand out in detail. In contrast to the painting, we're gonna finish off the detail on the foliage with a little bit of pollen on statement and that Poland and that same color is going to relate to the pollen. It's on the beak off two areas. Well, so the details are the last major piece of painting that we need to do on this boot. After we finished the details, we're just gonna need to finish the surface by oiling it and give it to him. 29. Adding the details to the foliage: first thing I like to do is just use a small brush, not the finest brush. So I have, ah, Triple zero brush that I used for the really tiny details. But this is just a zero brush round techland brush, and the main thing that you want to do is you want to track it really sharp fine lines. So the trip to doing that is to use a little bit of water on your brush and actually mets a little bit of water with the paint. You wanted to be a little bit runny, but not really transparent for this particular job. So you can see here that actress Mexican here I can rub it off. And the key thing you want to do here is just to keep the paint on the interview brush so you don't wanna have it kind of all the way up. You just want to keep it right on the So you've got more control. So I'm just gonna work my way over here and just start adding in a few little bits of color on the means of these flowers, and you'll kind of see what happens. The other thing that is because it's a little bit transparent it We've added some water to it. It's actually gonna tone that paint down a bit, so it's not gonna be is bright, is if it was a solid color. When I'm doing this, I'm looking really carefully at each of the details, and I'm trying to figure out what, what information from the door, what's put into the painter and you don't have to put everything in, Um, but we want some things just toe trying to make it look more realistic. So I'm starting off by just during the orange tips on all of these pieces, and they're also ties it in nicely with the, um, the poem up here. And when you're doing this, you might notice that there are some little parts that you didn't really look it before when you were doing. We're blending or that Dr Rush England, and it's not until you sort of start really looking. You notice what's going on. So, for example, there's another kind of leaf here that I haven't pulled out, and it's another leaf here. So just when I come back to using some of the greens, I will make sure that those show up of it. So if we look at the Siri here, you can see how is actually a a rounded piece that fits into which is quite sword. I mean, it's sort of blends up to a doctor time. Now we're gonna use ah, combination. Now off Dr Rushing end. Fine detail. So we're gonna try and do it a little bit of water, get a little bit of this brown still on the bottom, not so much. And just use the driver action brush to actually bleeding it out. Just sort of smudge it out. So now what we have is more of a defined each and but we still have that tone coming up. Now, you can also add details like we're this. This part goes in front of this one. It will be a bit of a contrast here, but we don't really want to create really high contrast. So we'll just drive. Are you just making a bit fuzzy it in? That works really well. So it's just working away around and just kind of defining the bottoms of these areas. Now you do need to be careful here that you don't just start eating. It outlines around. Everything is differently. The temptation to stop at lining. And that's because you've got another shop brush on you wanting to you define these these different parts of the flower. So just be careful of it. You can see how outlined some parts, but I definitely would not do and at line around the whole thing. But something like that, I'm trying to define that shape in front. Off this way, I might just use an outline like that, but then Russia House. So it's actually tuning into a some tire it sits in behind. Now I'm wanting Teoh wanting to define this flower really well. So I'm gonna add in a few bright it greens, and the trip to doing that is just to just drop some nice cool yellow. And with the green, it doesn't need to be really bright. Just needs to be a little bit brighter. Then the risk for house and what they don't does just just create some little brighter highlights which will just draw your I down from the booze into this far. Okay, so now that I've got some dark times and I've got some light tones in here. I'm just gonna just add in a few other little colors that I can see going on there. So what's in the galaxy to some of these parents who you like? What? Trump just brush out as well. Um, especially happened here, actually. This nice. Yeah. Now, sometimes when you're looking at the details, you'll notice that there are some years that went dry brushed well enough. So I have noticed that this quite a few sort of really lights reflections on the So I was gonna go back over, and it's quite quick, Justo Eric over head in some of these rights frictions, and I think we'll do another cut on these in a little bit. Witness dry. 30. Adding the details to the top blue feathers: Okay, so I never got the foliage to Ah, good level of detail. We don't actually need a whole lot of detail. We could be heading in, although textures and the lines of the grain. But we don't really need to, because we don't work that to kind of draw your attention away from the food. We want to do a really strong level of detail on the food. So the way we're gonna do that is we're going to start off with our main colors so glowing green. And we've got some black and white already, and we're going to use water to make a slightly transparent, thin layer of paint, which we're gonna end on with the fine brush. So not the smallest brush at the moment, but just the kind of small brush. Um, so we're gonna look a green one. It's in a little bit of blood, so that's sort of the lights tone like that. We're just gonna start up the top of the here now, The reason we wanted transparent two reasons Um, the first is that it makes it easier to get a really fine little point or final line in the second is that because it's got a little bit of water mix, whether it's going to easily just blend and we disappear into the background. So it kind of what an impression off texture without seeing really strong kind of lines. Now the next thing. One thing we need to think about when we're playing this texture is what what? The direction off the feed it so that you can see here. They're moving down the huge away from the beak, and we're just going to try and recreate that feeling just by tiny little lines like that. Now it could be quite quick. Actually, you don't need to take a long time. The key thing is that your lines are moving in the right direction and you just move you a brush around in a random sort of abstract pitzen. I'm also holding the brush quite upright, so it's just the tip of the brush, which is touching the paint now. What I want to do is is I move around the different areas of the heat. I want to change the tone off the detail, paint to mention the area. So the Syria here is a little bit of extra green in it. So what I'm just doing this is gonna check in a little green, and at the end, the effect will be that it will look like every single a little piece of here have been painted, but you can actually say it's quite quick to them now is it? Moves down the heat, so becomes more glued. Console just picked it up. 31. Thinking about contrast: Now we're going to talk about how to create an area off high contrast, which will be the viewpoint that the person looking at the painting will first notice. The way to do this is what the bright white fevers that air underneath the chin in Nicaea and the dark background behind us, because when you have something that's high contrast, that is life. Besides Dark Demet creates something that draw your I make you really look at that. So with the feeders you can see we've got some nice bright lines, and the docket years behind it helped create contrast. The other area where we have contrast is in the eye, and the little highlights of wives in the eye helps us to see that is glassy and reflective , but it also helps to create. A contrast with is what draws our eye into this part of the boot. Now you have to think about the contrast off the color that you're putting over the background because if it's a high contrast colors So, for example, this lights really like blue that imprint on now it will show up really well against the dark, so if you do it what on the bench Ground off black will show up. And if you do a doctor, I'm on on a light area. Then it will show up as well. So you just want to think of that. How high do you want the contrast to be? Do you want the brush shirts that you're going to stand out? Be a high contrast? Would you happen to blend in with the background and kind of disappear? Next called Low Contrast. So do you want some low contrast ones as well in the dark Yuri's So you can just use pure black. For that is, it will show up a little bit, and a good trick is just to overlap with some of the light areas. I have a few little what's that come up here? And it just creates the scenes off different tones and the feeders, which is pretty realistic for a bid. You know, Bear doesn't have one time Fieler so we can do some light of times as well down here. So just so slightly license blues and even a little bit of green, and what I want to do here is just have those that have brushed the Russians can go off the edge off the bed. You have to be careful if you're using wood because we don't make it too watery. Otherwise, just bleed into the wood, so you need to have a reasonable amount of Titan years. Well, you can use your creative license during this part as well. You don't have to make it exactly like the image. Um, and some of the assumptions of the area is too dark or too, too much of one color can look kinda boring, so you can just work in a few extra brushstrokes just to make it feel, you know, like it has some Texas. Now, if you don't go too far with one color and you don't really like what you've done, you can go back over it either with the driver or with sec paint. If you really don't like it and I've done that before, if I it takes urine in it and I don't I don't think it works very well. I can just Dr rush back over it and fix it up. Okay, Just looking around here, we need to look around the other parts of the Buddha's well so There's quite a bit of texture that happens in here. So we're gonna want Mexican nicely like beauty of Syria. Yeah, this is a kind of like this. This little bit little a rave is. And I can see this just by looking at my So it was a little bit of green in here as well. So I can just mix up some of the green destruct event in the same car, um, style of feeders in this part as well. So it's kind of a semi circle if either comes down like that now, I don't need to worry about this serious so much because I'm gonna be going over it with the whites right at the white feel this. So I just wanna think about now how the blue and brown and I can bring some of those bits of blue down right into now. One of the places where you can see a little bit of detail is on lease. Feed this here in the back. So what I sometimes stay with Thanks is just Edinson really fine. I was like, Yes. No, I said watery. It's quite hard to see, but if you keep really close to it. You can see the detail in their system. Nice. Double extra, extra kind of pace that come out can do it. A license blue as well, if you want to. And it just kind of gives the impression off some of the textures of the future. I guess that's kind of the thing with text. You don't need to fill the whole thing with six years, you can just in a little bit to one area and, you know, I sees it, and it just makes it feel like the whole lot Hansen teach you. What? What? Call me a whole Never you are. 32. Adding the details to the claw: no gonna stop painting the core. And in this part of the painting, we're going to try and edge some of the details to show the texture of the poor, which is different to the futures in the branches. It's a really good chance to show a good level of detail painting. 33. Adding the details to the beak: So right now I'm just looking at the Syria here. I'm looking at the big and then into the I soon and I'm trying just really look really closely at how this line works. So, for example, that this look this into the big here isn't actually straight. I'm gonna mostly straight. It's kind of lube it up there. It's sort of kids down a bit, and then it has that comes along here. So it's tiny little details like that that will help to kind of create the realism that we're going for here that comes down and blends in here. And all I'm doing is I'm eating painting. I'm taking pain away. So getting in the gray and I'm taking away with the black like, sir, Now we're just gonna need to do another layer with the yellow. So in hindsight, it would have been better not to paint the darker base coat under here and just to just to , um, start off with the color of the problem because it was the lighter color. Now this some other pieces are here, and I want to try and just put on quite thickly so that it holds its shape and its cover. And while I'm around here, I'm just going to start getting some little dots because the Poland, um, is made of little dots just by doing that around the and you can see starting to create, they've seen so not being a solid shape just being home. And I can also mix in a little bit of black and just a few, though talks within the poem, and it helps carry on that delusion bacon to the body of it. 34. Adding the details to the eye: Now what we pay the I. We need to try and create some really fine detail. The eye is naturally the place where people look when they look at an animal, a bird or a person. And so we want Teoh. Try and try and give the I really nice detail in bringing us contrasts as well. Now we're gonna paint the eye, and the eye is differently, one of the most important parts of the painting. It's what draws your your focus in and often there's a really nice reflection in the eye, which kind of gives it a nice bit of contrast. But a pop eso will be using that bit reflection there, but we'll probably pumping up about give it a bit more white in there. So the first thing to do is to just get this color from around the outside. So but quite a dark blue, almost black now the actual room around the eye is a lighter brown color, But we're going to just pay up to the year because we didn't take special care to do this. When we we're doing the base coat, the texture layer and when we when we do that we don't want to leave kind of a big each. So we just brush that. What? We can just brush to brush strokes for texture there. So it's kind of blended into the area. Render makes you want to use a license Brown and it's really it's quite gray. More Victory Brown. Um, but that's the sort of probably four, and all that's gonna do is just give us a little bit more contrast between the actual I and the area around us, and it's really neutral color as well. So just kind of disappears. Now we have to realize that the black actually comes right into the eye here, so we don't want to have a ring around it. We just want to kind of have a little bit of brown here and in a few little dogs. What year I just use a little bit of the same brown. So it's not 100% white. That's pretty lives, and we're just gonna paint in this area here Now. The this is the highlight on the I is a reflection off the environment that the Buddhism so usually his kind of an expensive light area along top if you're paying a person reflection allies often the window or a square shape, and it's the it's a reflection of the room or the place where there. So we just put in that pattern and we come into a black. Now this makes a little bit of water with the black just so that it's a little bit finer and just get a tight around here. We're just painting the black around the eye, and now we just want to just go around and just work a butt back into the brown, the ring around the eye, because we were Actually, it's not really a suburb ring. It's more just a impression of the texture and shape around us, so you can see Yeah, that's looking now. We just brushed the black. I'm out said that it's no around this planet so that it's, um, not a guy that doesn't have a break in here. And then I would like to do is just choose a couple of parts of the I. You just want to pop. You want a nice contrast. Just get a nice big blob of white. I mean, I drove a bit like that. Maybe that one. That one? Perhaps So you don't want the whole thing to be white, but, um, it's just creating a couple of little highlights that will pick up on the light. Now, I think I'm just looking back at the I. I think this pro it's probably a bit too light generally. So what I'm gonna do is just get a little bit of black with Rush. The big ray. I'm just gonna just driver she learned whatever. We re likely like that and you come back in with just my white spot here. Here we go. I think it looks the shape looked a little bit too distinct before, but now it's looking, well, realistic. 35. Adding the details to the neck: now for the distinctive. If either under the nick we need to just add in some little fine lines of texture, the best way to do this is just to mix up a light gray with the water. So it's nice entrance, period, and despite hitting the grade on the bottom, it just gives that a sense of shape makes it feel more rounded. More toned change won't even want to ever Dhaka Cup of Dr Pieces Just coming in the aware. It's connecting and a spear who likes rounded lines like this, and we want to try and make up a nice white to escape those few strange to becoming it with it come back a little bit of pure great. 36. Adding the details to the white feathers: Now we're going to talk about how to create an area off high contrast, which will be the viewpoint that the person looking at the painting will first notice. The way to do this is with the bright white fetus that air underneath the chin in Monique here and the dark background behind us. Because when you have something that's high contrast, that is life. Besides, Doc you met creates something that draw your I make you really look at that. So with the feeders, you can see we've got some nice bright lines and the docket years behind it helped create contrast. The other area where we have contrast is in the eye, and the little highlights of white in the eye helps us to see that is glassy and reflective , but it also helps to create. A contrast is what draws our eye into this part of the booth. All right now, the last bit of painting we need to do is to end in the what Stevens that the trademark of the TUI and the way we need to do this. There's we use some white paint and a little bit of water. Now we need the water so we can make it a little bit transparent with just a little bit runny. Which makes it a lot easier to get a clean line up. And you just have to be confident with this pot steps to sort of back yourself to do the do the little sweep. And, um, the key thing to look at is the direction of the call, the feeder. So there are some small ones that kind of come down with this and they also kill up like this, and they sort of over lift. - We want to get a nice sharp each, so you want to start with the base off the field. In the reflective, you can usually only dio two or three small ones for one, and you can notice how they become a little bit transparent because there is water mixed with paint. And so they kind of toned down a little bit just nice. Um, but we may need to go over a few of them at the end just to get the book won't definition and just looking where they come to someone come down. That's and obviously I mean, it doesn't need to be perfect It just needs toe. Sort of have it seats off. Um, probably smaller ones at the top and longer ones reaching down. Do you want to try? And you want to go like this Kind of above the top when we need some more. So but most someone paying for that because we don't want clear, transparent paint to bleed into the so that would just pick out a couple they want to suit , make a bit more focused. Some of this country's this one here. Just said another layer white on talk more of the sword wife. Those ones will stand out of it more. You don't need to there for them. Just a few. Now, on this image you can actually see Scoot 20 little lines here. Now you can decide whether or not to do this, but if you do want to do something, that's just move to your very soul brush and just hear some Toyota Flux 37. Fixing up mistakes: The very last thing I need to do is because I have made a mistake. Really. Iran here and I put my hand in the paint. One of the great things were painting on play. What is that? It's easy to just work back over and fix up your is that you want to know If I had painted the background, obviously I could paint the background back over it, but because I don't haven't do, it's just just give it a little scrape to This is to just do it in the direction off the of the grand here. Interested to How does this bus and whites? And then I just want to use a little piece of sandpaper because training is no perfect anyway, things 38. Introduction to finishing the painting: In this last section of the painting, we're gonna talk about how to finish the painting and how to get it ready to hang. If you chose to paint on the would like I have in this example, you're going to use a Danish oil to seal and protect the world as well as bring out the natural grains in the world. If you chose to paint on cameras, then you don't need to worry about the steeple. And then finally, we're going to string the back of the painting and get it really tank. 39. Hanging the painting: So now that we've finished the painting, there are a couple of things that we need to do to finish it completely off in Haven't really to hang. So the first thing we're gonna do is we're just gonna flip the painting over like this, and we're going to string the back of us. I was checking, making true. That's the right Now for this particular job. Just gonna need a few tools. Um, we need a couple of islets which will screw into the wood and some string to hang a roller and screwdriver. So it's pretty simple, really? All we're gonna do we're just gonna measure down. You can use a ruler. You can use anything really interesting. Make sure it's the same on both sides. Measure down from the top down to here and just gonna use the screwdriver just to make a just a little kind of holding their. And it's really just to get the island started. So there's no kind of rights heights to do it. You just don't want to be too close to the top. Otherwise, it will, uh, well, yeah, the strong. If there's a little bit of teaching up at once. Well, it will have the top of the ticket. So they said yourself, Take me screaming with your finger. I mean this, but science, But so and the just take that string running a string. You're rich live, and you can use any kind of string. You just want to make sure it's really strong. It's gonna hold the weight. Now, the trick here is when you tie the knot, See, they're just doing one. Not like that. Look around again. Okay? Pull it ties and then twist sideways a little bit before you tried a second. Not right. And it should just be FIM. But that doesn't need to be really, really type. I should give it another couple of notes just to make sure you know I'm strong. I mean, use appearances is fast food. Trim it. We go on. What I also like to do is I have a sticker with my contact details and some Brandon, which I just like to put down in the bottom corner here and stick it down. That way, if people lose my card or they want some more details, they can look on here for my contact details 40. Coating with danish oil: all right. The last stage of your painting is we need to oil the painting. Now, this will help protect the wood. And if you don't oil the would, then it will eventually go yellow. And just with the atmosphere with the light s so we want to protect it. We want to bring out some of the beautiful natural wood grains. And we also want to give the painting a little bit of ah, vanish or an oil which will help right in the colors. So I like to use a Danish will, which is good for any type of timber. And we're just going to use one coat today to finish off her painting. So the main thing when you're painting on oil is that you don't want too much. So you don't want big splashes of it s so you just kind of brush it off on the side of the 10. And you also want to move with the grain. So you want to move along like this and you can see that that means that if you do leave any brushstrokes in it, they're going to be disguised by theglobe. Reign of the wood and you can see as I'm putting this on that straight away. Some of the darker browns from the plywood start to come out long, smooth strokes. Now we don't want to excessively rub over top of the paint. It doesn't come off if you just just lightly apply oil over the top. But you don't want to be rubbing it a lot. So what to be even the unlikely laying it on talk. I'm also using quite a soft wrestle synthetic brush. You don't want anything with its two course. - All right. Once you've covered the whole painting, then you can just work your way back across that just doing an even full stroke all the way to make sure there aren't any blobs or missed pieces and just chickens. Well, that your brush isn't shooting any. Here's because you don't want to leave any brushes in the oil. A good trick at this point as well is just to look closely at this surface and just have a look at it reflected in the lives. And you can see that any of any areas that I met were not shiny, like the rest of it areas were. There isn't quite enough oil, so you can just apply a little bit extra Butte. This will mainly be on areas such is or just areas like the would rather than the paint. Because it does sit on the paint. Where is with the wood? It actually absorbs into the wood. So chick did its well looking good, just lightly brushing out the whole surface. And now all I need to do is just tune on its side and give the ages, um, I know soil as well. And then we finished. And you can see how some of the really bright areas of blue and hear some of the nice greens in here just really, really pop out now. And they will just settle down slightly when the world rise. But it'll help create a really nice contrast between some of those brighter colors and in some of the darker, um, kind of Della areas that are in the background. 41. Conclusion: Congratulations. You've reached the end of this painting course. I hope you've really enjoyed painting the story and that you have learned some new skills and techniques that you can take into your own art practice. And I'll just ask you to review this course. And if you've enjoyed it, shared with your friends. Thank you very much.