Paint along: Galaxy Fox with Watercolor and Gouache

1. Introduction: Hi, my name is you and I will be your teacher for today's class. This class is follow up on previous cost I need, which is on how to paint Galaxies with watercolor and watched. But this time we're going to fight all the tickets that we learned into animal paintings for this cross. I have chosen to do well, folks, because I find that I can make something quite nice and dynamic out of the subject. But of course, you can use the techniques that we learn to apply to other animal paintings to This painting is made out of quite a few layers on different types of elements. So I have divided this class into smaller lessons. So it's easier for you to call. Um, this class will start off with the list of supplies that I used for this painting. I've also included the folks during in the downloadable session. So you my prints entry sit on your watercolor paper, but you are also free to paint your own animals. After that, I will go for the colors that I have chosen for the fox. And then we begin to paint in the painting lesson. I will first show you how I paint the base colors by first mapping out the color slightly followed with how I layer on top to redefine the colors for maximum vibrancy. After I've plays down all the base colors off the folks, we move on to the details. I first will show you how I add the facial details and for on the face. Since the face will be the focal points off the whole painting, then I will show you how to add for texture to the rest of the body. Then we're going to do the iconic starts letter that makes this the galaxy painting and moving on to additional elements such as colored dots to represent orbs. And then we're going to paint the water in detail along with Starburst on the boss's body and to finish off the painting and bring it together. I'm going to show you how to pay for the Star Constellation with my find Tech old pellet. In this class, I will make sure to take you through all the process that by step and I will be painting with you very slowly so each can be well understood. This class is ideal to paint along with. So if you're interested, please do so and please don't forget to post it and the project section, so I can't see what you guys come up with. With that said, let's begin painting. 2. List of Supplies: this'll listen. I will go over the supplies that I will be using for this class first thing and sweater color paper. We will be working with a lot off. What? On what technique? So make sure you have quite a thick and sturdy paper. Mine is cancelled. Excel 300. Yes, Um, and I have cut it down into the size 12.5 by two into two centimeters. The watercolor that I will be using is the pen tal to border colors. I will be using only a selective color, and I will go over it in detail in the color lesson. Later on, I'm also going to add a touch off gosh paint, and here I will be using the Windsor and Newton designer squash. But you can also opt for what you have on hand. I will also be using my find Tekle palette to paint accents around the fox. If you don't have any, you may also substitute this with a gold pin, and of course, you will also need a pellet that you could use to mix your paint. If you don't have an actual pellet, you can also use a disposable plastic plates It'll help you to see the colors better if the pallets is white, so keep that in mind. If you're looking for substitutes, we'll be using three times off rushes for this painting. One is a reef size 14 art media size two, and was there Newton Golden scepter, size zero and varying the size to make it easier for you to get into tight spaces but also being able to cover large areas with the larger brush here. I also have to shoot to clean end up my brush and also a clean jar for the water. I will also be using a small toothbrush to make somewhat splatters to create the galaxy star texture. To trace out the image you will need pencil and and razor, I suggest using hard pencil line is an HB. You don't want anything too dark because of my show through the water colors. I also have a tracing tablet, but if you don't have this, you could also trace by placing your image against the window. As long as he can find some way to get light behind the image that you want to trace, It should do the trick last but not least, I will also be using hair dryer to make sure some layers are completely dry before I paint more colors on top. If you don't have a hair dryer than you might have to be a little bit patient to wait for certain areas to dry before you add more paint. 3. Tracing on watercolor paper: in this lesson, I will show you how I traced me. Fox trying here I'm using a light tablet. But if you don't have this available, you could also put your paper against the window to trace as long as you can have a decent life shining behind the drink. The image which show through on your watercolor paper. Since I've drawn this out on a five paper, but I want to trace it on different size paper. I make sure that the placement would be correct first, and I'm just going to use masking tape to secure one side. I'm leaving the other side open, so if any off the detail isn't as visible, I could open it to have a little big. Once you have your image and your watercolor paper secure you already to trace. I used a heart pencil. Mina's an HB, and I'm lightly tracing just to give indications off image. The most important part off this painting would be the face, because that's always the focal point. We're naturally drawn to the face, so be very careful when tracing the face and painting of later. Do not rush this part and make sure that everything is at the right place. The eyes makes or break the face, so I recommend to put extra attention on that area. This during will be available at the downloadable section off this class so you could go ahead and print the fox image and then trace it on. I would suggest not Prince straight on your watercolor paper, as inkjet printers have water soluble ink and it would bleed if you put water on it. Another option is also to copy and dry it out by hand. But be mindful to drove with heart pencil and not erase too much while doing so to prevent the paper from getting damaged bun. Tracing this at as an option to trace the whiskers. If you're comfortable with painting a free hand, you don't have to trace out those details. But if you feel like you would need it, go ahead and trace the details. I find it. It's a little bit better to do it freehand because it makes it look a little bit more loose . I've also left out the constellation for this part. As it is optional. You are free to decorate it in any way that you want. You can add any additional elements, but I will include the constellation in the downloadable station in case you would also like to have the same elements as my painting. This is what my traced image look like. As he can see. It's very light on. I don't include too much detail on it as it will be covered by the paint later on. So it's a little bit redundant once you already go ahead and take mussing tape off and now we're ready to paint. 4. Colour combination: before we start, I will roughly go over the colors, all music for this painting brand of water color paint that I use his pencil. I like hope red. The colors are and these air also very affordable. I also mixed in Mike Wash and roast squash by woods or Newton. These are designed to quash. I really like the texture of thes. The rose is optional, though, but I will go and to detail later. In this lesson, I will first go over the water colors. The first color that I use is the ultra marine blue. As you can tell from the darker blue areas near the blacks, I usually use it for transition between the lighter blues at the black. I use this mostly for shadow areas, but later we will also experience and to all the different tones of blues, the next color as cobalt blue. I don't use to much of this blue as a main color. I mainly use it as transitional color between the sky blue and ultramarine blue, which, as you can tell, those two colors, dominate most of the painting. Next is the sky blue, which is the letter tone off blue. I used this very lightly to create contrast between the darker and the lighter area off the painting. To get the greenish color, I add a touch off them and yellow to the sky blue, creating this really nice aquaculture, which goes really well with the rest of the painting. I also did this in the previous class, where I painted the galaxy Polaroids. Please check it out. If you haven't done so, I just three separate galaxy colors where you could have a little experiment with how to blend the colors. If you're new to galaxy painting to get the green color or any other color mixture, you could either mix it in your palate or on paper. If you put down the sky blue and lemon yellow next to each other and with the paint around with your brush, well, it's still what you could also blend the two colors together. This is what you call the wet on what technique, which will be using quite a bit in this class. The next color that I will show you is the bangle rose, which is this really nice bright magenta color. I know the camera didn't really pick up this color too well on the painting, But that's because I also use this very sparingly. I'm mixed it with the ultra marine blue to turn the blue slightly purple, just add a little bit off extra depth into the color. This is optional, but I personally like adding a touch of rose into the booze to make the painting look more dynamic as a hold here on your show, you the exact same thing where you can either mix the color on your paper or you could also makes it on your palate. Lastly, as you can see here, I used my blackberry thickly and very opaque. That's because the black brings out all the other bright colors. I also use black, sometimes to mix it into the ultra brain blue to create a deeper, more navy blue color. But on what technique is also what makes it very easy for watercolors to look very cohesive next to each other. It blends really nicely increased release, smooth transition. But being mindful that if you don't use the right techniques and keep piling the paint, there is a chance that the colors might also turn a little bit money. They want more detail on this. I also gave a few tips and tricks and part one of this class on how to avoid money colors. Here. I'm just laying down the colors next to each other and see that because the paint is still what each color just blends nicely into each other. I also used White Wash to create more pastel colors. Wash has a thicker consistency compared to watercolor, which I used to my advantage. It also makes up with the colors look more rich and velvety. It blends a little bit differently because it has, ah, different density, which is higher, and this makes it travels lower on what surface. If you're new to mixing, wash with your watercolors, I suggest doing a little bit off test paint on scrap paper first so you can have a good feel off the paint before we start 5. Base colour: colour mapping: wear now, finally ready to paint. I have old paint that I need laid out on my palette, and here I'd like to start with the lightest color, which is the sky of blue and the yellow. I first used a thin consistency, which means more water than paint, and I just want to paint lightly. I'm starting at the body because that is the empty space that you are free to control the colors as he want to design it. So I'm just going to roughly place the colors. I'm starting with the light colors first, just to make sure that I like the placement off the colors before I defined them later on. This way, if you don't like certain colors that you've placed, if you layer it on later, it won't make too much of a difference. Whereas if you paint too dark too early on, it might be hard to erase later if you end up wanting a lighter color. As we get to the bottom off the body, I want to add a darker shade of blue to create a little bit of shadow for the body. The key off this first layer is just to roughly map out the colors before doing anything drastic to it. I want to make sure that I can combine both the galaxy colors without having to sacrifice any off the values and the elements off the fox to still keep the shape off the animal as we get closer to the lake area. As you know, generally, fox fur is black on the bottom, off their legs and this element help us indicate what animal this is. So I'm going to keep that element. I have to find a way to blend in the black to the rest of the galaxy color. This isn't a problem. As you know, galaxy painting mostly has elements off black anyway. But I don't want to introduce a full, opaque black at this point because I don't want to risk making anything, buddy. So just to remind myself, I use a mixture off ultra marine, blue and black, and then I'm going to just use a lot off water and lightly color this area. Just indicate that this area will be a dark color. Notice how often I clean my brush. This is because I don't want any unwanted mixtures on I'm making sure that each color that I place down is at its peak. Vibrancy, especially if you've recently used a dark color. You want to make sure you get rid off all the pigments fully before you changed to a lighter color. I'm this year if you can see this clear enough, but I've left out a small area at the bottom off the stomach where there will be white fur , and I'm also going to do the letter colors towards the end. So if you are painting at a different pace than I am, I just want to make sure that you leave out where the areas are going to represent the white for which is at the bottom, off the face, on and on the chest and stomach area I mentioned before. I want to make sure I paint the body area for us because it's the larger empty area and it's easier to feel and to get you warmed up. Once you are more comfortable with placing the colors, I start adding thicker consistency paint, especially where I know certain areas will be very dark color, as you've probably noticed, as the paint is drying up and is also fading a little bit in this larger leg area. I want to make sure I have a nice transition between the light green to the cobalt blue to the ultra Marine and then the black, So I'm just slowly building this up. And if my paint is a little bit too dark, I just clean my brush and make sure that my brush is a little bit depth with no paint. And then I pulled the color across to create a really nice, greedy in as we've practiced earlier in the coloring lesson, remember to create a nice transition. You want your pain to stay wet in order for them to blend with each other across all the different hues for the last leg, because it's hidden behind the for that is going to be white. I'm being very careful while painting this, and I'm using the tip off my brush to isolate the white fur on the chest area. You can also use a smaller brush for this part. If you're not too comfortable with using the same medium size brush as he can probably tell, I've left out the area where the for from the face touches the body. That's because you also need to be careful with this part, like the previous leg that we've just painted. If you're uncomfortable with isolating this area, you may also use a smaller brushed to help you isolate the for the part off. The body is probably a little bit dry now, so the pain that you've just plays down isn't lending enough with the rest of the body. That's completely fine, because all you have to do is cleaning a brush and patted dry so your brush is a tiny but that and you can pull the edge off the pain that he just painted across the rest of the body. If you still find that there's too much pigment, you can keep cleaning your brush and pick up the wet pigment to create a smoother transition on a try surface. I think that I quite like the colors that I've already put down roughly, so I want to start incorporating a little bit off the black on the legs and shadow areas behind the front lake. - The surface is probably drying up now, but because this is black, I don't want to pull out the pure black color to the rest off the leg. Instead, I'm going to take a little bit of ultra Marine to help transition into the rest of the blue . Then you can pull with the clean water, only the part where you've painted the ultra Marine, so you don't muddy the rest off the painting. Now we're going to paint the tail. I personally want the tail to look very wispy, and I'm planning to make the end off the tail lighter than the rest. So it seems like the tail as a little bit translucent. So I want to make sure that I start with very like Lear's because I don't want to overwork this area. Also notice how I'm holding my brush. I'm pointing my brush to where the foxes and I'm dragging it back until I run out of paint on my brush. To do this, you have to make sure that your brush is not too wet. We want to intentionally run out of the moisture on the brush, giving it a slight dry brush effect, now taking a darker tone, which is the ultra marine blue. But I'm still using quite a fit consistency, and I'm painting the bottom off the tail just to start a base color for the transition later on, that we're going to build the next layer, being very careful with this part because I don't want it to look to overwork. Now that I'm happy with the color I've mapped out on the body, I'm going to be moving on to the face. We can use the colors on the body as indications off what the face should look like. So, like before I start by using the lightest color, which is a mixture off the sky blue and the yellow, and I place it all over as the base color. Here I'm adding a little bit off green from the lemon yellow and sky blue, very loudly to introduce a different hue. Do the head. I want the ears to be black on the tip, so I'm adding a little bit off the ultra marine blue from the year swells. The rest of the paint is still wet, and I'm letting it blend down to the top off the head. I also want to darken the snout, so I'm just going to use the same ultra marine blue, and I'm going to let the paint settle with the rest off the lighter area. Note that I've left out the eyes unpainted. This is because if it's colored already and might be hard to see where I've drawn out the ice. So I left a black for the time being, until I'm happy with most of the color mapping on the facial area, I forgot to mention that I also added the ultra marine blue next to the cheeks to distinguish the head and the body a little bit more. So I'm just introducing a little bit more off the shadow area at that part. Now I'm adding some sky blue for the inner ear on then the snouts area to create a nicer transition for the ultra marine blue to the aqua color. I think I'm done with the base colors off the face now, so I'm going to start adding some off the black for the tip off the ears and the nose. I'm using my very small, fine detail brush because these are very small areas were painting and we're also using like, which can get messy quite easily. So do this part very slowly and carefully. Once you are done. You can wait for the layer to dry before we move on to the next lesson. Or you can use a hair dryer like me to make the process much Fuster. You will notice that as the paint settles and dries and becomes slider and dull, this is why I always layer my paintings to give it much more off a finished look. 6. Base colour: redefining colours: I think this lesson we will be refining the colors that we've mapped out on the previous listen to start off. I'm actually going to add a little bit off the white wash because I find this gives a good base for the other colors to travel on top of it. So I'm just going to apply a little bit off the whitewash where the latter areas off the painting is, which is along the back off the fox. Then I slowly built the colors around. At first, I placed the sky, blue adds. I'm going to leave and let's settle a little bit before continuing with that part while I wait for that part to dry a pit, I work on the leg area, which I'm going to color with the ultra Marine. First. I'm going to do a figure consistency than the previous layer that we did on the previous lesson. So more pigments on your brush to give off more vibrant colors, and then I'm going to continue on with the black parts off the legs. I'm working fairly quickly on this part because I want the ultra marine blue to still be a little bit damp so the wet surface still catches the black one, we added on later. But if not, you can also pile more ultra marine blue thickly on top, off the black to help it settle. If the colors are already a little bit too dry for the colors to travel, please just from painting the legs off the folks, you are able to see the difference between the vibrancy off the previously air compared to this one, where we apply the paint and a thick consistency. - Now that the back is a little bit more try, I added a little bit off the lemon yellow. The reason why I waited for the sky blue to dry off first is so the lemon yellow doesn't travel too fast and lend too much with the sky blue that we've just painted. Instead, I want to be able to control the colors with my brush so the colors would pop out more separately. But because the bottom is already a sky blue, when we pile a light wash off the lemon yellow will still turn a little bit into the aqua color that we want. You will see that because I waited for the sky blue to dry off first lemon yellow is not blending as well, so this is a good chance to add more colors and lend the rest off the body area with the legs by adding more transitional colors. If there any areas that pops out too much as an example, I don't want the foxes bottom to be two yellow. As I've painted it, I can add a little bit off whitewash to lighten the color while still bending with the rest off the area that we've painted at the stage. I just want to keep adding more paint until I'm happy with the composition. Off colors along with the fox is back as a tip of the area that you're painting start to puddle too much because you've put too much paint on it. I suggest to stop working on the area and letting the paper dry a little bit, because, ah, very wet stage where the paper is completely soaked. The pain won't actually react the same way, and you'll end up taking away colors instead of putting it on, or sometimes seemed add on pigments. But it doesn't seem to do anything, so make sure to dry it or use a hair dryer. If your paper is a little bit too wet now, I'm deciding a touch more color to the face, so it's the same stage off vibrancy as the rest of the body. But we will also get back to this area later on, too. I feel like at the stage, the tailless much lighter than the rest of Fox. So I want to build a little bit more color at the stage by adding some ultra marine blue, and I make sure that the bottom off tail is still darker, transitioning into a more translucent area where the tip off the Taylors, then pulling the color with a clean brush. You can't see me wiggle my brush around. This is because I want to make the tail look a little bit smoky and loose. I don't want too much off street distinct lines, but I want something that looks a little bit more flowy. I also want tail to have elements off the green color, so I add a light touch off lemony oh very Lavey to glaze over the tip off the tail to make a transition from the ultra Marine two very light green color and adding more yellow pigments along the way. If you need to want to make the transition a little bit more distinct than mine, once you are done, I want to try this thing your first, Then I want to keep building on this. By finally adding a touch off, the bangle rose into the painting to introduce a new hue. I'm going to first treat the angle rose as a glaze, which means I'm just going to do a transparent wash over the previous layer and placing it in areas where I want it to look a little bit darker. I also tried to mostly mix it with the ultra Marine blue. I personally find that adding a touch off Bengal rose into ultra marine blue brings out the painting more to life and brings more of a dynamic because we have the coolness off the ultra marine blue with the warmth off the bangle rose and I think it just brings it more to life and it takes it up a notch. This is just my personal preference, though, but if you prefer to not add the bangle rose, you may also skip this step. I'm just going to continue working on this by smoothing up his transition off the colors again as we've introduced the new hue, remember that I'm only adding a touch of it so it doesn't distract from the main colors, which is the blue and the green. No, after I smoothed it out, and while the paint is still fairly wet, I'm going to build more off the sky blue by painting quite a bit off the consistency to make the overall body more vibrant and color. And then I'm going to combine with the rest off the area with clean them brush. We're going to go back to the face. This time. We're going to paint the eyes, and because it's very small and is very crucial, I want to make sure I'm using the smallest brush I have. And I just mixed an ultra marine blue with the black to have this really dark navy color, and I'm just going to paint it on very carefully and slowly. Don't worry about the details. At this point. I'm just going to color in everything with a flat color, and then we're going to build up the highlights. A bit later on. I'm going to paint the outlet first, make sure you don't paint it toe large because it's easier to enlarge the eyes compared to erasing it. If you've made a mistake now, I'm going to build the rest of the face. I want start in the snout and top off the head with the ears. I'm also going to build up the lighter colors near the eyes with the sky blue and a little bit off lemon yellow by first private jet with the white quash, as we did previously for the bosses back just to help the pain travels. Mother, I'm basically going to treat it the same as the body part that we painted. But you have to be more careful this time to avoid painting out of places, the space as much more tight. Remember to always he's small brush for the phase to help you keep everything clean. Reason why I want to make the top off the head and the snout arteries so that the image pools, um, your eyes towards the eyes. Off the fox, we're basically using the darker colors to frame the face to keep the focal point clear. I'm also going to use the darker color to start defining some off the for around the cheeks . Then I'm going to use a wide sky blue to start painting some off the white for very, very lightly. I'm following the lines off the hair, so make sure you follow the bends. According to the outline. Keeping the curves off the firm makes the painting look much more flowy and organic. Remember to keep some white negative space for parts off the white, for you don't want to color the whole thing because it makes it look flat. When you leave some negative space, it will help you indicate some off the highlights on the firm making of look more three dimensional to finish off. I'm going to add a little bit off shadow for the inner ear, and at this point you can now adjust whichever part you feel isn't opaque or vibrant enough and color and try to keep building it up before we move onto the next lesson. 7. Painting facial features: way this lesson. We're going to finalize the facial details. This is one of my favorite parts off painting because it feels like the painting is slowly coming together. I'm going to start with some white wash. I'm using a thick consistency because I wanted to be opaque enough to stand up against the color that was painted for the base. I'm using the tip my brush to paint some white hair strands, very finally along the cheek area, along the ears, on and on top off the hit. Using the thick white wash paint. I'm going to just paint two little dots for highlight for the eyes. Make sure to do it along, sir, at the top of the eyes. So it looks like the fox is looking up and the light source is coming from above the fox, and I'm just going to use the same consistency to also paint the detail off the foxes. Pause. I'm doing this now because I tend to forget, so I'm just going to do it while I remember. After I'm done with the pause, I'm going to go back to the face and to focus a little bit on the ears I'm next and a little bit off ultra Marine and like to make the duck navy color, and I'm just going to redefine some of the hairs from the cheek area. That's so the dark stands out against the white, too, and I'm just going to add some off the dark color for that years to basically to build the for. We're just going to go back and forth with the darkest color to the white quash. This way you will see layers upon layers offer. I am also lining side off the years to redefine it, because I want to show a little bit off the darker part from the back. Now this is where I go back again to a darker color to fill in some off a ferry areas off the years. You will see that by doing this, we're also building up colors, which makes the darker and the whitewash a little bit more visible. I also make sure that each layer is completely dry. If not, the whitewash add the navy blue color will end up just mixing into each other. This is why I moved back and forth from section to section now. Since I'm waiting for the years to dry. I'm painting a little bit off this now area, and I'm just adding a little bit more strands to give it a little bit off depth. The colors off the hair strand will differ depending on which area you're painting, because the part that we've just painted is the sky blue and lemon yellow color. So I picked the sky blue to build on the for on top of that area. This way it won't look completely different from the base color, so it doesn't look off. So just be mindful when you're painting and picking your colors for the final highlight off the eyes, I decided to mix a touch off lemon yellow to the white quash just to introduce a new hue. To the highlight. I use the very tip off my brush to paint a very small crescent shaped to bring the eyes to life, using the same light yellow color. I'm just going to build on the for on top of the head and along the eyes. This way, you are also framing more off the eyes, make it pop even more. See how I'm painting the for one by one very carefully, and I'm making sure that the direction is correct, as in what it would look like, naturally on a fox. If this is a bit hard for you to imagine, you can also look for reference images to see how the fur grows on the fox on the left side , off the face, I'm adding just a touch off the navy blue. Color it. This is just to indicate a little bit off the other I peeking through. Now I'm going to paint the mouth, and I'm just going to use the darker color for the tip, which is just the front off the mouth. And I'm going to continue on with a lighter color. And I chose to use this guy blue color to continue on with the rest so that the front will look darker than the rest off the mouth because the part where painting now is covered in the white for I'm going to use a lighter tone to indicate that I am going to take the sky blue to line this area near this not the first quite short and thin, so I'm just going to paint a straight line. But as we get closer to the chest area where the for will be a little bit longer. I'm going to slowly build some strands going from shore strands two long ones along the neck and chest area. Now I'm building up more off for along the face again by adding some white quash. Feel free to change up the white with the light yellow to a slight variation, and the hue would give the painting more interest. I'm going to go back to the white for area, and I'm going to add some dots where the whiskers are going out off, and I'm also going to add additional whiskers when you're painting the whiskers. Be mindful that your brush isn't to drench with water or else the water will clump on the tip of your brush, making your lines more thick than what you might want it to be. It also helps to not use such a thing. Consistency off such a dark color like black, but in study can lighten it by adding a bit more water, and you can also choose a different color, like maybe the Navy blue, which is the mixture off black on ultra Marine The reason is, if you used to darken the color, sometimes it might stand out too much from the rest of the painting as a finishing touch. I'm just going to do final layer off the for alone the ears with the white wash again. And I think I'm fairly happy with the face now so we can move on to the rest off the body in the next lesson. 8. Painting the fur: in this lesson, we're going to build up the texture on the body. Were only doing the for on the outline off the body, mainly because we will be painting stars and the details later on for the rest of empty space. So, firstly, I'm going to use a mixture off the ultra marine, blue and black with a fairly thick consistency to paint some off the for behind the legs. I'm just painting a bit to indicate a tiny bit of texture. Don't go too overboard with the for on your painting, or it might look a little bit messy. I'm then continuing along the stomach area and then the back leg for the back. I'm also going to use a different color because the main color of that area is the aqua green. So I'm using a mixture off the lemon yellow at the sky blue with fairly thick consistency, and I'm painting in lines to represent some of the for in that area, a lot of the back off the box. I'm going to take some sky blue and using a thick consistency again because I wanted to stand out. I'm just going to paint the first texture again, with the direction going upwards to the back off. Folks, Now that we've painted some off the darker colors, we're going to go back to the White Wash again like we did on the face. And now we're going to do the same thing and pile on top. But this time with the whitewash, so you can see as if there's a highlight on the for. All right, I'm going to apply the step all over the outline off the fox, and I'm just doing really relief in strokes to represent the for, And I'm going to go along every side off the body to just give off a tiny bit off picture. - I think I've painted enough for on the body, so I'm going to loan to tail because we've kind of left this out compared to the rest off the painting. I'm going to build the colors again this time, and I'm still doing it very slowly with the consistency. But I'm also darkening layer by layer. Where I'm using now is a mixture off the Bengal rose and ultra Marine, and now I'm piling up a thicker consistency off ultra Marine, and I'm just going to switch it slowly and build it up. You can also do this according to taste. If you don't like my color combination, you are free to just make your own. Now that we've painted the ultra marine blue, I'm going to smooth it out again. And I'm also going toe wait for this layer to dry up a little bit, just only so you can pile on a thicker consistency pate. If you don't want to wait, you can also hear Try it. But mine it wasn't too wet. So I'm just going to mix Ah, bit off the black and the ultra marine blue. And this time I'm going to do thinner strokes to represent more off the longer hair. By the end of every layer that I do for the tail, I want to keep smoothing it out. This is because I still want the tail toe look fairly transparent at least alone the ends anyway, I want the back to be darker and then going to a more translucent color along the top 9. Galaxy texture: star splatters: here comes the exciting part in this lesson will be making the white star splatters that makes galaxy paintings iconic. For this, you want freshly squeezed wide quash because you want the whitewash to be as opaque as possible but still running enough for it to splatter and that I'm going to take a small brush. I make sure the bristles are tiny but tap, so the paint would come off easily as we pull on the bristles. But not to, uh, that the wash paint loses its opacity. You want your toothbrush bristles to be decently covered that we can begin slaughter. Even though the final outcome looks really wild and loose, you still actually have to go slowly and make sure you hit the right places you want to splatter. I pull in the bristles and let go slowly to make sure that no one space is a little bit too dense, and I also move my paper around to help me hit the right places. As you can see, you might have some whitewash paint that did not splatter as you would like it to. As an example, I find some are a little bit too large here. We can fix this by painting on top of it while also working on the wash pain to slowly dissolve into the background on the lake area that I just did. I covered it with black paint, and I'm also going to work the wash paint underneath so it doesn't look too bumpy and off the cheek area here because the color is Dacko green. I'm going to make a similar mixture and then painted on top and do the same thing. After you get rid off the unwanted dots, you can also add on some on places that might be a little bit hard to get with your toothbrush. So I'm just using my very small brush to make the dots with the whitewash paints again, you might be thinking, Why not do this from the start? So you get full control, but I suggest you still use the first method because that uncontrollable splatter is what makes the painting more loose. I personally tried to avoid as much off painting dots as possible number one, because it's tiring and number two because it will look as randomized because you might paint similar looking dots. You can probably tell the white dots look much better when the background is a little bit dark. That's why I want to accentuate more off the dots around that area. Keep repeating the step until you're happy with all the placement, and then we can move on to the next lesson. 10. Additional element: orbs: start off here. I'm going to paint a base color for the water where the foxes spending, just painting a light wash off ultra marine blue. And I'm making my strokes the same direction as the water, leaving some white areas as highlight for later on, so it doesn't look too flat. Leave this to dry so we can work on it next lesson. Meanwhile, I'm going to use the same brush, and I'm taking quite a thick consistency off the ultra marine blue, and I'm painting random dots around the fox to create extra elements. I want the mood off the painting to look a little bit mysterious, as if the fox is some kind of spirit coming from a different dimension. So this is my take on it. Feel free, though, to make your own personal inside elements if you want. After I have enough off the ultra Marine blue, I'm going to do the same thing. But this time, with a mixture off the sky blue and the lemon yellow. I want the design element to look cohesive with the rest off the painting. So I took the two main colors off the fox, which, as the ultra Marine blue and the Aqua Green, And I'm just repeating the dots and I'm working at around where I painted the blue dots previously. Keep repeating the step until you're happy with all the placement. Be mindful to not over worth this, though, because you don't want the elements to take away from the main subject itself way. 11. Painting water and star bursts: this'll listen will be going back and forth with painting the water and some off the servers on the fox. To begin, I'm going toe work on the water eyes, my small brush and thick consistency ultra marine blue to define some of the lines off the water. Note that since we're looking from the side, the ovals from the water bunch up along the top, so the lines are much closer together at the top and further away as we get towards the bottom. Painting it this way will help you get a better idea off the perspective way we're going to keep building on this water area. So next I'm going to take some like consistency off Echo Green and painted in between off the ultra marine lines that we've just previously painted. Now I'm going to follow up with a thicker consistency off the sky blue along the top and getting a little bit further away towards the bottom. Please take care and not paint the whole thing, but leave out some white negative space so you can different shape between the highlight on the shadow. Now I take it that share off the ultra read of the black, which is the navy blue color that we've been using for the Fox and I'm going Teoh, redefine some of the lines again because we've painted a lot of men tones. Now I want to make the darker toes a bit more visible. When you are done with the step, we're going to leave this to dry. Meanwhile, we're going to paint some starburst on the fox with whitewash paint, and we're going to go back to the water after that to add more highlights to make the starburst. We're going to use the whitewash paint and very thick consistency because we want the white to be very opaque. To stand against the background and to draw this out. We're just going to paint four lines, one going vertically and then horizontally and then two diagonal cutting towards the center tried to randomize the placing and also play around with the size off the stars to give your painting more dynamic. I I think I'm quite happy now with old placement on the fox, and I'm going to move to the water area now. I'm going to paint small dots first to represent some reflection from the fox and I'm also going to add a couple off Starburst on the water. After that, I'm going to add a few lines just to accentuate more off the highlights. And you are happy with all the placement, we can move on to the next lesson. 12. Stars and constellation: the final element we're going to be adding to the painting is the star constellation. For this, I'm using my Goldfein Tack pellet. But if you have any other metallic paint that you want to incorporate, you can go ahead and experiments. I'm going to just do a zigzag around the folks. So I first think about which areas I'm going to paint the starburst first. As he can see, I didn't draw out the constellation, but I will also included in the downloadable section, in case you want to also traced out the constellation that I've painted here. But if you want to make your own, you could also skipped the step and make your own constellation amusing. Very thick consistency paints here. So before I start painting, I make sure to put a bit off water on my palette, and I make sure that all the paint is activated until you can see that your brush is fairly coated with the goal pigments. I'm painting the Starburst the same way as we did for the previous lesson, but for this one, I'm painting larger one, so was a little bit more visible. Once you are done placing the Starburst. Now I'm just going to join them together, and this time I want some of the lines to go over the fox and some under the fox. By doing this, I find that it's making the whole piece more cohesive by making the constellation wrapped around the fox. After I'm done joining the stars, I'm just going to paint extra starburst and scatter it around the page to finish off the painting. I I'm varying the size again, as we did for the previous Listen, this is because I want the constellation to still stand out against all the other source that we've painted to finish off this painting. I'm going to paint one lost arbors. I'm going to do a large one in front of the fox as if it's staring right into it, and we're finally done with this painting 13. Closing and Class Project: congratulations in completing this class. I hope you enjoyed it as much as I did. Putting it together. If you're interested in painting with me, I would really love it for you to post your paintings in the protect section so I can see all the beautiful creations you come up with. Thank you so much for joining me in this class. I really hope you had fun. And there's something you in the process. If you enjoyed this class, you still forget to leave a like a feedback because this really helps me out to see the kinds of things you're interested in learning. If you guys are interested in seeing where works by me or updates on videos or classes that I'm going to upload, you can follow me on my instagram accounts at G underscore Nanyang me or because even follow me on my YouTube Channel two Janjalani. This is where I post are related things along with short tutorials. Thank you again for watching and I will see you at the next class. Bye.