Paint Loosely with Watercolor: Great Horned Owl

1. INTRODUCTION: Hi everyone, my name is Nina and I'll be your teacher for today's class. So welcome to part two of the owl class, where I'll be applying what we've drawn in part one into a loose watercolor painting. If you're new here, I would definitely recommend for you to check out part one where I covered the main features and the basic portions of the great horned owl. And even though I'll be supplying you with the outline of the painting itself, I think it's always better to get a little bit of background perspective since I'll be moving straight into the loose watercolor painting in this class. I'll be covering a few different watercolor techniques for this painting, which includes the what, on what application, layering, dry brush, and also fun splatter effects for the background. I'll be taking you through each step one by one. So hopefully it's easy enough for you to paint along two. Before we begin, let me go over the outline so you know what to expect of this class. After this introduction, I'll take you through the supplies I use to complete this painting. I will provide a line art for the hour. So if you're interested in tracing the Al, this is a good time for you to do so. But since I'm going to draw my announce, I went straight into prepping and masking my paper. Then going straight to draw a simple quick outline for the owl. After that, we're going straight into the painting where I'll first introduce you to the what on what technique. Then we're going to apply that technique for the background of this painting. Finally, moving on to the olive itself where I'll be painting the base color for the face, then the body. Because I want the body to be less detail than the face, I decided to go straight into layering the details of the bunny, followed up with the details of the face and redefining the features with the layers set a good basis for the owl. So after that, I painted more decorative elements for the background as well as you're defining the eyes. Then on to the fun part as we played with a fund splatter effects for added interest to the background. I'm also going to do the same with white blush. And finally will be unmasking and revealing the painting while also doing final minor adjustments followed with closing and class project. I would say that this class is aimed more for intermediate students who has a fair bit of experience with watercolors, since I'll be including a few different techniques and one painting. But if you're new and you're interested in giving this ergo, I would recommend for you to take more time to practice the techniques that I mentioned in this class before tackling the final painting. Like usual, I'll be skipping or speeding through parts of the painting where my hand is either inactive or off the frame to get the class going. But I understand that everyone works into different piece, which is why I always recommend for students to watch the full class or the lesson prior to painting along. When you're ready to paint along, feel free to pause in between each step so you can work at your own pace and then click Continue again when you are ready to move on to the next step. That's all I have to say for this class. I hope you guys enjoyed your time and let's begin. 2. SUPPLIES: In this lesson, I'll share this place that I'll be using for this painting. Here are the splice that I'm going to use today. Firstly, the paper that I'm going to use is Canson XL, 300 gs m. With the size 15 centimeters by 17 centimeters. You can use any brands that you have. But I wouldn't go under 300 gs m as we're going to do a what on my technique which would require the paper to be quite wet. And I also have scrap paper for me to try out techniques or check colors prior to putting it on the Beating. As for the brush, I'll be using two sizes. Both of these are by V tick. The large one is size 14, while the small one is assigned to. Sizes do vary with brands. So tried to compare the size to the size of the paper and the painting instead of going by the number itself. This I would say compared to other brands, I have falls on the larger side. So please keep that in mind when you're choosing your brushes. For this painting, I'll be using the colors from my whole mindset completely. And I'll go over the list of colors in the next lesson where I'll be prepping for the painting. On top of those colors. I'll also be using my white designer squash, and this is by Winsor Newton to paint the highlights adds platters for my painting. For the pallet itself, I am using a cheap plastic pellet from dye. So you can use plastic pallets or porcelain plates and things like that, as long as they're waterproof and I would recommend to use a light base or something whites so the colors you're mixing are visible. I'm going to draw it the owl. So I'm going to use a pencil and eraser. And the pencil is a pentose sharply with each be filling and that razor as the gramophone. If you're going to trace, you can download the line art of the painting. You can also resize it to suit the size that you want to paint. And you will either need a tracing tablet or you can trace against a window. And of course we'll need an empty German for clean water as well as tissue to control the paint load on your brush. I'm going to be masking my paper around the edges to make sure that I get a clean border. And I'm just going to use ordinary masking tape from stationary shop. I'll be masking my paper with a cutting board. You can also mascot streets on your table, but I like to have the loose surface so I can move the painting around and I can move my hands and arms freely as I paint. But it's up to you. I like to usually flip my cutting board so I get a smooth surface. Last but not least, I'll also be using a small straw to make the background effects. This is just a small stroke that I got from a small juice box. You can use the regular sized ones, but I find that this controls the air a little bit more. But of course, larger ones are still usable. It would just require more air pressure as you have to blow more because off the larger space you have to fill in. And here are the list of supplies. You can take a screenshot of this to get all of your things ready if you need to. 3. MASKING AND PREPPING: Before we begin, I'm going to prep everything first. I want to first mass m0 paper. Instead of sticking the paper Street on the table, I'm going to use a small cutting board that I'm going to flip because the bank is smoother, the size of my paper as 15 centimeters by 17 centimeters. And I'm going to set this on the side, so I have space to put my paints on a flat surface. That does an awful, but this is of course optional. And this is just the set-up that I need to film since this class is a part two continuation from the previous class where I showed you how to draw these owls. I'm just going to draw the outline in the next lesson very loosely. But if you don't watch your, your own, I'll also include the basic outline which he can use, but you would have to trace prior to the step of masking your papers. So just keep that in mind. And here I have my ordinary masking tape that I just got from stationary shop. This one is one centimeter wide and I'm going to cut four parts according to the length of the paper and have it ready for me to stick on. It's always better to measure from each side and cut your masking tape slightly longer than the measurement of the paper. And once I have all four sections ready, I'm just going to take my time to stick the masking tape on and make sure that the edges are more or less equal all across. I'm also going to have all my colors ready so I can peed streets after a drop. And the colors that I am going to use here are terror, Verdi, cobalt blue. I've read like Satya, burnt sienna, yellow ochre, rose matter, vermilion, permanent yellow deep. Then after I'm also going to use my whitewash. 4. DRAWING: So if you're going to trace the outline that I've given you, you can skip this lesson as yours would be ready to paint by now. But I'm just going to show a little bit of how I drew it out. It's basically the same as what I've covered in the previous class. So I won't really get into proportions and features. And I'm also going to keep the composition very simple and straight forward for this one. The only trick that I'm applying to this as the fact that I drew a line in the middle to help me position the owl center instead of it being slightly wonky. It's especially important for a verified composition like this to have good positioning, either obviously heavy on one side or neatly centered in the middle of the page. You'll see me erasing a lot as a draw because I do want the lines to be very thin. So I can easily cover the pencil marks with my watercolors when I'm ready to paint. But it should still be visible enough to help guide me through. I'm only drawing out the basic outline without any textures except for a few first indicate a few places. Just as a reminder to create more of the fluffy textures in those areas. And with a central line, I just find it much easier to position those features to make them fairly symmetrical or at least even on both sides. And I think that's pretty much it at the end. I also made sure to resist center line to minimize any unwanted extra pencil marks. I think that's all I have to see for this lesson. So if you want to draw along, you can do so. Or if you're ready to start painting, we can move on to the next lesson as an example. Okay. 5. WET ON WET TECHNIQUE: In this lesson, I'm just going to go over the what on what briefly, since this is what we're going to use for the base of the background. This essentially means that you are putting what paint on top of an already wet surface. And what this does is make the pain spread, creating blurry shapes instead of the usual Chris blind. The trick to this is understanding the wet and dry stages. Here I have what my surface and this is the ideal wetness that I liked. You can see a sheen, but it's not too dry. I want to make sure that I fill in the area because this will create a barrier for your water. And when it is spread nicely, we can go ahead and load the brush. I'm going to take quite a light consistency. And as I take off my brush, you'll create this blooming effect. And that's fine because the paint is going to spread more anyway. But you can always pizza the opposite direction if you want the larger sheep to be on the other side. Here I'm creating branches and I'm just going to use the green to paint some pine leaves. These two will spread. So there's no need to try to get details. It's just a very loose way of painting. For this next one, I'm going to do the same thing by reading my paper with clean water. But this time I'm going to use a higher consistency, Pete. And with a higher consistency, the colors will be much darker as it spreads out across the paper. But it is going to react similarly personally for this painting though I want a light background, so I'm only going to use a thin consistency piece like the first example, so I can build up with leaders. Now let me show you an example of that is a little bit too wet. As I move the paper around, you'll be able to see the water moving around to certain edges and paddling up. You can also see from here that the water only travels across those wet areas. And you have this bear year to separate the wet area and the dry surface. So as long as you don't tilt European worry too much. So the water flows out. Your paint is only going to stay where the wet paper is. With this very wet surface. If I tried to put more paint on top, it's just going to mostly float on the water surface and spread to where the water is directing. And this happens because as the surface is very wet, the paper is going to warp in certain places collecting the access water. Now, if I were to pick the paper up, the water is still staying on top of the paper and moving the paint around. It doesn't mean that it's not a technique, but I won't be using this for this painting. But if you want a very loose and uncontrolled look for your background, you can always try this out. For the last one, I'm going to show you something that's a bit lighter and terms of the wetness. So you can just see a slight sheen on the paper is still evenly distributed but is not as wet as the first couple of boxes that I painted. And as you can see through the lines that I just painted, it's still blurring, but it's more controllable than the first and is not going to disperse as much. The drapery or paper is the more crest euro lines will become. Which is why if you paint what Andre urine lines are going to be very crisp. And the wetter your paper the more uncontrolled and becomes. Now let's talk a bit more about these squares. You can already start to see as the pain tries, that the top one is holding up more than the bottom. This might be due to my inconsistency avoiding the paper, but it could also be because of the load or by brush. The longer Europeans sits on the wet surface, the more time it has to spread. And when you load your brush to put the pin down on the wet surface, it is going to also affect the amount of water and the surface depending on how heavy the load of your brushes. So if it is more on the Heaviside, you are basically adding more water into the wet surface. So it could be that because the bottom had more paints and is probably driving a little bit slower, the paint is now traveling more compared to the one in the first box. For the third box or the heavy puddle box, we can already start seeing the warping on the paper. And we can see that the peak is gathering on one side. We know from this that it's going to take the longest to dry so the paint has more time to move around and fill in the wet surface. We can also see where the papers were being and collecting lots of water on the side. So it's going to dry slower than the rest of the box. And this is going to create a separation as it dries. So here as an example of what the paint will look like as it dries After paddling up. We can see that the first parks here where the paint gathered along the side, it's creating an outline. But there's this separate one on the right because that's where the people worked and collected the paint and the water took large dry. So in the end, it has its own little section. And whenever the Pete's gathers in a puddle, they usually stick to the side. And this is why the side usually has that outline. As for the last one, it is an ideal wetness to work with. But when you're painting a large space like a background, it always takes more time to fill n. So it's always better to wet it a little bit more like what I did with the first two. Because as you're working on a section, the other part will start to dry and as it dries, you're going to get something in between the first and the last box. You can also add on more paint after the paint has settled and slightly dried to create more controlled minds than the initial layer, if you would like to. 6. WET ON WET BACKGROUND: We're finally ready to paint. This is a little bit different. My usual paintings as we're going to paint the background first for this. Because I want to use the wet onward technique in order to get a nice blurry spots for the base of a background. To start, I'm going to use my largest brush to what the background with clean water while avoiding the aula itself. It should be fairly quick and loose. And I'm not really worried about getting a little bit of water inside of the outline off the owl because the colors are going to be quite light as it disperse across the wet surface. As you can see, the paper is what now? So with my wet brush, I'm going to go straight into activate the colors that I'm going to use, which is a mixture of Britain, CNR, and permanent yellow deep for the first column mixture. And I'm going to just spread it around in random spots that I think would frame our nicely. If the color looks a little bit too strong or streaky at first, don't worry too much because the wet surface will help loosen the paint. And it's going to help it spread, creating software edges and lighter color as it disperse. Here, I took some terrible birdie and I mixed it with the previous Brown mixture to create a slightly muted Queen. And I'm also going to spread it around and random spots as vol. What I'm trying to do here is just to create a blurry background of branches and leaves. And I'm slowly going to work in the details as I layer. But since this is only the first layer, I'm just going to create a blurry abstract background as the base layer. You'll see me taking a little bit of Serbia and mixing it a color of whatever was on my palette from the mixture of the background. This is so the color that I make still has similar tones to what I used. And I found that this keeps the color nice and cohesive. And I'm just painting random branches and the background. At this point my paper is still wet, but of course it's not as what, as what it was in the beginning. So you'll see that the PDZ won't travelers much or as far as the little blobs that I made earlier, I am still keeping the color nice and light because I want this to still be part of the subtle background. And as you can see, some parts of the paper is wetter than the others as it blurs out more, but that's fine. I feel like it creates more of the looseness. And I want to portray in this painting adding more terror Verdi to the same place on my palate. Now i'm going to Pete and some of the pine leaves, them background is still damp, but like the branches, the leaves are still going to be quite light and subtle. And I'm just going to let it naturally blend to the background. To Pete the pine leafs. I'm just going to paint one mean line in the direction of where I want the pine leaf to face. Then I add multiple ions that is slightly curved on either side. And I repeat this in different directions while slightly played with the size, length, and of course, the position of beliefs. That is technically the base color of the background done. But please stay with me through the next lesson because we're still going to continue with this weight on what technique from the background to the base of the head. 7. BASE FOR FACIAL FEATURES: Well, the background is still fairly what I'm going to take advantage of that and start to Pete parts of the ear so it blurs out slightly. I'm going to add the ears and the forehead area with water. If it's too wet, then you can always take the excess water off with a dry brush that you can soak that access with or use tissue, then even out the water again. Here I am going to take a little bit of burnt sienna and mix it with SAP yet to create a slightly darker brown. I'm going to color in the ears and very loosely. And you'll soon start to blur a little bit with a background, which is what I'm looking for here. For the forehead, I'm going to use the same color but later. So I'm going to take the access from my brush with tissue, then use what's left on my brush to start to paint spots on the wet surface of the forehead area. Well, the ears are still wet. I'm also going to take a little bit of ivory black. I did take too much here, but I'll show you how to fix that later. But you can technically avoid this if you take less like the needed. So here I wanted to mix the brown and black roughly. Since the Black was a little bit too dark, I took the excess off from my brush with tissue, then color in the rest using what's left of the black that is on my paper already. I'm not coloring the whole thing because I want arts off the brand, still peek through. Then to take more black off near the foreground, I cleaned and dried my brush, then take off the access by absorbing the paint with my dry brush. And I basically do this on both sides with a little bit of black that was left on my brush. I went the whole area around the face while avoiding the mosque and the little soft feathers around the beak. And I also use this to start painting some of the feathers underneath the neck area. I'm leaving out some white negative spaces for this to start building up on the fluffy texture on the neck to chest area. They're really light black PDZ around the face should still be slightly damp. So I'm going to use some burnt sienna two dot n a little bit for the pattern around the face. And you'll see that the right side as wetter than the left, which is why it's spreading out more. But it's okay because I'm not really looking to create mirror images here. But if you do want to create something that is a little bit more even you have to make sure that the wetness or the dryness of the paper is quite similar on both sides. For the mosque, I use a mixture of yellow ochre with the burnt sienna was already on my pellet. And I just color it around the mask, leaving a bit of speeds near the eyes and also near the mask itself. So I can follow up with thin consistency, ivory black to paint the outline of the mask by following the direction of the feathers, just like what we did for the sketch in the previous class. While I'm applying the ivory black, I tried to not touch the light brown part of the mass that I just previously painted. It's so key to get a little bit, but I do try to avoid it because the surface is still fairly wet. So I don't want too much black to travel across to that area of the face. Here I start to define the triangle on the forehead. And I used like consistency of ivory black just to create a free texture around that area. And I'm keeping it quite clean and just working slowly so I don't accidentally pleased too much. And here I start to apply some of the base color for the design of the feathers. And this is open for interpretation. In fact, even if you're using the same colored palette as what I'm using here, you can also use the Browns differently. You can make your ally a little bit lighter or even more towards really dark browns are obliged. So there's really no need to follow how IP this completely. You can first watch the techniques, then use the colors that you choose yourself or your own owl so you can customize the design of the feathers. I wanted to include a little bit of color for this owl. So I used a little bit of those lighter browns. But at the same time I think that using more of the muted browns like CPR and black would make the eyes pop out even more because those colors are quite unsaturated compared to the bright yellow colors of the eyes. So now that the forehead area is dry, you can see that the previous Brown is just a really light texture of light brown spots. Now I'm just going to take some ivory black that I already had remind pellet and I'm going to start painting the spots again. This time. You can see that because the surface is tried, the colors are now staying put instead of traveling and creating blurry lines. But I'm still painting this quite thin, lethal because I still want to build up on the leaders to create more interest and depth. Using a mix of yellow ochre in vote CAN I'm going to now add some textures on top of that year squares connected to the head. And I'm just going to do like flicks with my brush to create afraid texture. Now I'm going to redefine parts of the ears. Since it's now dry, the color have now settled and become lighter. Then I took some sepia and mix it with ivory black on my palette. And I paint negative species of the shape of the feathers on the ears. So now there's a little bit of dimension and leaders to the ears. Then using the same color mixture, I'm going to further redefine the shadow above the eyes. And whereas connecting to the beak. No, we're finally going to pee in the base of the eyes. And for this, I magically switch to my small brush and use clean water to what the surface of the hole eyes. Again, I don't want this pedaling. I just wanted to be wet enough. And I also went outside of the outline so the yellow can travel out slightly as it moves across the wet surface, which I find creates a little bit of a glow. For the main color, I'm using permanent yellow deep and a fairly thick consistency because I want the color to really pop as I color it in. I am painting inside of the outline, so I am not intentionally painting the outside of the eye. And I'm just going to let it naturally spread. I pizza the whole i including the black part where we can always paint on top of that. And I also tried to avoid the white highlight that I drew out. But even if you miss it, it's okay because you can always go back with whitewash leader to paint on top of the black. While the yellow is still wet, I took a little bit of vermilion, which I mix it with a tiny bit of Serbia and ivory black on my palette just to meet the color slightly. Then I pin this very carefully on the top version of the eye and again, just letting it spread to the bottom naturally, the do travel quite far depending on how, what the surface is. So just be very careful and pay attention really closely. If they are starting to spread where you don't want them to, you can either use a clean dry brush to take the access but paint off or just use tissue. Now, I'm going to paint the beak. Firstly, I'm going to use a very thin consistency of ivory black and pink on the beak while leaving a little bit of white negative space on either side. Then I use the same color to paint the free areas next to the beach because I'm using my smaller brush now, I am able to get thinner lines, which makes a software texture for that part of the face. Now I'm going in with a medium, the consistency of the Ivory Black. And I'm going to layer on the dark black along the bottom and the sides while leaving a little bit of the previous layer underneath to peek through the middle. And this will create a nice forum and give the impression that the texture is smoother than the rest of the face, and it's also slightly protruding out. I also painted a little bit at the top just to show the start of the beak. And you can see that the ivory black was traveling a bit too far here. So I used a little bit of tissue that I rolled up to take the excess paint off. 8. BASE COLOUR BODY: Let's paint the base off the body. Now, I switched my large brush again. And like the rest of the painting, I'm going to let the area of the body with just clean water to what the surface. After I haven't even distribution then I mixed and ivory black suburbia and burnt sienna together to create a warm, dark brown I'm working and a light to medium consistency. Then I first paints the free textures along the outline of the owl. Then working in slowly and creating those long dots as the base design for the feathers. I follow the round curvature of the stomach area and I also made the Brown a bit more sparse as it gets towards the middle. After you're done with this step, please continue to the next lesson street away as we'll still be using the West surface to add the details often buddy. 9. PAINTING DETAILS: BODY: Let's build on the detail of the body while the surface of the paper is still wet. I'm going straight in with a thick consistency of a mix between ivory black and sedia. And since the surface is still very wet, I'm being very careful because this dark color will spread quite a bit. I like to place them along the outer area first, just like the base layer. And I added most along the side off the neck to create a separation between the body and the head. For the design, I create smaller dots than the previous layer. I'm also painting them very sparsely, so you can still see a little bit off the light brown from the previous color. Then I'm also going to paint the bottom to separate the wings from the body, even if it's going to spread out just a little bit, is just a reminder for myself to remember the position of the wings. Under the wings, I placed a slightly thinner consistency of the same color just to indicate the form of the body so it doesn't look flat and it gives more opera roundness instead. Towards the middle of the body, I like to create a lighter design compared to the colors on the side. And I also want to make the feathers on that area little bit fluffier. So I like to flip my brush very gently to get the soft texture using soft colors to make it nice and subtle. Moving back to my smaller brush now and we can start to add in small details as this has sharper tip, I'm going back in with the dark brown mixture and this time I want to build the fluffy texture around the neck, while also separating the lighter and darker areas of the feathers. As they applied the paint. The top first, as I get towards the bottom, the peat is slowly running out of my brush, so the color becomes lighter and lighter. And I take this to my advantage, to paint the lighter areas and redefine those textures again. And I'm also going to further redefine the wings as the paper is now only slightly damp so the lions can become a little bit sharper. I'm still using the same color mixture, and I'm also trying to go around to balance out the textures all across the body a little at a time. Because the paper is almost dry and I am using my small brush. I am now able to add smaller details and patterns to the feathers. So I like to play with a direction slightly and the type of lines that I created for the textures. I like to mix n dots and also small curves lines following the body and the wings of the cow. I'm also slowly building up on the color. I slowly add thicker consistencies to build on the depth. I'm not going to do a very thick consistency just yet. And I like to also vary the marks that I make. As I mentioned before, I like using different lines and you can create a variety of patterns for the feather spent doing that. And here you also see me using a dry brush technique. Let me just go over the technique really quickly in case you're new to it. It essentially means using a very light load of paints and your bristles. So when you drag the colors across, it creates a very textured brushstroke with hard edges. And it creates a really nice additional detail to the painting. You can do this in different consistencies as well. So light, medium to thick consistency, as long as the load and your bristles are quite lights. And you can always check by looking at your bristles, that it comes to a point at the tip and has no water. And you can control this by taking the excess off with tissue. If you're using a synthetic brush like mine, it is a little bit harder to do the dry brush technique because the hairs are quite thick and it flips back easily in place with each other. So to do this, I like to put quite a bit of pressure. So almost the full length of crystals are touching the paper. This way you have more chance of the Bristol slightly separating to create the texture. You'll see that I can still create the fat wash even with that light load because I'm only using the tip and the water is still flowing. This is why you need to put a bit more pressure so the bristles will separate and this is the trick to it. So getting back to the painting again, I first use a thin consistency with a dry brush as well. Then what's most of the body as the color that I want? Then I start to add the thicker consistency, Pete. This is where I would actually try to make the colors stand out against the lighter textures for the base and bring up more crispness to the painting. For the dry brush technique, I like to press with my brush until the back of the bristles near the barrel is touching the paper. Then I like to drag it across those sections to create the textures that I want. Here I start be more brief with my colors because I feel like I have quite a good foundation of the base colors and textures already. And while I add on more details in this thick consistency, I also like to slightly play with the ratio of the Browns depending on the tone that I want to create. Which is something that you can also do too just to your paintings. As I want the middle to be lighter, I made sure that the darker colors that I'm painting cities mostly underside and the wings of the Yael. And as they get towards the middle, I tried to make the texture is a bit more sparse. So now there's a range of value to the body of the owl, which creates a nice break for your eyes as the painting now has a wide range of value and detail. The reason for this is that if the whole painting is too detailed, sometimes it loses the focal point, which is why I'm putting less detail to take the attention away from the body so we can focus more on the face leader as we continue with this painting. 10. FACIAL DETAILS: Thus build up the details of the face. Now, I'm going to first take a fairly thick consistency of ivory black. And I'm going to paint the forehead again by redefining the black markings. And this time I'm using my smaller brush so I can use the tip to get finer and more detailed lines. Just like the previous class, I paid the markings larger towards the middle and smaller and more narrow and dense towards the top. And this is just to depict the curvature of the head so it doesn't look completely flat. Here is a close up of the brushstrokes that I made as they get towards the top. As you can see, I just use the very tip of my brush so I can get very, very fine markings. Moving on to the mosque. The first one in the light brown area first, because I want to create less definition at this point. I'm going to take my burnt sienna and mix it with a tiny bit of ivory black that was already in my palette. And I'm going to use a medium to thin consistency to add the texture of the mosque. I made sure that the lines are following the roundness off the ice so I slightly move the angle every time I go around the eye. And like before, I'm also leaving out a white area on the outside of the ice. So there's this light variation and color for that area. For the outline of the mosque, I use the same color mixture but added a lot more ivory black. And for this, I'm going to point to the same way as I did with the inside of the mosque, where I follow the curvature around the eyes. And I also tried to create the tips thinner than the middle of the outline. So there's a range in weight. Now that the inside of a mask should mostly be dry. I'm going to go back in with the burnt sienna again with a little bit of ivory black to create a slightly darker tone of Brown. And I'm going to paint it on the inside of the mosque near the eyes only. So part of that fees looks a little bit deeper as the color is slightly darker. And just painting and adding new leaders to what I've painted before. It builds on the colors. And as for the brown tones, I used the colors, I read Black, burnt sienna, and sub yet as the dominant colors. And I just change up the ratios as well as the consistencies depending on my needs. As they get closer to the beak here I extended the markings from the forehead downwards so there's a nicer flow of textures from the painting. I want them must to slightly be illuminated from the colors of the eyes. So I decided to add a little bit of vermilion to the burnt sienna, so the Brown is a bit more red and I apply it fairly thinly at the bottom of the ice. I clean my brush and with whatever paint I had left still. I just used to to paint the part of the eyebrows so it doesn't look completely white from the paper. As for the eyes itself, I'm going to use vermilion to paint the top part of the eye. And because the surface is dry, I used a clean, damp brush to soften the edges don't rates. We're finally going to add the black of the eyes so it no longer looks like a zombie OWL. And Firstly, I use a thicker consistency, ivory black to paint the outline around the eyes. I made sure that the surface is completely dry for us because this is the critical part of the painting. And I need the lines to be crisp. So I'm going to use the wet on dry technique. And then I use the tip of my brush to paint the thin line around the eyes. If you find it easier, you can also use a smaller brush for this. So the peak flow from the bristles would be more in control. And then I use the thin consistency ivory black to slightly cleaves the top part of the eye as the top part of the eyes are slightly in shadow. And while doing this, I'm also going to build up on the shadow under the forehead, which is connecting to the beak. And since it's still wet, I am just going to leave it there and then continue in the next lesson. But before that, I also want to color in the pupils completely using a thicker consistency ivory black to make the eyes pop. Here. I left out a little bit of negative space, but does not really necessary because I'm going to go over it with whitewashed leader on any way. So just color it in completely with whatever was left on my brush. I also painted the top again to deepen the shadow. Here I extended the shadow from the eyes to paint under and around the eyebrows as differed in that area is quite light, so I have to depict that by painting a darker color around it. And this also makes it look like it's pleased in front of the ice. I'm just starting to redefine some of the textures that I painted. And we're going to continue to do this in the next lesson, where we can build up the shadows to give the face more interest compared to the rest of the painting. 11. FACE REDEFINITION: Now that we're making the final year in the face, I am going to use the colors more briefly since at this point, I feel like the painting has a good base for texture and features. I'm starting with a fine feathers along the beak that I've left out for a while now. And I used a fairly thick consistency CPR to paint the edges of that area. And this separates the shadow and the fine feathers. To make the bottom not looked like an outline, I'm going to soften the edges using a clean, damp brush. So now it looks like a clean shadow, instead of it just being an outline. From here, I'm going to use the burnt sienna on my pellet that has the every black and Serbia to redefine the Browns around the mosque and the facial areas. Again, this can be anything. I'm not even following the placement of what he did from the base color because it looks separate anyway. So just find the design that you like or whatever will frame the face nicely. Another critical part of the painting as the shadows of the forehead because it will help enhance and shaved the eyes. So I want to make sure that this part is well-defined and I'm not going to forget the shadows on top and below the browse also. This will make sure everything around the eyes are well-defined, which will also make the yellow and the orange are the eyes pop even more. From the shadow of the forehead. I continue downwards towards the beak, which again, I will use a inconsistency. I read black to make sure that the beak looks strong and a little bit glossy compared to the rest of the feathers. And this will create a nice contrast and texture. The colors around the mask are quite dark. I also need to balance out the brown area. So I use the brown mixture that I have on my pallet ready and color in the inside of a mosque again. And meanwhile, I also want to add this color to the rest of the hour so the mosque doesn't look out of place because I feel like at this point, the only part of owl which has the brown is only that mask area. It has more burnt sienna compared to the rest which has more of them monotone CPR or every black. So I'm just going to spread this color around certain areas to balance it out a little bit more. I'm also going to use a thin consistency of the same ground around the body, but I am only going to spread it around the top portion. So there's a slight change of saturation from the top to the bottom of the hill. I've left out the ears for awhile now and I'm going to use yet again that seemed Brown and please the details of the soft feathers using fairy textures around the top part of the year, words connecting to the head and also around the outside. I'm not going to redefine the whole individual ears one by one because I still want to show those looser and blurry colors that I painted earlier. So again, there's a contrast and texture and detail. 12. BACKGROUND AND EYES: Now I'm going to finally add some key details to the background. I'm going to feature both branches as well as pine leaves. And here I'm starting with the leafs first by using a mixture of chair Verdi and cobalt blue. Then to mute the color slightly, I'm going to take a little bit of the brown mixture from the feathers. This is also to keep the tunes cohesive all throughout the painting. To paint the pine leaves, I would like to use the tip of my brush and varying the pressure to create different weights. You can also use a smaller brush for this, but I find that this size with a sharp tip can create different weights that I looked for. The pine leaves are just curved lines and most of the time and also helps to draw out the middle stem first. So you know where the direction of the line should be. I'm going to vary the length as well as the size and direction of the leafs. And I'm pleasing them in random places where I feel like you would frame they are all nicely. Taking some of the brown mixture with a bit of terror Verdi, I use a medium consistency to beat the branches. When painting branches, I liked me sure, I plead with the pressure of my brush as I drag it across. This will give a more organic lined with uneven wheat and a bit of jagged field to the stroke. On top of that, I also like to vary the weights of the branches so they're thicker as well as thinner branches. I'm going to keep the branches and beliefs quite simple because I'm going to follow up with some splatter effects leader to fill in the rest of the background. And just feel like this would give a really nice loose and dynamic field to the painting. But if you don't want to include those effects, he can add more branches and leaves. This is not part of the background, but I'm going to go back to the eyes since it has now completely dried and the colors are slightly feeded. I'm going to use a dark red from mixture of roast matter with the ivory black and vermillion that I had left on my palette to deepen the shadow areas for the eyes. Then like usual, to create a nice and soft Blinn, I use a clean, damp brush, too soft and those edges. 13. SPECIALL EFFECTS: This is probably my favorite part of a lot of paintings, is where we can decorate with splitters and effects for the background. I'm going to use two effects for this one hour, the blowing and creating larger sputters with straw. And it's also little flakes off dots. Amazing the burnt sienna that I mixed with a dark browns and my palette. And I place a puddle of paint and use a small straw to blow the puddle of paints in different directions. The larger your puddle, the more paint is going to spread. And you really need to blow full strength to get the splatter quite far. I like to start with small puddles because I don't want this to overpower the painting and strip the leaves and branches too much. But I also like the fact that these letters could also create branch like effects. After making the spatters. I always like to pack them slightly with tissue because I don't actually want the colors to be too strong. So I want these effects to still act as part of the background. You can choose your own colors, but I'm just going to stick with the earthy tones. So here I'm varying the brown slightly by adding permanent yellow deep to the previous Brown, just as a slight change in tone to light in the background slightly. Because they feel like if I were to add more of the same Brown, you think you would make the pizza and look too heavy because the background color is too similar to the owl. So I made sure to either use darker tones are lighter. In this case, I'm going to choose lighter because the background itself is quite lights already. Next, I'm going to go back to burnt sienna, and this time I switch to my small brush because I want to tap it against my larger brush to get small splattered dots. To make this, I want to make sure that my brush as well loaded so you don't have to tap the brush to hard to transfer the dots on paper. The reason why I switched my small brush is for more control the position. And also if I accidentally overload my brush and the paint droplet will be too large. Again, just like the previous bladder, I'd like to switch up the brown slightly, so I added some sepia and I also mixed and a little bit of the green mixture. If his bladder lands on a part of the painting, we don't wanted to, well, the paint is still wet. You can always take pains of using clean dishes. In Paris where I want slightly colored background, but it's too particularly for me to use those effects because it is quiet, uncontrolled in some sense. I just painted blobs or even dots and take the excess off with tissue to make sure that those blobs are quite subtle and feeded. You can always go back to parts of the painting where it slightly feeding as it dries. So like the ears here just added more black to deepen the color further. And just take the opportunity to always look back at your painting as a whole when a region. 14. WHITE GOUACHE: In this lesson, I'm going to be adding whitewash to the painting, which I'm going to use for the highlight of the eyes as well as some splattered. So firstly, I want to make sure that the eyes are completely black first. So I used the inconsistency of ivory black to deepen the color more. And while I leave for that dry, I took some whitewash with a bit of water to get it ready to paint with. For the highlights of the eyes, I just make sure that the whitewash is able to glide on but is still fairly thick and opaque. And I'm just going to paint some dots around the eyes to make it a bit more sparkly. I want to also add some splitters with his whitewash. And for this, I used a slightly thinner consistency to make sure that the whitewash is able to travel up through the bristles. So even if it's thick, I added a little bit of water still. And I use the same technique as before to splatter the little dots on. And since the dots are not big enough, I also went back in with my brush and actually being to the dots and certain areas that I wanted to land on. 15. UNMASKING: In this lesson, I'm just going to unmask my painting. I also realized after doing this that I still wanted to make a few more adjustments, but only around the face. So it's actually fine to unmask the painting, but make sure that you're happy with the background first, at least before I'm asking because we rely on the masking tape to create the clean line for the background. But as for the face, you can always go back to it whenever you would like to, which I'm going to do after this. 16. FINAL ADJUSTMENT: For the final adjustment, I'm just going to add more shadows because the eyes to me look a little bit droopy. And I wanted more of an intense field. So I added more shadows near the beach area to make the shadow slant more on the ice, I just use a medium to light glaze with Ivory Black and Serbia. Then I also added some around the forehead and the eyebrow area. Again. Yours might be at a completely different stage to mine. So just take this time to really look at everything and make sure it's completed to your liking. Just as we've just discussed. 17. CLOSING AND CLASS PROJECT: Congratulations on completing this class for the class projects, I would love for you to paint your interpretation of this painting using the techniques that I've mentioned. But you can also customize it to your own preference by changing up the color palettes or changing up the design of the feathers or so. Once you are done with your paintings, I would love to see a posted in the project section so you can share it with me and your fellow students. I always love seeing the different styles this painting as applied to. And it's just great seeing different interpretations of even the composition or the subject itself. If you enjoy these types and you would like to see more art tutorials by me. You can follow me on my YouTube channel Uranian year, where I post weekly videos, mostly on beginner art tutorials. And if you're interested in seeing more art by me, you can follow me on my Instagram at IG underscoring union E. So that's it for this class. I hope you guys enjoyed watching both part one and part two where I drew out and painted these loose watercolor Alice, if you're still here, thank you so much for watching till the end. I really can't wait to see what you guys come up with in the project session. Thank you so much for watching and I'll see you at the next one. By.