Painting a Burmese cat with watercolor - wet on wet watercolor tutorial | Agnes Bodor | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Painting a Burmese cat with watercolor - wet on wet watercolor tutorial

teacher avatar Agnes Bodor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Tobi intro


    • 2.

      Tools and Materials


    • 3.

      Drawing and using the masking fluid


    • 4.

      Start to paint


    • 5.

      Continue the painting


    • 6.

      Still painting


    • 7.

      Finishing up the first painting session


    • 8.

      Removing the masking fluid and adding details


    • 9.

      Finishing up


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class we will paint a walking Burmese cat with watercolor, using wet on wet watercolor technique. The painting is harder, I would suggest if you have some experience with watercolor. Also there is a previous lesson describing wet on wet watercolor technique in details, titled : Blooming, cauliflower and a curled up cat - watercolor painting and introduction of the technique, and watching the 2nd and 3rd chapter would be useful for this class too. The painting itself contains 3 main parts, first the drawing and the application of the masking fluid, followed by wait time to let the masking fluid dry, then painting, also followed with wait time to let the painting dry, and finally we are removing the masking fluid and adding details and the finishing touches.

Meet Your Teacher

Teacher Profile Image

Agnes Bodor

Level: Intermediate

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Tobi intro: Hi, my name is Agnes What art? And I am from Hungary. I moved to Seattle in 2007, and since then I live here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made during origami photography or whatever occupying my mind. My favorite technique was always watercolor and ink. I love to paint landscapes and courtroom. But nowadays I mostly pay gaps. When I paint cats. I wanna catch there FOR their beauty, their movement, not just copying apart all what are Alice calculations. Also, when I use water or I run, I use the potential of these materials that their own UT I don't want to use. All your love and Tara, I, when I read them as watercolor, I think soon be used very slowly, very really. Lets us do is diffuse. And even on paper. Because to make good, is it water color? It very, very important to understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorial, this is a cracking life plan to make you understand this very complicated material to watercolor and be able to use its beauty. But be it Master. Hi everyone, thanks so much for choosing my tutorial for today. In this tutorial, we will paint, again a large size cat painting. This will be the full tutorial. It will take the painting part will take about an hour. And it has also a drawing part where we draw out the cat then use the masking fluid. And on the after the approximately one hour, 40 minutes, one hour painting part, we will have another session after the painting is dry because we have to remove the masking fluid and that's only possible with a dry painting. So prepare for about an hour, hour and a half, and next day, probably a 2030 minutes session. The cat is very pretty. It has a little Siamese appearance because these bloodline has a Siamese blood in it. So it has the black face and the dark pores in the dark tear but over, this cat has a darker color. Also, if you look under the fluffy fur coat, you will see that in the case of the sketch, you really can't see the muscle structure too. So especially in the legs, but everywhere else. If you look, you can see how structure, both colors, the body is under the firm. So that's another thing why AI tools this cat on this photo. Because there is a lot to paint beside the pattern, which is very interesting also. So I hope you like it also. My plan is to paint all the way and wet on wet. So if you're not familiar with wet on wet technique, please check out the following tutorial, blooming cauliflower and the curly DAP cat. And in this tutorial, the section two and the three contains parts to introduce to introduce you to the wet-on-wet painting technique. So the aim will be beside just an ending up with a large Nice cat painting and practicing and get more confidence in watercolor. The aim will be expressing the movement. I will suggest several ways during the painting how to, how to express movement. And the color usage will be very unusual lighting I I use several different colors to express and overall more or brownish get. So that will be another thing. We will also practice masking fluid usage. And I'm wet-on-wet painting technique, which is not an easy one. So over, prepare for a larger painting which last at least two fashion with a longer time apart because you need to once dry up and dial into painting. I hope you found this interesting and you want to do it. And if yes, see you on the next section where I explained the tools and the materials I used for this painting. So I hope to see you there. 2. Tools and Materials: I hope you stayed with me. So this is the paper I used exactly this paper 22 by 30 into. I also said just to use a big paper, at least 24 by 18 inches. I really like the long-term prestige and that's what I used or so-called press. But if you can't get that cold press is as you can, I suggest to use the thinner. First of all, it cheaper second, it worked for me perfectly. But when I really started as the size should be larger for this cat. As I said, I wouldn't go smaller than 18 by 24 inches. This is another good choice, the Kilimanjaro. It also sold on sheets 22 by 30 inches and you can get cold press of EIP, but any other watercolor paper on a market is fine. The next thing, you will need several big water balls where you can see the color of your water so white or transparent is better because then you know, when you have to change water with watercolor, it's very important to use clean brush and clean paint and clean water. After that, you will need a spray bottle and big MATLAB brushes. You can see on a top minor this no-name. Big oil brushes. This is for wetting the paper. If you don't have spray bottle, you can go with the big brands, but it's just easier to ever spray bottle and being MATLAB, then you will need a watercolor pencil. You can see below, any brand is found as you something now to our color or gray, let's say, regarding brushes, you can use any kind of watercolor bras. But if you want some brand names, I like the prince don't acquire Elliott and a Princeton Neptune and also the silver black brushes. I really good. Actually. And if you, if you need to buy or you want to check what you need, you will need about three from the round type. Um, I mean, each brand has the type called round, and I would buy one big, around, 16 to 20, one medium around, let's say, age eight to 121, small around 46, let's say. And with three brushes, they were fine. Regarding paint. If you if you don't have watercolor set, that's the only reason to buy paint for this painting. Otherwise, just use whatever watercolors that you have. It's not worth to buy for this painting, new watercolors. But if you are planning to buy, I really like Hoda them and Daniel Smith and boats, You can see on the image. Which means you have, you can sample every single core or base or both, or Adam and Danny acinus. And this dot godaddy, probably 20, $30 maximum. And you get a lot of pain because Daniel Smith, for example, has 238 or so color on it. You can choose the colors based on your preference and how they behave when you test them. Otherwise, during the painting, I will tell you which color I'm using from, mostly from Daniel Smith. But as I promised, you don't need to buy those colloids. Every watercolor set on a market have the same or similar set of colors. And, and because they using the same pigment. So you will be fine with your watercolor paint you have at home. But u by, I would suggest those two brands and 200 kilohertz. And I really suggest to buy tubes instead of the half bands, because the half pans out just so tiny, the surface is so tiny it's hard to work. And if you work from tube, what is important to have little ceramic dishes where you can deal. You tap the paint to a given co-existence, say, before you use them. So you will need little dishes for, for the painting itself where you push the paint out or you can use a white ceramic plate like normal kitchen, kitchen plate. And also you can buy plastic paint holders, plastic trays where you can push out some paint from your tubes. Other than that, you will need. It's not that important, but if you have, it's good. It's called artist Pitt pen from fiber custom size small. It's really good to draw fine details. And also you will need wipes. And I use Kim vibe, but that's not something usually people have or want to buy because it's pricey. But I tried other things and kitchen paper towel is the best choice, I think for wiping. So that's what I said. Just you will need also masking fluid. Any brand on the market, I think it's fine. So use whatever you already have. But if you have to buy, I'm using the pay eBay or drawing gum and I use the Asian style reads for applying it. If you don't know exactly what is it. I think on a video it will be visible when I'm using it. But you can see here and there are other tools in the market you can use to apply this, but I tried several things and for me this reads Asian style reads stick worked out great. And I think I've taught everything. So if you plan to do the painting, See you at the next section where we drew out a cat and apply the masking fluid. So I'll see you there. 3. Drawing and using the masking fluid: So let's start to work. I'm using my watercolor pencil to lightly sketch out. The cat. Is not about details and stuff, it's just placement where I put the painting on a paper also because I use some masking fluid to labor small, delicate parts on the face. I need to know exactly where I put doors so that regard, it's kind of important. But the main idea is that not to make a very precise drawing with details. So just sketching it out. When I'm doing this, I always looking some measurements like height compared to wait. And I'm also looking at the negative shapes. So how the shape look like between the two front paws or legs and between the front leg and the hind leg. So I'm looking at the shape of the negative spaces. Also. Make imaginary horizontal lines where for example, the pause touching the ground and I look that like how it is compared to my drawing. So which leg is the lowest on a paper? And we twenties the next one. And compared to the first one, how high the next one goes, and so on. So I do a lot of comparison for ratios and shapes. And so I just ending up, ended up with this light drawing. I kind of like to place the cat a little bit more space on the front area in a little bit less on a tail area because I just don't want the feeling that the cat the cat has a wall front of the nose or something like that. The height where I put on the height of the paper, That's depend on how much shadow I want to paint or stuff like that. I don't have preference. They're kind of use the middle probably, I guess. So the face or where is the face and the ratios in Affairs is kinda important if you use masking fluid because Mary put the masking fluid marks, that's fine. I mean, it's not like extremely fine because you can change things during the painting, but then you won't have those thin, fine lines. What you can do with the masking fluid, it's not a big deal though I saw. But it's still it's just better to get done, right and put it on the final position because otherwise it just cause complication. So I am shaking up a little bit the masking fluid because it's 10 to separate two components. So mad, like while the shaking just turn it upside down few times. And I use a read stick to draw the details. In this case, it's the whiskers. I usually use a piece of paper next to me to the first line, the dripping line, not going on a drawing, just an a paper next to me. I also test usually my We'd stick because like how thin is the line it's doing? Because sometimes it just has previous piece of dry masking fluid on it or stuff like that, then it can work very take. So it's just good to test out. Also, if you test out, do you know that may be the first line is always stick and then it's got the right thickness, things like that. So you can test it out the risk or is good if it's very thin around the eye. It's probably more dripping if you if you don't want to go back and forth like several times. As you can see, I label it a little bit on the nose store. In the eye, I'm labeling the highlights. And I labored year the edge of the ear also with the masking fluid, is very, very, very important. Dont to wait until it's dry and not start to paint before. Otherwise, if you have a good watercolor brush distinct CAN realistic into it and you destroy your brush. So make sure you wait until it's dry. As you can see, I add the little label on. Like to wear How it's called the claw. The claw is just a very light little mark there on a photo. It was a little bit too dripping, so just teeny tin, tin out to tick, but don't worry, it will dry. So actually it's better to leave it alone. So when you're must include these dry. See you on the next section where we start to paint. 4. Start to paint: So when you're masking fluid dry, at that point, you can start to paint, but don't do it before. So the first thing you should do is use your spray butter. Or if you don't have your big MATLAB brush and wet the whole paper up. When you do that, make sure that you just do it very fast with a loose movement. If you do it very strong, you will eliminate or the drawing you dead with the watercolor pencils. So make sure you still see a little bit the marks. It will help you during painting and make sure it's wet everywhere but not like dripping or no bundles on it. So it's just evenly covering. And it will take some time, Very few minutes or not the long time, but some time until this wetness goes or sink into your paper. So my paper is damp. But I can imagine some of you use 300 gram paper and not a 140 or 160 days. I do. Maybe you need more water or you can water. You can read both sides, the paper. It also depend on your climate, how much redness need. So if your area is very dry or room is very hot and dry, maybe it's better to wet both side. So when you have that, you can start to paint. And as I said, I will say the colors. And during the painting. And I tried to give advice which Colorado's but I want to make sure you understand. You don't need to go exactly with this brand and this colors. I think you can totally paint this cat with your watercolor set. Whatever you have. I'm just saying it. If somebody have it or you wanna buy it, what colors I'm using. So it's mostly Daniel Smith. I also use Hodeidah a lot. So the first color I use, and the purple is one. I think it was either shadow, viola, or among law. They are very, very similar. Tottering type, tender. Mom lost slightly darker, more bluish synovial that is the same color but hue is a little bit more greenish. So I think you are fine with board, but if you don't, if you don't have, you can go with indigo, Mayans, dark blue. And honestly, any grayish blue. Purple is grays blue. For the for the lighter orange, that's usually what they use is the transparent around. But you can use quinacridone, burnt orange or quinacridone. Gold from Daniel Smith, or quinacridone rose sienna, and Aussie red gold. This is also transparent orange color. And for the darker, more muted Orangi brownish color. You have tons of possibility. So really at least 20 in Danielle Smith. So probably every watercolor sets I'm have something like warm brown, like orangey warm brown. When I use darker colors, I usually just add a little black. So like dirty brush black, which I usually use the lamp black of Daniel Smith. And if I don't want to use black dust, I want some dark color but not black. Then I usually use pines, gray or Notre Dame. And if I use brown later, just plain dark brown, not reddish, just more Code Brown, I usually use one Dyke brown or sepia. But every also again, every watercolors that has a brown like blackish, darker brown. And that's my plan to follow. If I use a new color, I tried to tell you what is it or what you can use for it. I just put down the colors everywhere. I tried to get like a 3D structure and the movement of this cat. So when you go to the face area, It's better to start a little bit later. So after you're done with the body, because you don't want the paint leaking that much as around the body. It's just YOU worked on the body. It's dried a little bit and you will get a little less running. And since this cat is a breed in a way that they breed together, given type of cats. And also the line has to contain the Siamese blood. So you have the black face and a dark legs. Although this cat is much darker overlay overall than a Siamese. But it has specifically dark tail, legs and face. So in those areas I use lamp black. And I already started to outline a colon. There. And what I'm putting down right now, those that blacks, although I'm not using it very dense, especially on the legs and areas. The face I use pretty dark and a tail to. And eventually I will go and depend, depends that tone. But it's better to start light and then just building it up. And as you can see, I start to put down the shadow, which help to make this cat in a 3D space and not just being a silhouette on a white surface. So that orange is probably the transparent orange from Haram. The very strong one. It's, it's a color which, which is very, very bright, orange, but you can really diluted up to a lighter or less intense color. And eventually when you build this up, this very orangey color will get mutated. Since this cat is not a colleague core or cat with a real orange fur. But it definitely has this orangey undertone, especially on the belly area and, and the ear. So where the black is not dominant, makes sure you keep the area dry. So even you can use a piece of paper and dry up the eye area so the paint not leaking there and you can start to build the black surface around. Also, if you sittings leaking too far like I just did around the fares. Tried to eliminate it with a clean paper towel earlier the better if something leak to further band. But around the tail and the body, I don't mind unless it goes very, very far because I just wanna keep that fluffiness offer of a cat. The leg also I just labored and I will build up later because it's too leaky. So the leg is very exact. And you don't run, it's further out and and get like a tick something. So the leg I will build when it's not leaking that much. But it's important to work on a body and everywhere else. Now because there you really want the colors blend into each other and, and get the 30 fluffy appearance. So I have to cut the video about every 10 minutes, but just go there next to the next section, please, without stopping. Unless you absolutely necessary to change water or something. So I'm not stopping, I just have to cut the video, but I'm painting continuously. It's important on wet-on-wet technique to work anterior surfaces VAT. So see you in the next part. 5. Continue the painting: So as you can see, I continued either way. You don't want to lose the wetness of the paper because after it's a very different painting style. So if you dried up the eye, you can easily go very close with the black because it want, the paint won't go there if it's really dry within the eye area. And you can see I use a lot of wiping, especially at around areas where the food is not fluffy and the lines are very clean. And the exact these areas are the legs and a face and the ear. So definitely you don't want fluffy appearance around that areas to short-term debt, so not fluffy on the leg and Affairs and the year. So you can see the leg definetly flow overflow little bit for me. So as you can see, I just use a clean piece of paper towel. I always turn the paper towel around to use a new surface and with just a very clean movement, I can easily wipe off things until it's wet. It's not happening after. So when you have wiped, tried to think about while it's still wet. So what I'm doing is reading the paper around the dare, also vibing off a little bit and also the back of the cat where it's drying up. I want still flowy appearance of the paint. So I just sometimes use clean water with a big brush tool to let up areas. It's like you have to do what you have to do with drying and you don't want wet on dry painting style, you have to just rewrite. No choice there. They also don't be afraid to wipe, just there are few tricks with deriving. First is clean paper towel. That's very important, probably the most important. Second, if it's too much pain there, which is start to satyr, loosen it up first with clean brush and clean water and then wipe off the loose the loosen up paint. But if it's very wet and fresh, probably you can wipe it off easily. And either way you don't need to. The rewet. Also tried to not try to be gentle because if you wipe too strong, you can hurt the paper. And where the watercolor paper is hurt. The pigment will be attached and you never can remove those paint marks. So the other thing I'm always doing just to what? Just take a look for my painting and for my monitored and back and forth several times. And I tried to look what is missing or what is the area which is the less developed or it's really made the most to touch. And that's how I decide what is the next step. Also, if you squint, you can get the values. So when you just look within normal Open AI, you see the colors and the details, but it's really hard to guess the values. How dark is the paint there? And you screened, the color information will be lost, at least somewhat, and the details will be lost. And you can just see varies the lightest where it's the darkest. And you can take the same look to the photo and Daniel painting and compare. Because overall, the values will give you the good 3D appearance and the structure of the body and things like that, the color we give you, beauty and staff. But if the value is not right, and it won't work that well. Also, it's always, a cyst. Always need to think in a system so your whole painting can be lighter than the real one, then abandon everything should be lighter. The whole painting can be darker and then everything should be darker. Or you can go for more extreme so the darker, darker, light, lighter, but then everything else needs to be placed within that system you choose. So make sure that the overall appearance, the overall look is good. So as you can see, one lag, one of the hind leg is very rake like fainted because it was in a movement. So during the exposure it moved. So I keep that that way. And all the other three lag will be I mean, that's my plan, will be very exact and one of the hind leg will be exact and less dark or so. And I think it will give the movement it will give that that appearance that the body weight is on that other three leg and that leg is moving. So I tried to give back that view also to keep that leg more washed less exact. So I'm getting close to the to the 10 minutes again. So I will the video will stop again but go to the next one, died away. Make sure your water boys are cleaned. So make sure you have at least one entirely clean around you. And the one you using is also better if it's just little bit dirty or clean. So if you need a router on, don't save on it. It's very important for water color to use clean water, especially with the scat. This is not a black cat, it has a lot of chlorinate. I really suggest to keep your water clean all the time and haven't have one extra clean when you have to wipe or wash off, you can do that with dirty water. Also the ripe need to make clean. So don't vibe in dirty paper towel. So I'm finishing up this ten minutes right now. So please go to the next one right away and see you there. 6. Still painting: So I am back and I start to work right away. For example, to keep that big brush clean is very important then because I usually use it to wet the paper as I just did. And that only possible when the you have clean water down DO so because I just wiped previously, especially around the hind legs. It's probably will be less leaky so I can add some darker color there. And it probably will stay and map flowing to generate a heretic lag. Also, if you look the photo of the scat, it's a very structured cats so you can see the muscles and structures, especially in the legs and, but also on a body. And I tried to give back that door. You can see I'm almost like using lines to draw the structures. But then these lines will melt and flow. So it wants day as sharp because it's a wet on wet technique. Also, that leg which is not on a ground, is touching the the shadow differently. The shadow below differently. That's also have to show that that leg is not on the ground, then the body weight is on the other three legs. You can see I also use the vibe, almost like a light color paint. Although in watercolor you cannot use light colored paint to lighten up areas. So this is your WIP. So when you need to light an app, it's mostly you have no other tests than wiping. So that's your light color. The ripe. You can, you can, there are methods you can use. You can use goulash or tempera, or you can lighten up, but then it will lose. It will lose the water color, appearance. It will look very different venues, guage or a lot of white. It will change the transparency and the appearance of the watercolor. I'm not saying it's bad or anything, it will be just different. So if you went to stay with watercolor, you cannot use really dense charcoal is colloids like white. So I'm still building the body and everything else. I I stick to the metal to look the photo and always go for the area which require the most, some interference. So I just work everywhere in the same time. Just build everything together. And I always try to look the whole thing as a whole and and touch wherever I have two. Regarding the whole not Natalie, the details. Also, I'm going first I'm putting them bigger areas, more loose. And as I'm going forward, I'm going to more, more with more precise marks as you can see. So I always switching to smaller brushes. Eventually, as I know, I'm having a small brush. And I'm just usually going to two more rough to more details. You can see the paper almost dry. So I just see with my big brush to do wet around the head a little bit. This is the point when you need to be careful. If you do something like this, need to be very careful to not make big mess. So I use again clean wipe to make it semi dry, not met. A dominant lived there a big puddle. Because eventually that big puddle where sac, black and all kinds of corals into it. So I just put the orange on top of the head and I lighten it up with the rat and with the VAD big brush and then I dried a little bit. So that regard orange get lighter and it doesn't have that very strong sharp. And it's also when you want to paint details like around the ear and staff. And you want, it stays very exact and small. Is better if your paper is almost dry but not dry. If it's dry, That's fine too. But then the painting style will be very different. The edge of the marks you put in Dan will be very exact because that's wet on dry. But how I want to paint this cat, it's wet on wet almost all the way. And that's means that in the paint always have a little flow. It has a little furry edge. It, it's melting it with other colors. And not layering. Because for layering, it's required dry to dry the previous layer of paint. So it's a very different style. So I'm finishing up the 10 minutes again, but I'm still continuing to paint in the next section. So don't leave too much break or I would suggest 0 because then things will dry up. So see you in the next one right away. 7. Finishing up the first painting session : So as you can see, I tried to build that abundance. That tail's face and legs that dark, darker and also the third is darker on the back and lighter on the belly area. The body surfaces pointing down and pointing up, usually darker. So I'm adding more and more values to places. So this last ten minutes is really a lot of finishing touches before I remove the masking fluid and finish everything. So the plan is to add this last minute finishing touches in this ten minute. And then you have to wait a lot of time, probably hours or overnight, to, to dry your painting entirely. And when it's dry, That's the point when you can remove the masking fluid. And after we remove the masking fluid, we have works on the eye and a face and adding tiny details. So this is the plan. So at least in my tutorial, but you free to do more sessions if you want. But in my tutorial, this is the finishing touches before with drying the paint for masking fluid removal. So think about where are the areas you really don't like or you really have to change because it's too light or too dark or or not correct or look weird, look for those areas and and try to make them right before you let it dry. Especially because if you let it dry, It's much harder to remove paint. So almost it's not the mad Away to change after it dry. After it's dry. The best way to change this, to repaint with the darker values. But that's like saving. So sometimes works out, sometimes not. But taking out especially black paint after drying is almost impossible from the watercolor paper. So just make sure you where you want changes, you do it before you let it dry. So as you can see, I'm using a bluish color right now on the on the top of the back area. It can be from Daniel Smith, at least. The Mayan dark blue or the Indigo are very similar to that color I'm using. But it's a dark blue. So whatever dark blue you have, it will be fine. When it's mixed with the orange. It get this little greenish tone. I mean, it's still blue. Just a little bit more like turquoise. Get, get more lecture quiz a little bit because It's mixed with the order. And also I'm using a small brush to adding details like little drawings almost. And I'm using my big MATLAB brush too. Vibe of two strong edges. So I'm wetting it and make it more make it less exact actually. And I'm adding water to certain areas with the big brush, just clean water to get it flowy. And let this flow Ines to dry to get blooms, which I love. And it's really particular on wet, on wet watercolor technique. So now, just wait time until your painting is dry and then come back to the next section. As I said, it's take hours or even a day. 8. Removing the masking fluid and adding details: Welcome back. I hope your painting is entirely dry. So now we can start to remove the masking fluid. I usually use my finger and just gently rub it off, make sure your hand is not dirty or creamy or, or oily. So if you need wash your hands with soap and then the weight. Because all those other thing can stick to the watercolor paper. When you're done with the grabbing of just gently remove the particles or just hold up your painting it before that. And let's start to work on the details, especially the eye. So when I do this, I usually use a thin brush. I would say size six, ground. And here you really kind of need to draw around the eye and staff. So it's very exact. If you are unsure, I'm using very dark paint, but if you're unsure, you can totally do this. First better, lighter, gray layer of watercolor. And then if you have privilege, you can darken it up. Because it's really, it's really the point when you it's not really, it's hard to change when you use this very dark black paint on a light yellow color in the eye. I also use, as you can see, the dirty brush color to tone down those extremely vite marks which was under the masking fluid because in reality you never have that bright snow white areas. So I'm going to start to work on the eye and the pupil. And before you start that, there is a highlight in the eye. So if you prefer and you remove the masking fluid, you can put the highlight back with the masking fluid. It just easier to keep the light, the very light bright highlight in the eye to keep it white. And if you do that, Wait until your masking fluid dry and Dan continue. But otherwise, as you can see what I'm doing, I'm using very light, almost like dirty brush color like light gray to draw the pupil first. And when I'm happy, that's when I we'll turn it to black. So I leave a chance for myself. Also, it's good to zoom-in on the photo. It will have a lot to see where exactly the pupil goals compared to the edge of the eye. And be aware because maybe the edge of the eye is not correct or it's the eyes really something need to be drawn, right? It's a little bit tricky. It's not an easy painting. I see several thing which I don't like on mine. And it could be better. It's not it's not an easy painting. So as you can see, I'm working on a CAT tool. I mean, the cat, not the faith and the eye area. And if I don't want things very straight and exact because it would be otherwise because it's it's wet-on-dry. I use a big brush to wet Abdul's area. Or when I make a mark, I use a big wet brush to just eliminate the strong edges. Because currently the paper is dry, so everything you put down on a dry surface with the water got all color, it will have a strong straight, sharp edge. And that's especially on the body of the cat, is not always something you want. I guess. So. It's good to to either prevent area or just sweat afterwards. And also, now I am I know where I will work and I pre-vet. You can see with the brush, I prevent the paper and a dried a little bit. So it's not getting like super Floyd, but it's still enough to not get straight edges. So I can work on those structure, those muscles you can clearly see on the photo on the hind leg area. So again, I have to cut see you in the next one. 9. Finishing up: So I am back and continuing. So as I said, I have to re wet areas where I have where I feel I want to continue to add some structure, especially of the back area of the cat. So if I don't want very sharp lines, I need to re wet the paper. It's needed to be done fast and with an attitude dripping brush, because otherwise you will loosen up previous layers of paint and you don't want that. And also at that point you can use them wet on dry, especially around the poles. Because it's very structured. So small structure there so you can paint some details there. If it's not leaking. So it's good to mix the two to metal on the wet-on-wet and wet-on-dry because it's given nice contrast. If you have some part where you have exact details, like the face or the pose. And it's good if you have a fluffy body and a tail, for example. So as you can see, I'm painting with a very light washes because overall the scatter is not a black cat. So I tried to keep that color scheme. But I really want to give that muscular structure the scat have under the fur. And it seem true. So I want to append that. And that's also help to express the movement, how the muscles currently, which muscles strengthen and which one is loosened. So it's hard to express the movement. Also, if you get those underlying structures right. Of course, if you paint like a long forget they want so that thought, the movement will come from the silhouette, especially the silhouette of the body. But in this case, you can see pretty much. So what I'm doing, I have a dirty brush color, light gray. So I pick up just a very low-level of lamb back on a wet brush. And I start to build contrast between areas darker because they are in shadow and and areas lighter. But it's pretty much the end. I don't want to overdo it. So I'm just planning to retouching and they're very it's absolutely necessary and then finish it up. So don't forget to add those highlights into the eye. But otherwise the eye is pretty much in in shadow so it can go darker in the yellow area to unfortunately I didn't do that here, but after I add the layer of darker color on the eye because I found it too too bright. You can see few nice blue. One is when I'm painting almost or I just painted. And the orangey color in the belly area has nice blooms. And like flowy structures which coming from the wet-on-wet technique. Also the chest area where the front paws are just front of bought front pause. I know it wasn't an easy painting, but I kinda like the result. If you feel you are done, tried to not overdo it. I have difficulty with a water color. But in watercolor usually the less is more. So dark and the part, the yellow part of the eye, I even dark and model a little bit after it. Just if you compare it to the photo you squint on a photo. It's not as bright because I know if the face is dark, but even the light coming from the back of the cat so the eyes don't get that light yellow. So on the end I usually use my marker pen, which is the artist Pitt band from Faber-Castell size small and draw some whiskers. I'm Dan. Thank you so much for doing this painting with me. I hope you enjoyed and learned a lot from it. And see you on the next tutorial.