Painting Expressive Eyes with Watercolour - a 30 Day Challenge

1. Introduction: Hello and welcome to the steady day challenge, 30 days of painting with watercolor. My name is Nadia, and I am a professional artist living and working in Berlin. And I'm so glad that you've joined me here today. After publishing my last watercolor class, I came up with this challenge as a fun and rewarding way to consistently practice painting with watercolor if you haven't had a chance to see it yet. But once you learn more about painting a watercolor portrait, make sure to check that out as well. As I mentioned there, I used to struggle a lot with watercolor and I found that relaxing and practicing really helped a lot with developing my skills. Next class, we will be focusing on two things. Practicing painting with watercolor to develop our skills and building a creative habit by incorporating painting into every team for 30 days. I feel like the eyes are the most intriguing and fun part of the face to draw and paint and mastering the art of eyes can make a huge difference to the quality of your artwork. Ideally, you've held a pencil and the brush at some point in your life. But I'll also be going over some basics if you don't feel comfortable drawing freehand right away. To begin, I'll briefly go over the materials, some options to get your ideas onto paper if you don't feel comfortable drawing free and yet some basic watercolor techniques and some things to take into account before we start. Then we will get stuck in and start with a 30 day challenge. I will be sharing my entire creative process with you as we go in every lesson. I'm hoping that the challenge is accessible to everyone. Beginner to advanced, as you're mainly challenging yourself to practice and develop your creative habit and skills during 30 days. I've selected 30 eyes are quite unique so that we can experience a broad spectrum of possibilities using different colors, trying out a few different approaches and getting a range of different results. At the end of the 30 days, you will have practiced a whole lot and develop your watercolor skills. I hope you feel more confident in your painting abilities and can let loose and have fun with it. The aim is not to paint hyper-realistic eyes, but rather to be expressive and to start living the paint, do the talking. I hope the experience will motivate you to keep on painting and get more into it. So let's dive right in. In the next lesson, I'll see you there. 2. About This Class & Project: In this lesson, I'm going to be talking to you a little bit more in depth about what we're going to be doing in this class. So mainly about the project and the structure of the class. The project for this class, of course, will be to complete the 30 day challenge and create 3D paintings of eyes and watercolor, ideally over the space of 30 consecutive days. If you can't manage an IR day, you can also find your own rhythm. Maybe every second day works for you, or only on the weekdays, leaving out the weekends. But I do recommend that you make it a regular thing and new routine so that you can start building your creative habit and get the most out of the consistent practise. I do understand though, that it can be quite overwhelming. So we could also just say that the project really consists of 30 mini-projects, 30 paintings of i's. And of course you can also upload single paintings of eyes into the project section. So now that we've covered the project, let's talk about structure, the daily lessons. We'll begin with me showing you the painting we're going to be making and the colors I've mixed for that day, you can find all the colors I'll be using and the combinations to mix them from the watercolors that I've bought as a document to download in the resources section, I won't be going into the technical details about how to mix colors. So if you need some assistance with that, please check out the colors lesson of my watercolor portrait from a photo class. For the most lessons, I'll be sketching my images before I start painting. And for the most part you'll also see this process. I'll be sketching, freed him, but I'll also be uploading and listened to give you a couple of options to transfer your image to your paper if you don't want to draw a free him. Having said that, I do recommend you give it a try. With practice, you can only get better. The first few videos, I'll be recapping on some basic watercolor techniques and alternatives to freehand drawing. If you are practiced or I'll painter and prefer to skip ahead, please do make sure you watch the materials and before you begin videos to be in the loop about what you need for the class. And every lesson, I will be giving in detail commentary about my process. And I will also be repeating important information in every lesson, just in case you've skipped today for some reason or other, or you've been away for a while or you're like me and then when you're doing something, you forgot about something else that's important. So yeah, I hope that's helpful. One thing I want to mention some days it takes me longer to decide that a painting is finished. And some days I can't stop. So if at any point you're happy with your eye, you can obviously just leave it there and you don't have to go to the very end with me. If you're a complete beginner, you may want to try painting two eyes a day. It doesn't really matter if you repeat. So maybe you want to repaint the eye from the day before, after painting the eye of the day. And maybe you'll even find that you've progressed. Patient's excitement for learning and perseverance will be great tools to bring along to the class. So find your own rhythm and wanted to learn and enjoy. I'm aiming to make this challenge accessible to all levels. So please let me know if you need more information or guidance. One last thing, I like to have my hairdryer class when I paint is sometimes it just takes a little too long for me, the drying of the watercolor and I'm impatient. So if you're anything like me, maybe you also want to have your hairdryer handy. Now let's move on to the next lesson in which I'll be talking about the materials you'll need for this class. So I hope to see you there. 3. Materials: In this lesson, let's talk about the materials that we will use in this class. We will be needing paint brushes, paints, watercolor paper, a pellet masking tape, a wooden board, graphite pencils and erasers, jazz for water, kitchen towels or other paper to absorb water and paint. Optionally, you may want to have a ruler on hand if you don't want to draw freehand and prefer to transfer your eyes using a grid and the light source if you're wanting to use tracing, I suggest getting at least three or four sizes of paint brushes. I have a one, a three, a 10.16, but mainly I use the three and the ten. I like to work with watercolor tubes, but you can use whichever type you feel comfortable with. The colors. I suggest you have on hand, yellow, ocher, burnt sienna, cadmium red, crimson red, ultramarine blue, Prussian blue burnt amber and ivory black. But if you want to, you could also get white for highlights in the eyes in case you are not able to reserve them. Generally the whites and our painting will be the whites of the paper, and we won't be using white paint. Your watercolor paper needs to be at least 300 GSM and I prefer fine grain. Then you need a pallet with mixing areas and little compartments. We will be keeping the colors. We mix, masking tape to tape the paper to the board. This helps with coping when we're painting with water, graphite pencil for the sketches, I recommend the two H or report age if you're using the grid method and an HB or two before your sketches. And if you want to incorporate some pins, so when two paintings also have an eraser on hand, you wouldn't need two water containers, one for dirty water to clean the brushes, and one with clean water to hydrate the pigments. You'll also need paper towels to absorb water and paint once your painting, I prefer paper towels because they don't have lint. I will be giving the images of eyes from Unsplash and uploading them to the project section. But if you want to append additional eyes, I can really recommend the website also that those are the materials. Let's continue in the next lesson with some basic watercolor techniques. 4. Basic Watercolour Techniques: Hello and welcome back. In this lesson, let's take a look at some basic watercolor techniques. As you can see, I've already prepared some squares here on my paper where I'm going to be trying a few different things. I suggest you grab a blank watercolor paper as well. And if you want make room for ten different compartments on it later, we're also going to be looking at trying a value scale in terms of intensity and then watercolor washers from adding a little pigment, adding a lot of pigment and how this makes the difference on the paper. Maybe you also want to make a space for five different values on your paper here. I'm going to start with the wet on dry technique, that is wet paint on dry paper. I'm going to use my yellow ocher. I hydride my pigment in the mix and compartment of my palette and apply the paint to my paper and car movements with my number ten brush. Next, let's take a look at wet on wet. For this, make sure your brush is clean and wet the area of your paper which you want to paint on. Same procedure as before. Hydrating the pigment and applying it to the paper with the number ten brush and CAM movements. You can already see how the paint is behaving differently. This technique is less controllable than wet on dry. I'm going to change colors now and use my crimson red. And I want to try smoothing out the edges of the circle. I'm going to paint that. Once I've painted my circle, I clean my brush and dry it with my paper towel. And then I start smoothing out the edges by going over them with my almost dry brush. Again, I'm using calm brushstrokes. Now let's try dropping paint onto wet paper. Again, I'm going to wet the area I want to use for this with clean water and clean brush. If it's too wet, the paint will most probably extend all over the entire width area. See how you go. I'm just dabbing my brush with Kremlin pigment onto the wet area. You can already see how it expands. In the next compartment, I want to try and overlay so that I am starting with yellow ocher and I'm just going to paint a little square here. Now I need to wait for that to dry. In the meantime, I want to see how colors look when I mix them directly on paper while they're wet. Instead of using overlaying of dry layers to build up volume. So I'm going to start again with yellow ocher and then add some crimson down the bottom and just let that mix them with the yellow ocher. The next technique is one that I use quite a lot when painting, which is lifting up or removing pigment and areas for tonal variety. If I've made a mistake or if I've used too much, I'm going to start by painting a circle. And let's say I want a little bit of the white of the paper to be showing on this layer. I clean my brush, dry it with my tissue paper and with an almost dry brush, I can start to lift up pigment where I want. If the area has a lot of water, the paint will start to expand again into the areas that are not completely dry. So I have to go over it a few times until the watercolor is a little more dry, tendencies too much. Or you might also lift up a layer of paper. I can also lift up most of or all of the pigment by using my paper towel. In fact, if you make a mistake while it's still wet, quickly get you clean paper towel and just dab it onto the fresh watercolor area. The next thing I'm going to try as a graded wash, using my crimson, applying quite a lot of pigment at the top, then cleaning the brush and weighting it with clean water. I'm applying it here in a smooth manner so that the paint starts to expand into this wet area. Remember that watercolors are translucent. If we don't add water, it becomes too opaque. And then we can add layers on top. So we always want our layers to be translucent. Now let's go back to the overlay exercise. I'm going to layer some crimson onto the yellow or it can now, while we layering, we always want to make sure that the layer is dry before we start painting on top, the square where I dropped pigment onto wet paper, you can see that there was quite a lot of water as the parent has completely expanded. So I'm going to go ahead and drop a little blue in there as well. Is it still a little wet? Let's see what happens. Let's take a look at the scale of transparency. Next, I'm going to start with a very light wash over here. The next square, I'll add a little more pigment in the next little more and so on. Your colors will always dry a little lighter than when they are wet. This scale is good just for testing out how the paint looks and behaves depending on how much water or pigment you use. Now that I'm done with that, I wanted to see what the layering exercise would look like with some blue at the top. I'm going to use my test strip now, which is great for testing out your washes before you apply them to your paper. You can also use it as kind of a second palette. While we're waiting for that to dry. Let's take a quick look at the color wheel for a little color theory. This will not be new to you. We have the primary colors, yellow, red, and blue. And when they mix them, make secondary colors. Between yellow and blue. We have greens, between blue and red, we have purple. And between red and yellow, we have orange. When we're working with colors that are very bright, you can use the opposite colors to make them a little less bright and a little more earthy. When you're working with yellow e.g. and wanted to turn it down a little bit. You can use a little bit of purple and portraiture. We work a lot with orangey tones, so we'll be using shades of blue to tone down the colors that will mix. Okay, so you can see this is a dry sheet of exercises. You can see how the colors have drive and when you feel comfortable, you can go onto the next lesson. And I hope to see you there. 5. Ways of Transferring Your Image: Hello and welcome back. In this class, I'm going to be presenting you with two ways to get your image onto your paper if you don't want to draw the eyes freehand yet, I do suggest that you give it a try. The doesn't matter if the drawing doesn't look like the photo. It's really good practice and you'll get better the more you do it. Let's start with the grid method. If you're wanting to transfer your eyes using the grid method, you'll need two copies of your eye. My printer printed this one out. Not so great. So I'm going to use this one to draw my grid on and the other ones to use while you're painting. Basically what you wanna do. First, you make sure that the paper that you're using is the same size as your image. And if it's not, then measure out how large your image is. In my case, I've got 11.9 cm by 9.3 cm. I'll just put that down. So I don't forget. Then you want to see how large you want the distance to be between each indicators. Usually, I would use 1 cm. It really depends how large your images, but I will use 1 cm. You decide how large you'd like to make your squares. The squares basically then help us to transfer the information in each square to our paper, will begin by marking 1 cm distance on the image. Okay? And then we've got the 9 mm here, right? And then we're just gonna do the same as the bottom. Make sure to start on the same side that you started on at the top. Otherwise, seeing is we have 9 mm here. It will become distorted. If we start from this side, then we just make lines. And fine to press hard on the image that you're working on with two grids. But once we get onto transferring that to our paper, we want to press lightly because otherwise it's going to leave and then I'll taper which we don't want. And it can be really hard to erase 1 cm by 1 cm. And again, remembering to start on the same side at the top here. And if you started at the bottom, start at the bottom and both sides. Alright, then we'll do the same thing. Just pull the lines across so we end up adding leaves, beautiful 1 cm squares, or over a month. Now, before we draw our grid onto our paper, I'm going to put letters up the top here. And numbers down the sides. Again, letters and numbers. Okay? Alright, so that would be to begin with there. And now we've got to draw the grid paper. So basically the same procedure. Very lightly, yeah. Make sure you use an HB pencil for this to H or H for six age. Definitely a very one that makes very faint lines. We want it to be very easily erased. So we've got grid on our photograph and we've got a grid on our paper. Basically will want to start looking at where things stopped. I'm going to start with this corner of the eye, which starts at B five. Okay. It starts pretty much almost to C5 and then it goes through C for just way through the corner there. The top. Okay. Then does the cross right through to h, actually right through to I. And then it comes down through here, through J four. Then it kind of fades out. So that's fine. And then we can see here H1, H3, we have like a crease that comes down. You can mark them to still working with my H pencil. So you can start with the HB pencil here if you like. I'd just like to first sketch of them really lightly and then go over it again with an HB pencil so that when I erase the grid, I don't automatically erased. They're drawing. All the while I'm drawing, I'm looking at what's happening in my reference image and then I'm looking at my papers so your eyes keep doubting between the two. You don't just look at one look at both of them. I have a pretty much constantly in movement. Okay, so there's a highlight of the eye here that I wanted to say. Before I erase the grid, I'm just going to go over my drawing outline with an HB pencil. Don't press too hard stool. So once you've reinforced the drawing, will just start erasing with grids. So if you happen to erase a little bit too much of your drawing, that should be fine if you've marked it on weld and you can just retrace your door. If the grid method isn't your cup of tea, Let's take a look at the option of tracing the image onto your paper. If you're tracing your image, you will need a light source like a light table or a window, or a glass table with light. And then they basically just enough so you can see your image through the watercolor paper. And you'll want to be doing this in a dark environment. Just switch on the light source. Get your image and you just fix it onto the table. Two corners is fine just so it doesn't move while you are tracing. And then you place your watercolor paper on top, make sure it's the right way round. And you also want to fix that onto your image so that doesn't move. And then just start tracing the important areas. Remember we're drawing a roadmap, so outline dark areas, areas you want to reserve, e.g. like the highlights of the eyes. And you just continue until you've traced your image onto your paper completely and then you can just remove it. The light back on. Those would be two alternatives to freehand drawing. That as you can see, they're a little more time-consuming and also a little more tedious. So I would suggest you get the freehand drawing a guy and just see how you go. It really doesn't matter if it doesn't look exactly like your reference photo or we're looking for is an indication to where to paint and a way to preserve the white paper. In the next lesson, let's just have a look at a couple of things to keep in mind before we start. And I hope to see you there. 6. Before Your Begin: Hey guys, welcome back. So I just wanted to talk about a couple of things before we start. And they are the workspace set up some pointers about the colors that I'm going to be using. I'm going to talk about taping your paper to your board. I'm going to give you a point or bad avoiding a common mistake when drawing eyes. And also what our aim is when we're making a sketch. So I'm going to begin with the workspace setup. So as you can see, I've got my palette over here to the right. I've got my two jars of water up the top there. I've got my brushes here. If we're going to be using a pencil for the drawing as well, I'll have that right here. I've got some paint tubes on the left here in case I need to refill my palette. I have my clean paper towel, I have my test strip, and I have a wooden board. I will take my paper too. I have some standard color mixes that I like to use and I'll be uploading those as a PDF to the resources section of this class. I do prefer to mix my colors instead of using them straight out of the tube. But as already mentioned in this class lesson, I will not be going into how exactly physically to mix those colors because I already covered it in a different class. Just head on over there if you need more information. Okay, so for all of our paintings that we're going to be making in this 30-day challenge, we're going to be taping our paper onto a surface like a wooden board, e.g. and we have to make sure that we're using the right side. So granular side, smooth side, we want to be using the granular side at all times because the backside doesn't absorb a lot of water. So we want to avoid using that. Maybe you want to do this at the end of painting each day for the next day, or ready to motivate yourself for that next day. Let me just quickly show you how to avoid making the common mistake, which is drawing the complete iris and pupil. What we would start with would be just withdraw the eyeball and then we'll just put the iris and the pupil inside. And then you have to imagine that it's covered by an eyelid. The entire iris and pupil are really only seen with expressions such as fear or surprise or bewilderment. So that's really important to know. So just remember that when we're sketching and painting and don't make the mistake of drawing just a round iris and ran pupil and not covering up by an eyelid. When we sketch the eye, before we start to paint, it's important to know that what we're trying to do is make a roadmap for ourselves to know later where we have to paint. So we're trying to give ourselves clues, e.g. mocking and shadows, highlights of the eyes or other areas that we want to reserve, the white of the paper of bright colors, etc. So knowing this, there'll be a lot easier to decide what to sketch with a pencil and it doesn't have to be overly detailed or anything. If you're keen in the next lesson, let's start with 30-day challenge with the very first. I, I hope to see you there. 7. Day 1: Hello and welcome to the very first day of the 30-day challenge painting eyes with watercolor. Thank you so much for joining me. I hope you will enjoy this challenge and I am really looking forward to seeing all of your projects. Okay, So I've decided to start this challenge with a monochrome painting. And that is because it is simpler to focus first just on the painting aspect of things, and then work our way up to mixing colors and then using those colors probably tomorrow then this is the image I'll be using as a reference today. We're going to be painting exclusively with our blues lick. So if you haven't made up a lot of their color yet, go ahead and do so now, I'm going to make a pencil sketch beforehand. So if you want, you can trace the image onto the paper. You can use a grid or you can just draw freehand. I'm just going to go freehand. If you've seen my watercolor portrait from a photo class, you will know that when we're sketching, what we're trying to do is make ourselves a roadmap for way to paint and where to leave the white of the paper. So basically just highlighting important areas to give ourselves clues. So that's exactly what we're going to do in this class as well. And observe how the pupil in this photograph doesn't really round. I mean it is, but you can't really see it. More like a diamond shape. And the iris has some really cool patterns on there. So I'm just going to draw those as well. Remember it doesn't have to be 100%. Using the image as a reference. My ideas, this little shadow here, just lightly. I feel like I've made the iris a little tree Labs. Correct. Utensil. Sometimes it's also about looking at the negative spaces, not just positive spaces. So here e.g. and just notice that the pupil is too large because the white of the eye is quite large and the photograph, and it didn't seem that large. My drawing, I'm just going to move up the pupil a little bit more so that it's looking at correct? I'm going to leave it there. Now. I'm going to start painting. If you want your painting to dry a little quick and make sure you have your hairdryer on hand. And just as when we using other colors will bring our mix over to the mixing palette here and just add some water tasted that's way too, way too intense. Let's try and make it a bit of a light wash and then we'll get to them. They're just mapping the areas that are the most and shedder making the brush stroke and then the depth thing that as we please, you can see how it moves a lot towards the sides. So take a little pigment away from here. I can do this by just passing your brush over it and then cleaning it and then it on tissue paper. Or by using your tissue paper directly to lift up any excess pigment or whatever. You can also use your test sheet as a kind of a second pallet. Eyebrows as well. Because little water going to inject a little pigment in the moment. Wet on wet technique here. They debit and then smooth it out a little bit. The line here, we want to reserve some of the white of the paper with the highlights of the eye. So this is where our drawing will help us here a little bit. And we're just starting to indicate to ourselves the areas that we need to build on and the next layers. So that's pretty much just what we're doing in the first layer and we will paint over the first-line. We probably wouldn't see any of it, but this is just really to get the ball rolling and stop this building up of layers. I'm going to change to my smaller brush. The number three. Start doing a little bit of detail here. Usually this line of the eyes quite wide, but this little bit of I think they should be using. So some of the island here is quite okay. I'm just going to use my hairdryer to dry off the painting. So when that's completely dried, let's just continue. Some more black Can starting with the details now a little bit, make them more intense. Man, really intense. Just going to add some brush strokes here because I don't want it to be all the same intensity as we always do with building up our layers, even if it is just with the one-color. Just click your brush lightly here to start doing a little bit of the eyelashes. Remember that you can also lift up pigment or water with your tissue paper. On to more highlights here in the AI. Because AI does not have very intense outline of the iris. So I would put that on there being guided by my drawing still here. Another wash over here. Over to the crease of the eye, intensifying There's different see, quite intense strikes again. A little bit of pigment here. The shadow over here. And start to intensify some of these areas that are pretty color over here. Now I'm going to do a little bit of detail on the eyebrows in terms of hair and things. Usually when we're painting, we don't want to be making those, the cotton masks, but it works quite well with hair, eyebrows and eyelashes and things like this. Now that the pupil is dry, I'm going to just intensifies there again. And here I'm going to start from the bottom credit line here. As I said, there's some kind of byline I'm here, so proud of, but not the white paper. Back to the crease. Really happy. Hello left here. The indicates some areas here. Lotro the whole thing. Quickly. That drives. Can go back to my number ten brush and just give a little more intensity here. More than eyebrows. Just working on the areas of the iris and the pupil here while the other areas dry, remembering to visit highlights. Coming along. Goodwill wash over the I will I will. Never completely wide even if we can't see it here very clearly in our reference photo, I'm still going to put a bit of a wash on them. It's going to dry it off again. It's going to make a very light wash and go over that. Usually what line? Under the eye. Talk a little bit here. So the trick really lies and adding the right amount of pigment and paint, not going out at the top end. Very important is to reserve the highlights, the white of the paper. These contrasts will really make your painting stand out and you cannot achieve it by adding white, lighter, There's a certain amount of highlights you can add with the white out of the tube, but it's just not the same. So I really encourage you to practice leaving the highlights as the white of the paper. Definitely more intense and I'm trying to make Pencil. Lines doubling system may turn and face trying to give the impression of there being the crease in the eye without outlining it. It's not even going to dry it off. And then I'm gonna get a little bit with pencil, graphite pencil. Right? You want to make sure completely dry. Because if it's still wet, you're going to ruin your paper and you'll ruin your drawing. So I'm just going to start here under the eyelash line where I always find it a bit darker. Shade it very lightly, and then you add some eyelashes there. Here. You feel like you've used too much. Great, but don't worry, you can just erase it. I grabbed logo with my pencil. Also going to try to define this a little bit better with a pencil because I'm finding it really hard to do so with the watercolor painting. Kind of grabbed my number ten brush and really light wash. Not too much water. Going to go over these types of game. Just continue increasing the contrast. Really just adding volume that way. Just want to be working a little bit all over the image. Hello, little bit of color here and the eyebrow line. Again. Now I'm going to mix some a little more black into my blue black. We, tonal variation. Not too much, that's too much. Then I'm going to intensify again. Remember that the intensity of the darkness here isn't the same everywhere. So you can make some tonal differences by going over some areas and leaving other areas mean not going to go over. You can really experiment a little bit there. I really enjoy the tonal differences in the iris and the pupil. You can see what I'm doing here. I'm just going over the areas that I've already covered. Just getting into their eyelash line a little bit again, the corner of the eye touching up some parts of the pupil and the iris, intensifying the shadow on the crease of the eye. Also just under the eyelash line there on the eyeball and getting back into the eyebrows a little bit. Starting to intensify this corner of the eye here. And getting back into the iris and the pupil and the eyelash line. And just trying to keep that tonal variety going on in the iris as well. So just making a couple of random marks there to make it look very organic. Heightening the contrast underneath the eyelid here. Don't go over the top. Can always smooth at the brush strokes. Really just we keep going heightening the contrast until we're satisfied. So if at any point and you're just satisfied, you can always just leave it there. I really want to make this stand out, out of the paper. Smoothing out the edges. I'm just going to intensify this shadow under the eye just a tiny bit. To make a highlight really stand out. You need to put a darker area next to it. I just really want to get back into this white of the eye. So I'm just going to put some light washes on this eyeball area. He had tried it again. Finishing touches I'm just going to make the data is part of the painting which is the pupil really stand out by applying every black. And also just here, the eyelashes. Going to add eyelashes to the bottom. We need a bit of a lighter wash for this. Otherwise it's just going to look really fake. Really ignores just erase that. Can say with a light wash, with the blue black light wash. Couple of eyelashes here at the top that make them all the same. Some are in different directions. I was a little clusters. Some. Sure it's not too dark. Can just go into families details again, redefining a couple of lines. Define contrast. One more thing I'm gonna do is just loosen it up up here. See how these islands is coming out. Dry it off and there'll be the finished drawing. Right? So that concludes today's day after 30 day challenge. And I hope you've had a good time. I hope you've enjoyed it. And I also hope to see you again tomorrow. See you there. 8. Day 2: Hello and welcome back to the 30-day challenge, the early days of painting eyes and watercolor. Today I've chosen this image to use as a reference for today's painting. And I've already gone ahead and mix my colors that I'm gonna be using. I am going to sketch my eye today with a pencil. So I've got my HB pencil and I've got my eraser on hand. You can trace the image onto the paper. You can use a grid or you can just draw freehand. I'm just going to go freehand. When we're sketching what we want to do. I'll just remind you. We want to make a roadmap for ourselves so we know with the paint and wait to reserve paper, e.g. and remember it doesn't have to be 100% with just using this as a reference for inspiring as painting. Okay, So this shadow here as important. And we're going to reserve this line here under the I put in the pupil and iris. And I'm looking at positive space and negative space. So the positive space case would be the iris and pupil. Negative space would be the inside of the eye. So you kinda keep those both in mind when you're drawing this. And then you compare your drawing to your image and see if it's about right. She's actually got a couple of shadows on the here. Alright. I think that's the sketch. I'm going to grab my number ten paintbrush and I'm going to start with skin tone one. And we start with a light wash, just finding the areas. I It's going to smooth out the edges here. Actually a little lighter area here that I want to mask that. I wasn't aware. Remember that we want to be making com brushstrokes. We want to be going from beginning to end. A little bit wet and width, if you'd like. Put in the corner of the eye here. In the first layer. I'm really just trying to establish some kind of ground and work with the drawing that I've made and just suddenly start to build up the colors. So that's why we started with a light wash and the lightest color first. And we're just starting to indicate to ourselves the areas that we need to build on and the next layers. So that's pretty much just what we're doing in the first layer. And we will paint over the first layer and we probably won't see any of it. But this is just really to get the ball rolling and stop this building up of layers. And I'm just going to dry that off now. Right guys, just remember that you want your layer, this layer to be completely dry before you start on the next layer. And I'm going to start now with my skin tone to bring it around to the mixing palette here. Checkout, right? Color suits me and I'm just gonna go, going to start getting into the details here a little bit more. So you can make the stroke and then you can just smooth it out. A little pigment. So we're just working away here, flexing on some details. I left line maybe no. I put that **** on their gold dust shader. Also put the one the second shadow. Slightly lighter. What? I'm going to grab a slightly larger brush now and get into the shadow up here. Don't overdo it. I'm just applying these first layers and just starting to add in some of these details to derive it. Again. Now I'm going to do the eyebrow and I'm going to use the wet on wet technique. I'm going to apply water to where the eyebrows located and then I will inject pigment. And let's also use skin too for this first, just to give it a bit of background. Just kinda dab your brush on there. Let's see how that expands. It's quite nice and you want, you can smooth it out a little bit that you just clean your brush on your paper towel and just kind of go over the edges with the brush. While that's drying, I am going to get my small brush again and I'm going to start on the eye. And for that, first of all, I'm going to use my yellow or green color. And I'm going to try to reserve some highlights in the, I can never make a very light wash because the eye is between blue and green. Lighten that a little bit more. It's a little more water. Electric blue and some yellow and add a little bit more of my Prussian blue to this color. Even a little more. It's more like it. So let's go again with this color. Let's move on to that, towards the inside because it gets lighter. And then as you can see, there's like a yellow on the inside. So I'm just going to go head and put a little bit of yellow ochre, just pure yellow ocher. Let's save that. And now I'm gonna go with my blue black and just touch people. So while we're waiting for that to dry, let's have a look of her eyebrows going wherever you want it to. I feel like mine is a little bit too defined here down the bottom. Brush stroke. I just want to smooth it out a little bit. And I am also going to get to my smaller brush again and take a very light wash of the loop black. Remember you can use your test strip as well as like a second pallet. And we're trying to work out layers. So I'm just going to go see how the white of the eye is never completely white. You can see that this is a really good example of that. It's quite dark. Blue times and red tones. Now I'm going to bed Miami ten brush number three here is add a little bit on the other side. And down the bottom there we have a little bit of a reddish term number counter. Read them there as well. See how I've seen how the iris is very visible. And you can see that in the reference photo it's not this visible. So don't worry about that because once we start darkening around the eyelash, line the stem to appear as well. It's going to go a little bit again. You will see how that starts to look a little more natural once we get into the darkness here. I want to work in this part here with a little bit about purple shadow. I'm just kidding. They're just going to grab my skin tone again, but I live. You will shadow under the eye. Let's way too intense. So let's just turn that down by cleaning the brush and then taking out some pigment. So I'm going to add a tiny bit of cadmium red to this Cephalus columns of a second shutter. You can see those different card game. Way. Too much light, too much pigment. Make your brush stroke. And then I rinse my brush a little bit, dry it off a little bit, not completely. And then I can just take it and make it smoother or tech where little pigment at the end. I'm gonna go back to my purple shadow and just, Hey, this past year, a little bit of attention. Remember that we always want to be working with translucent layers. That's the whole beauty of watercolor, is that it's translucent. You can see the buildup of layers. New use it to build up volume. I'm just going to grab that here a little bit. Dry quickly again. I'm going to get into the eyebrow now. And I'm gonna do that with coffee brown. Just kind of make a few remarks here that we have eyebrows also coming in from the top. Doesn't have to be realistic but not aiming for a realistic can. Conflicting the brush or the PayPal. So now we're gonna go over the Eilish line again with my coffee ground. The top and also down the bottom here. My tree. I'm just clarifying the details here. My purple shadow, a little more, crimson, red light. Little bit of a shadow here. Okay, so very slowly we're building up the layers. I'm just going to grab my Prussian blue and a little bit of yellow ocher, the color that we made before, pretty much the green ARCA. I'm just going to go over the iris again. Little bit of strong, little bit wash, adding some Prussian blue to the green. Or I can mix that we made. Whoops, made a bit of a mistake. To worry. Drive that. I want to give the eye general another guy was the skimmed three. I just wanted to give it a light wash. I must give it a background. Can just smooth it out a little bit over here. So that was just interested in so abruptly, with the eyebrows here, being careful not to activate the coffee brown of the eyebrow. We'll just go out again. Alright, making sure your board still attached to your paintings. And let's go back to the white of the eye in Tibet and we're gonna get the blue black again. Just make it a light wash and just get in there again because it's a lot darker than what we've got right now. While that's drying, I'm going to take another stab at the eyebrows with the coffee brown. Can be a little bit more intense than that. While that's drying, I'm going to go back to the crease here just again with my skin tone to intensify that the splatter brush again. Skin tone, too much water and pigment. Making sure your pupil is completely dry. I'm going to get my HB pencil sharpener and it's going to put a little bit of scatter here. Can you use so as a tool to help dock? And so we're not going to overdo it. Just very lightly. Don't press too hard. Don't want to make notations on it. Python. Very light strokes here, the curvature of the eye. And I'm also just going to deepen the shadow here, but I'm just not going to draw one straight line across which is going to track. And at certain points, I'm going to go back to my blue black. I'm going to darken the people. Lash line. See how it's dark and then in the middle gets a little lighter. So let's try and just do that. Just kinda smooth out here. With my smaller brush still, I'm going to grab the yellow or green mixture that we might pull some shadows around the axis. I really feel like it's all a little bit too red. So I'm going to just go get them here under the eye, brown and a little bit of that green shade. This part here is a lot darker. Let me go ahead and continue with this **** I hear. Okay, I feel like the eyebrows are still a little too light, so I'm gonna get back m there was coffee brown and mix, a little blue black and there just a little bit and make a couple of marks. And then I'm going to just smooth that out a little bit with my skin too. I'm just going to get back in the eye. More reddish tones in there. See how much a reddish times you get a very rough time for a couple of touches down here. Now I'm working wet on wet here. Just a couple of very subtle touches here. As you can see, not too overpowering. We just want us to look kind of organic. Not, you know, we're not going for the hyper-realistic thing, but organically be really cool. That's why if you read this way, two pigments gets better. To go over this path again with a light wash of blue black. Move it out a little bit. I think I'm going to leave it there. Then you can go as long as the one just one more layer of skin, one very light wash the very, very light wash. Blue, black and the eyebrows. Just going to put a few details them. More details. Find Rhode Island doesn't look here. See other kind of curve up. Just a little bit. So I'm just putting in some very fine details here into the iris. What the color that I'm except earlier, the Prussian blue and the yellow ocher, so pretty much the green. Okay. I'm going to use lead in the pupil. And I'm going to dab some and smeared onto this wet area here. I feel like the I will still needs to get a little darker in here. So I'm gonna go back to my blue black and give it another. So I'm gonna see if I can make the eyelashes a little more organic over here by working wet on wet with the coffee brown and the blue black. I'm not really happy with the iris yet either. So I'm just going to add a little curve there. Try it again. I'm gonna go over the bottom lash line with some coffee brown and then go over the top lash line with some blue black. My small brush just to make some eyelashes here. We'll bring them back in. So I'm just going to grab some yellow ocher, pure pigment. And then with the shadow is going to go back and here down the bottom that's very red, so I'm going to use my skin to mine them here. No more here. Last but not least, my iris and some paths around the edges. And black print on a couple of lashes. Then the bottom. I am going to put one more shadow here in the corner, the purple shadow. Okay, so I'm gonna leave it there. Once it's dry, you can remember from your board and you just do it very carefully. You kind of roll out the edges like this. You don't lift it up. You roll it out so that you don't ruin the paper. I hope you enjoyed today's lesson and I hope to see you again tomorrow for another eye and say, did I challenge? I'll see you there. 9. Day 3: Hello and welcome back to the 30-day challenge. 30 days of painting eyes of watercolor. Today, I've chosen this image to use as a reference for today's painting. And I've already gone ahead and mix my colors that I'm gonna be using. All right, let's stop. I've chosen this AI today because I find it quite fascinating how close up it is. That's really look at some detail. Details, really, really observe what's happening here. If you've decided to draw freehand, that's really great. This is beautiful breakfast for learning how to draw freehand. If you haven't, don't worry. I prefer to paint, to draw as well. Remember, we're going to outline things here that are roadmaps. So here is a shadow that we went to. Outline, this shadow down here. Super interesting, look at the blue tones. And I'm going to stop the iris almost to the middle, pretty much to the end. And the pupil. You make a mistake. I'm going to put this **** up. Quite prominent. We went to this little white line here. Definitely. This dates to their pupils like in the middle of the iris. Important. Well, I'm just looks off Draw and the highlight of the eye here so that we reserve that as well. Then the corner of the eye. I say, let's start painting. We are going to start with skin tone, one, light wash. To remember we're just outlining interesting areas for ourselves right now. I'm going to start with this area, right? Yeah. So starting with a light wash of skin tone, one really interesting because it helps us lose our fear of the blank paper. So even though it would probably disappear under the layers that we put on afterwards, just kinda gets the ball rolling. Today I'm going to fill my entire paper, but not all with one column called load too much, Sean, remember they can always erase. It would color. That's putting a little water on there with a clean brush and then just dabbing away with your paper towel. I find layers. Just want to make sure that the bottom layer that you're working on is dry. Boys. Before settling on the next layer, I'm going to put one bottom layer of the green ocher over the iris. Reserving at all times there highlights, making sure we don't go over any lines we want to reserve. The word paper did not reflect the wider five. Keep observing your image as the painting. We've made a roadmap for ourselves, but we haven't outlined absolutely everything would just wanting to paint in. Okay, So now I think this guy, I'm going to start going over that with my skin tone to always test your test paper, She's going to add a tiny bit of crimson and they're brownish. Just a very slight difference. I'm going to start with brushstrokes. The crease of the eye. Also want to now just quickly go over the top of the eye there with my skin tone three, which is what the cadmium. So it's a little bit more orange. You can see it's got this beautiful orangey tones here. And some of them apply the pigment by generously smooth it out. Water. To again, get down to this card, games. Intensify that a little bit because it's going to work a little bit wet on wet. And this iPad here with skin tone to it is I think under the eye is dry now. I'm going to go get him there, as well as some skin turned to especially this part here. I'm just going to go back to skin tone one for a moment. Check out the top of the eye again. A little bit too much pigment. Remember you can always use your test sheet. Secondary mixing pellet. So I just want to decrease proud. Here. Grab a little bit of skin three from this part. Here. The pupil is now dry. I'm going to darken here. Let's go shedder. To begin with. Now you might say, oh, the dish as green, shouldn't I be using a darker green for the shedder, Kim? But I find that using different colors too dark and can intensify shadows actually adds a lot of interesting detail and variety to your painting. You're gonna be going over it with green as well. Later. Use in blue black pupil. I'm just going to stop. Let me get my skin tone to a game with them. The crease of the eye a little bit more. So you can see there's just a lot of going back and forth between colors. Adding layers, intensifying. So really building up those layers to really give depth to our painting is going to go back to pupils. Smooth a little bit. And I'm going to grab my blue black and just a touch more of the Prussian blue. So that's more than black to blue. And I'm just going to shadow here again, I want the paint to expand a little bit because we're into the eyeball. I'm gonna get my green broker and just kind of go over here again. Don't like to come. Hello. I'm just making some marks for that. There will be some variety, even once I've covered the eye, I'm going to get in there with a little bit of yellow ocher. And the moment you can see what I'm doing here is getting small regular mask scan. And I'm also going to go over the shader here, subject to take them. If it's still wet, be careful. And you just want to be injecting pigment and not moving your brush too much. Okay, thank the bottom of the eye here is probably right now, so I'm just going to get in there with a little bit of shadow. Just going to make some irregular brushstrokes and it gets cold, quite expressive. Lightest wash them here because what I actually want to do is put a little bit green bunker in a minute as well. And here. Then I get in here with my pixel shader. Then I'll work on the crease of the eye. Purple shadow. Number ten, brush again, and skin tones three. And I'm just going here a little bit. So it was proud of the eye. Very intense than to make them lighter wash. And then I'm just gonna go over here. Remember there's that one white line that we want to reserve to skin tone one. This is a wash still. Lost. Can turn one cup of five if I feel like the iron is probably dry by now. So I'm gonna go over the pupil again, some blue lake here and start making some irregular months and hear about a little crack here. I've just dip my small brush and some water and I'm just kind of diluting strokes so that they won't be differentiated to him. He used my yellow ocher. I'll get onto this. Diluting these very precise. I'm going to start putting a little bit of skin mixed with some crimson onto the eyeball. Just a light wash. Smooth that out. I'm going to start with the green under the eye. So I'm just adding this color to a few specific areas to give a bit of richness and variety to my painting. Going to add a few more areas which I find this lovely green tone to the e.g. here, I like the eyelashes. Also up the top here. And I'm just going to dry that off now. And I am going to start by painting the top corner here, wet on wet. And I'm going to be using the green ocher but adding a little bit of Prussian blue. And I'm there, but, and then, you know, that drives the meantime. I'm gonna see the same for this area down here. Let me just dabbing it in there and the paint starts to expand. It's going to correct this brush stroke up here that's infringing a little too much of my painting to me. I will take my skin tone to darken a little bit. Here. Now I am going to grab its contents tree and just go over this area again. And going down to the bottom of the game, that's a little too intense. I'm just building up the contrast. Looking for the areas that are darker. I'm trying to really make this stand out. Now. I am going to continue with my coffee brown. I'm just going to give them to the shadow here and a little bit. You can see what I'm doing here, just intensifying these shadows and making a few more months on the iris so that it really does look like a lot of different shades. And the cookie observed the photo really what a lot of variety in there. And get a little bit of blue black and just kinda still wet. Soften the shadow here a little bit smoother to blocky from the right now. Can put a little bit of wet on wet work. I'm sweating a few areas. I'm just going to dab my brush on the wet areas and expands again. I think that's going to give it a quite a nice organic feel. I won't let that dry. Meanwhile, I am going to use my purple shadow with my small brush to get here again. It's going to work on any areas that still look a little weird. I'm also going to grab my coffee brown again and just work on the crease of the eye a little bit, making sure that it's dry. Well, that's drying. I am going to grab my blue black and intensify these two corners. But at the top, a lot more than at the bottom. Now, I am going to get pure yellow ocher and a little bit little wash on the eye as well. Make sure every layer you put on his translations that is a lot of pigment in them, which I'm just going to load a little bit. My back to school. Three. Last thing I'm gonna do is just put a little more emphasis on this path here. A little bit more of a shadow going on here. Got to wait for this to dry first. I'm gonna get in here first. Grandma hairdryer again. You can turn to going to go over this part here. The pure ivory black for them to use. When the pupil and I get coffee brown again, just intensify the shedder and branch out a little bit, make it look a little more organic. Want to go just quickly into this shadow under the eye with the coffee grounds. Then I'm going to click on the islands nine up here, a little bit of brown on there. You can actually see much. Either scan kinda insinuate that there, there. Needs a little bit of coffee brown here. Dry it and then I'm just gonna do the eyelashes. I'm also just going to put a very light wash over. You. Really want that corner of the eye to be a little bit more pink. So I'm gonna get just from a pure crimson and just go over this area here. And quickly. Now that it's dry, I can see I need to intensify. Just touch here. I'm going to get into the eyelashes, my smaller brush, coffee brown member and you make a mistake. Not a big deal. It's going to blur the edges. I don't want them to be too precise, but I do want to inject a tiny little bit more pigment, the base while it's still wet. I'm going to be working quite quickly. There is a little bit too much. So we're working with a lighter wash first to define the eyelashes and then we're going over the bottom part with a better, more pigment. You can also start at the bottom and then do strand by strand, phasing them out and say Go. Working with small brush, water and paper towel. Starting to look quite good. Here and eyelashes are not easy. Again, either you can start with the light wash and then add a little more pigment, or you can start with a deeper color and then phase it out. Use your artistic license here as well. I showed them a little bit more here. I don't want all of them to look the same. So maybe you can vary it a little bit, making the font a little bit more solid, all the way through variety. And here as well. I'm going to get the corner you a little cookie black on some of them, just these ones down this side. Remember if you make a mistake, not just embrace it. I might just leave these ones here. I am just going to grab my crimson again quickly and intensify. One of the I inject a little more pigment. This red will really make the green eyes stand out. Little detail here, but enjoys us. A little too intense lately. I'm going to leave it there. It's going to dry it off. Right? So that concludes today's day after 30 day challenge painting eyes with watercolor. And I hope you've had a good time. I hope you've enjoyed it. And that also hope to see you again tomorrow. I'll see you there. 10. Day 4: Hello and welcome back to the 30-day challenge, 30 days of eyes. I'm going to be painting this image today. And I've already gone ahead and mixed my colors. Start by sketching the eye again. Today we've got kind of profile. Remember that we're not trying to go for a completely realistic look here, trying to be more expressive. So don't worry if your drawing doesn't look exactly like your photo. Also, a few, I'm not too keen on drawing. You can always use the grid method or trace your image via a light table or another light source. Remember again that the sketch is mainly roadmap for us for where we want to paint. That means we're going to be marking and shadows that we find interesting. And also where there's colors that we find interesting. To just go ahead and mark those things on your paper. My pupil here. Remember that. It's great if you can reserve the highlights of the eyes so we don't have to be working with white paint. I will just mark those as well. Tend to fades here. So we're not going to map those to clearly because we can actually see it clearly. Okay, let's start painting. Going to start with skin tone one. As per usual, this is probably going to be all covered by the end. It's great just to take away this fear of the white paper. It also remembering that you can use your, your test strip here is the second kind of palette to make a lighter wash, starting to feel some shadows. I find interesting, but don't want to be covering my entire paper. Smooth out. If we find we've used too much. Remember you can always erase it a little with your paper. In the first layer. I'm really just trying to establish some kind of ground. And we're just starting to indicate to ourselves the areas that we need to build on. And the next layer is just going to use little water here too. This breaststroke fade out a little bit. I'm going to get into the eyebrow right away as well. Can we use wet on wet technique for that to begin with, just to give it a bit of a background with skin tone one. So you just add some water to the area that you would like to paint. And then you just dip your paintbrush on there with the pigment. Quite blurry down here. I'm going to take my smaller paintbrush. So the number three, well the iPad dries and just also got this details here. Just going to finish them here and its shadow which I haven't finished yet. Still wet. So I'm gonna go ahead and already start on the iris with the ocher green on that a little bit here. The pupil and the iris. I hardly ever seen in its entirety, especially the iris. So you don't want to be going just drawing a full circle and the eye here, that just looks weird. Instead we just see where it ends down the bottom. And at the top you can see that part of the iris is definitely covered by the eyelid. Just going to go ahead and fill in most of the iris, the screen color, the highlights definitely, which I've marked for myself. And also I don't want it to be completely uniform so I apply and then take away some pigment, smooth announcement edges. Object to look in here. This is only the very first brush stroke. So there's gonna be a lot more to come. We putting on a lot more layers also cover the pupil. Not going to stay dry. I'm going to grab my skin tone to start going over some details like the crease here. We want to be building. I felt layers as per usual, starting with the lighter colors first and then working our way up. So I'm starting with the skin learn too. Even though later on we're going to be using the outer skin tones. Skin tone to the ligament. Continuing with skin turned to the side. And I'm going to drive it off. Okay, so we keep going. I'm going to grab my number 16 brush now. And I'm going to go back to the skin tone one and make a very light wash. And then I'm going to give most of the areas. We wash just to light one. Because obviously you can see that all of the areas are pretty much in shadow. There's just a few highlights. I'm going to start with that. And I'm just going to dry that off now. I'm going to start going in there with my skin tone for now. Now that we've kind of lost a little bit of fear. The white paper. It's building up. And Laos, this is what we're practicing. Building up all those layers with different colors, different intensities. I always like to smooth out my brush strokes a little bit. You can do exactly as you see fit. While that's drying, I'm just going to go over the eye, the inside of the eye again. And I am trying to get my green ocher again and just work a little bit on the areas that are a little darker, a little bit of variety in there, smooth out the brush strokes. The outside of the iris is also a little darker as you can see. He's little wet on wet technique here. Skin tone 12, little bit and then use some certain parts. Outside IRA. It can be really free here and your Keller use. These are just the colors that I'm using, but you can choose how you would like to use your color. Next, I'm just going to give the pupil a bit of a darkening here with the blue black. And I'm going to already go over the eyelash line a little bit less black. And I'm also going to use some coffee brown in this part here with the coffee brown, I want it to start coming out of the paper. So I'm really just trying to add contrast and see what colors I need to add. I was lacking contrast, so I'm going to start using a little bit of the purple shadow and make that a tiny little bit more reddish by adding a little more crimson. And then I'm just going to stop working here on the crease the island with the brush clean and a little bit and then smooth. Move that brushstroke. Kind of nitrate with the eyelash line to the same side of the crease. Wouldn't get my larger brush number 10.2 stack. And here it's a little too intense. While that's drying. I'm going to go back over to my eyebrows, leaving a little bit. The highlights. Maybe just go and live with a smaller brush. Doesn't matter if it doesn't look exactly like what its own your photo. We've got artistic license. So make sure you use that to while that's drying, I'm going to get back in here. I'm actually going to put a bit of brush stroke on this path, actually freely doc. And you can see this smooth that out. I'm going to go grab my skin tones six, which is a little bit more reddish. I'm just going to get into some of these areas here. We're going a little more loosely today, I guess it's just the kind of mood I'm in. I know that the Iran still wet, but I'm just going to put a wavy lines here right next to it so that maybe we unify with this reddish color. See that there's a shadow under the eyebrow too. I'm gonna get my skin tone one, fill this barrier here. Not the lightest part of the eye. Also going to get. And I hear a little bit careful. Leave it white line there as well. If it's coming along, just going to drive it up. Once that's dry, I want to just go over these skin tones again. And I'm going to go in again with my skin tone, six, slightly more reddish one, and go back over these. As I have here, just kind of go over the eyebrows a little bit, co-operate those. Just continue increasing the contrast. Really just adding volume that way. Just want to be working a little bit all over the image so that parts of it dry and then you can go over it again. And while that's drying again, I'm going to go over the inside of the eye. Actually going to just work low wet on wet and this corner because it's a little bit undefined and a reference image. So I'm just going to see if that will make it a little bit blurry. If I did a little bit of pigment on there, it's going to intensify, densify a little bit of coffee brown on the pupil. I'm a little bit more. These paths, iris and dark and this past. Lot talkin. Just put a little bit of like, um, they're gonna get a little more blue black. And here, I really want it to be quite dramatic. People. My skin tone 12th to spend a little bit more in here and the iris, It's got a little bit of brown. You tend to find that area there. And then also an unmixed coffee brand with the skin tone 12 shader here. I'm going to get the skin turns six and the coffee brown just intensified to six and coffee brown. While that's drying, I will go back to the eyebrows with coffee brown. Define a chair. Then. I'm just going to dry that off. Now. I'm just going to go back to my skin tone one. Sure I'm not even too much water or too much of color and I'm just going to apply a little washed out because it's actually not white at all. That why does the eye is not quite little bit more pigment in there. And also not quite at all. In this part here is darker orange. I'm just going to give some areas a bit more of an orange tint because I feel like that's a really nice blue light that we can see in this picture. Orange lives. Remembering to visit the highlights just with the net of it. Because the skin tone one, I'm just going to add some cadmium because essentially it's when again here, make it a little more orange. It's gonna go back to my green ocher just with a bit of a wash, add a few shadows and this tonality sounds labs, you can see one of those shadows here. That's drying. I'm going to grab some pure yellow ocher. And I'm just going to go a little bit with this darker color. Try that again so I can see what the colors look like. I just feel like we need to intensify a tiny bit more. I'm going to start with this part here. It's going to get the people shed and mix it with a coffee brown. And then I'm going to make sure I don't have too much water on my brush and get back. And then I can just go into some of these details again. Defining a couple of lines. Some contrast and shadows. Let me go back to skin tones six mixed with coffee brand. And just go and tense a little bit. The shadows and the iris. Just observe what's going on in the reference image. I'm going to Intensify the pupil. Small blue black, adding a little more black to the blue black. And I want to say the eyebrows. Like we could use a little more skin tone to, with a little bit of cadmium red here. Here. Also here. Darker. Done a very good job of reserving the white of the paper. The key is I'm just going to try and pick up a little bit less pigment. Then go over it. This part here, just a little bit of the skin too, and crimson, red. And I feel like the Irish still needs a little bit more contrast. Again, I'm gonna get my skin tone four areas here. Give it a little more variety. Intensify the pupil. More green ARCA. Here. Right off again, like I've made a bit of a mistake and whether the pupils shape. I'm going to grab my coffee brown and just pull the pupil down a little bit because I feel like it's a little more elongated than others. Round reference whether or not it is look exactly like. I just feel like that'll be a good thing to fix. And then I'm going to take away a little bit of the pigment on the side here. A little bit more darkness. I'm going to add the eyelashes in a moment. That's the last thing I'm gonna do. Feel like I could get under the eye again with a little bit of the pencil shadow. And just getting into some of these creases above the eye again, area above the eye, just heightening that contrast. Wanted to, I'm a little more red eye. So again, I'm gonna get my skin tone one, read certain areas. And with my skin tone to this area again is too light. This this a little bit. So remember that if you're going to modify brushstrokes after they've already tried to do this really carefully. So you might just run your paper if you're not careful. Okay, I'm going to start with the eyelashes. And for that I'm going to use purple shadow and mixed with coffee brown, making sure I don't have too much on my brush. To find a couple of eyelashes. Smooth them out a little bit so they don't look like they're Photoshop. The top. I'm going to use a little bit of blue, black and the mix to begin with as well, because it's really scary, dark up here. It's going to flip your page, like the beginning of your brush stroke. And it's the best type you want it to be. Quite thin, wispy or at the end. I can also make very thin little lines at the top here. Retouch the ones down the bottom here with a little bit of bootleg. Want it to be quite subtle so that it doesn't look fake. Just a couple of strokes over there. Just intensified top here. Adding a little more black to the blue black. Little more intense. And as a finishing touch, I'm just going to add more black and I'm going to intense the pupil. Very dark is pointing to that painting. I'm gonna drive and then I'm just going to leave it that way. Maybe I will try one more thing to give it that lovely sun kissed look. I'm going to get a very light wash of poker. Really just very live and just apply it over. Now I'm going to dry it. Now that I've added the wash of ocher, I feel like I need to go over the eyelashes again to just define those a little bit. So kind of all stuck together now. So I'll just do that. Then it's done. Very last touch. Good. Shadow here. Just the very last touch. I'm gonna get some coffee brown and just really just this pattern here. Make it a little bit. I'm going to drive and then I'm just going to leave it that way. Right? I hope you've enjoyed today's lesson and I'll see you again tomorrow for another eye and say, did I challenge? I'll see you there. 11. Day 5: Hello and welcome back to the 30-day challenge, the early days of painting eyes with watercolor. Today, I've chosen this image to use as a reference for today's painting. And I've already gone ahead and mix my colors that I'm gonna be using. I am going to start by sketching. Remember if you do not want to draw freehand, you can use the method with the grid or trace your eye onto your paper. But I do want to encourage you to start drawing free hand because it really is really great for practice. You have to focus on this one element which is the eye. And it doesn't matter if it doesn't look exactly like your photograph. We're trying for a expressive painting here. So not photo-realistic or anything. Observe how this, this, this, this large space here between where the eyeball stops and the eyelid comes across. Remember also to look at the negative space. So we need to be able to draw out iris. Just look how much space is left here of the eyeball. Just lightly press with your pencil so that you don't get any dents on your paper. I'm going to mark and the highlights of the eye. But I want to leave as the white paper. So what do you want to be doing? You keep looking at the eye and then at your paper, I'd paper, and that's the way you sketch it most accurately onto your paper. So you're constantly having this conversation between iron hand, what's going on on the image? What's going on on your paper? Takes a little bit of training, but once you've got it down, it really is very helpful. The shadows of the eyes here, this one that's slightly darker, very brilliant light. So we want to link all this white paper. Okay, I think I am good with it and I am ready to start painting now. So first things first, as per usual, we're going to start with asking one. Even if we do end up covering most of that with the subsequent layers, It's really great just to release the fear of the sweat paper. And now we stop. Remember we don't want to be covering the entire paper with one color and making ourselves a roadmap to where we are going to paint more intense colors and where the shadows. You can see it's a really light wash. Do you feel like you're getting a little more confident? Really hope so. I feel like I'm improving every day that I'm doing this challenge. Just filling in these spaces here a little bit under the eye shadows, making sure that it's dry. I'm just a game. Just put a little bit of color over the top. They're still what that Kyla term one. Remember that the white of the eye is not really completely white. So while that's drying, I'm going to go over the iris and the pupil. And for that, I'm going to take my green. Remembering that I have some areas that I want to reserve the white of the paper for. I'm just going to stop doing it in sure. I'm observing those areas that I want to reserve. Take away a little bit of the pigment around the pupil. Don't want it to be just one color. So as we've practiced, you can just grab your brush and keep the, keep dabbing it on your tissue paper. And then you just go over areas that you want to remove a lot of pigment from and you just dab your brush on there. Make sure you're getting a bad at carefully. Otherwise you might break the paper. If you want to remove a little more than just the tissue over there. Well, that's still drying. I'm going to go over the eyebrows. And again, I'm doing this wet on wet. And just to give it a bit of a background, I'm going to start here as well as my skin tone, one, going to start with the crease of the eye. And for that, I'm going to use my skin tone to end my smaller brush and just find that fascinating. If you observe well, you can see that the 36 I am. This test throws the shadow on the eyelid directly above the eye. Smoke outfit, brush stroke a little. And towards the end here make it almost disappear. You can see it's quite clear out the little glad I chose this I, for the great Highlands. But it has really enjoy that it's different than the lighter areas are the areas that are often lives and other eyes here are dark, like this line. Between the eyelid and the eyeball, often this lighter. Then we hit this beautiful detail of the lighter lines around here. I'm gonna get my skin tone one again. And this area inside of the eyelids, bit of a strange area. So again, to my larger brush, I'm going to start working on the shadows under the eye. Again, let's can turn to the contrast here. Often in the eye, this is the dot product, but you can see here it's actually lighter than here. And then inside of the eyelid here. The permit, very interesting. My skin tone, well, very light wash and just kinda give it a bit of a cut over here. I don't want to focus too much around the area. Just a little bit so that the widest white of the paper really sticks out. Which will be just the areas here and here, pretty much in some areas around here. I'm going to draw it off. Again. I'm going to get my skin tone to it and get a little more into this area here, just make a few. Come over here, pay little attention to this corner of the eye here as well. And kinda let it to sell my skin one, I'm just going to go very lightly because of the white paper animal skin one. I'm also just going to light wash areas. While that's drying, I want to go back over the iris and the pupil and I'm going to do this with blue black. Now. Don't go overboard with intensity. So we want to still have a translucent. And I'm just going to start with my small brush. I'm going to let it let the pink dissolve into the iris from the outside. I've just wet the inside a little bit so that it can expand into there. This side, it's not, it's not that clear. It seems to be some kind of reflection of a window or something to find. Remember, you can always make it more intense when you feel like you haven't got enough intensity by injecting pigment pupil to expand a little bit. Straps around here. Brian. And that guy worked on the eyebrow little bit. And again, working the wet on wet and just gets cleaved brown. But my number ten brush dab it on their can't really show off this past pretty much dry now. So I'm going to start applying a little shadow with my purple shadow. The most intense stereos. I observed them here. And here. Like this line. I'm going to close that with a little clip of Shinar to making sure I didn't have a continuous line because it looks photoshopped. Just breaking it up in some spaces. That's quite dark. And here I can just go into some of these details, again, defining a couple of lines and contrast. Now under the eye, I want to use a little bit of my green ogre. Feel like there's a bit of a greenish shedder. I'm also trying to kind of see the shapes of the face and I'm trying to mimic those with my brushstrokes. Try and preserve this white line here a little bit. Now, I am going to get a very, very light wash of blue leg. To be very light. I'm just gonna go over the eyeball because it is definitely not white in this case. So trying to reserve the whites of the paper where I've mocks them. It's going to be real careful. We got a little bit it's a little more pigment than these areas where it's darker. Well, it's still a little wet so that it doesn't leave very defined lines. Careful not to overdo it because then you might break your paper. Little area around here and it will pop out more of the eyeball is Docker. Obviously you won't be able to see white areas imaging unless you have a contrast. That's why we are putting on a wash to the eyeball. Because otherwise the whole thing would just be what can't see with a light. But as you can see, I'm gonna get my skin tone too. You can see that in the left corner of the eye adds a little bit more reddish. So I'm going to do that. I have it there. Put a bit of a red portion here, doesn't have to be completely dry it and your blue book, It's fine if that mixing them a little bit. Try and break up this brush stroke over here a little bit, the eyebrow. Next, I am going to intensify the eye, the iris pupil again, it's dry now. And for that, I'm going to make my blue black and a little more black, adding little more ivory. Going to make the pupil extra intense. So a couple of highlights from there. And then making the wash a tiny bit less intense. I'm going to go over these parts again. If your eyeball is still wet, make sure you're careful if you don't want it to be expanding into the wi wi and don't touch it. You can see I'm just making some lines going into the eye here to simulate a little bit these patterns that you have in the iris. Again, these highlights will only really stand out if they are in contrast with the darker shadow next to it. So we need to make sure that there's what a contrast here so that you can see the highlights of the film inject some pigment and some areas so that B has more variety. Right now while that's drying and the eyebrows still a little wet, I'm going to mix a little coffee brand or the blue black. And I'm just going to make some brush strokes, something like the eyebrows here. We have a low texture. I don't want it to look realistic. I just want to kind of look like an eyebrow. Then I am going to continue deepening. The shadow is above the eyes were coffee black and a tiny bit of shadow to heighten the contrast here. The same color. I'm also just kind of give you a little bit. The last thing we're gonna do is at the eyelashes. So remember, it's still going to add a little bit of contrast there. Wanted to add a little bit of a line there to smooth out the iris. Really not happy with the eyebrow. I'm just going to add a little water take-away, but a pigment. More water, little more pigment. If you do this, make sure you're really careful, otherwise you could really ruin your painting. So just don't overdo it, but you can always reactivate the pigment on your paper and remove it. So just really lightly with your brush that rabbit trying to get a stain out. I'm going to wait for that to dry and then I'm gonna go over it again. In the meantime, I would take purple shadow, make it a little lighter. And to get them to the shadows under the eye again, like them though darker shadows a little bit. Kind of connect the two sides here under the same color shadow. I'm kind of rounding it up. It's going to take a little life and their shadow on the hit is quite intense. Now the eyeball is dry. I am going to grab my small brush and I'm going to start applying a little bit of a reddish tones that I'm going to get my skin tone. One can just work this theory here a little bit with red. And then at the top, and then it gets. Maybe around here, a little bit happy with this content here yet. I'm going to grab my shadow as well and just a very light wash. It's going to be very light. Right here comes down the bottom. Just put it back. Really nicely sung about both eyebrows. I'm going to try it again. Just make them come out this year. Then while I'm at it was good coffee brown. I will give this another layer at the top to intensify the shadows. Here, it's going to be dry. The layer underneath that I have to get a bed bath. And then it's going to go over part of this inside, but not all of them. Also on this side. Well, that's going to be covered by eyelashes soon. Maybe rather get my larger brush here and I can drag. One thing I do want to do is intensify the pupil. So I'm just gonna go almost complete black, coffee brown girl, like making the pupil around circle. I feel like that's just saw unnatural. The pupil is brown. Yeah, but if you draw it like a full circle, which just looks a little bit like a cartoon. Which is fine if that's what you're going for, but I'm not intensify little bit around the edges of the iris. And then getting some more coffee brand a little bit darker. Because I go over the eyebrow again. Careful not to touch this, just worked on. I wrote this double width. It's fun. We actually just want them to be in the background so we don't want to define them too much. Just going to go back to my purple shadow a little bit and work on these pots around the ival again, feel like the quiet find. I haven't defined them enough yet. Okay. And I tried to avoid drawing lines that go all the way through the same intensity. If you want to put a line through all the way through and make sure you vary its intensity. Maybe faded out or make it a little slimmer, low-fat. My skin tone to them. Just going to go over this bottom half of the tracks. I feel like that needs to come out a little more. The purple shadow again to skin tone one, I'm just going to cover this flight. Okay. I'm just going to drive it off. Just wanted to go over the very top part of the eye with a very light wash to grade it a little bit faded out and not have it. Stops are rapidly. If you don't want to do there, That's fine. I feel like that's something that I want to do that now. Working on the areas of the iris and the pupil here with a very light wash of the grain. Okay. I've made my eye a little more green than blue. Just try it again. Do the eyelashes. I'm going to start with coffee brown, and then we'll see if we work our way out for coffee brown as fun for the contrast. Some really beautiful eyelashes here. So I just kinda make these wispy movements in a dry my brush and I'm trying to fade it out a little bit towards the top there. I want them to look photoshopped. You mess up, but it's not it's not a huge deal. Once you start back in, in some eyebrows, eyelashes with a little more intense wash, other one will just fade into the background. But try and be a little more accurate than I've been here. You don't want to be making them all the same. That also looks really unnatural. You can see that they kind of clusters. They swing down and then come up. If you have a very fine brush now that would be the time to use it. I tend to gloss months, so I'm just working with this brush, but that's fine. This is why we're starting with light so that if we mess up, it's not that obvious. Once we've got them down, we can just add a little detail of darker color. I would not recommend starting with a blue black. Okay, so there we have the eyelashes tends to find here building up some layer. So we using the coffee ground, take advantage a little coffee brown layer as well. And I'm going to go with a more intense coffee brand mix. So with little more ivory black. I'm just going to add some details. Make sure your brushes last. You just keep going. You want to intensify with a little blue black, some areas, some of the eyelashes carrying, making sure that my brush is nice and thin. Sometimes just take a little color away from my brush and then I can smooth out brushstrokes. Now we don't want them to look the same, so we're not gonna go over all of them. I'm going to take no more coffee brown and black and just work on these ones here because they are quite thick and they make this corner of the eye seem a little darker. Now I'm going to attempt to do the eyebrows again just a little bit. So I'm just going to go over just this pub game or black, dark and then a little coffee brown and just darken this area. Just going to go over the iris again, but literally just take a little bit of pure Prussian blue. And some areas not everywhere, not in the areas that we've reserved for the highlights of the eyes. I'm going to dry it off now and then it's finished. Right? So that concludes today's day of the 30 day challenge, painting eyes with watercolor. And I hope you've had a good time. I hope you've enjoyed it. And that also hope to see you again tomorrow. I'll see you there. 12. Day 6: Hello and welcome back to another day of the 30-day challenge painting eyes with watercolor. Today this is the image we're going to be painting. So we're going to go back to monochrome. And I'm going to start by sketching. And I think today I am going to try a little bit of wet on wet technique. I'm going to start sketching. When we're sketching what we want to do. I'll just remind you. We want to make a roadmap for ourselves so we know with the paint and wait to reserve paper, e.g. reserving some highlights here, I'm going to try to resist these highlights. I'm working wet on wet. I'm just going to be a little more difficult, but I'm going to try. I don't usually work with them. So this is going to be an experiment. I just stay with me. We'll see how it thins out and seeing as how to control than wet on dry, I've decided to make it monochrome today again, the middle line and I'm going to start, I'm just going to grab my larger brush, the number 16 and I'm just going to slide water, make sure your brush is clean. Mine seems to be a little dirty and it's going to lift that back up quickly and then clean my brush and just get some clean water. It's going to remove a tiny bit of water. It's a little too much, a few papers too wet, then your plane will literally just go everywhere to be a little less. Control that so that I can still apply the paint to wear one from an oblique cut hair. I'm just going to take some water, just dry it off the parts that I want to reserve, the one that doesn't go there. So e.g. that highlight this one under the eye as well. My paper towel dabbing it on there. And then I'm going to start with blue black. That's the only color I'm going to paint with today. 13. Day 7: Hello and welcome back to the 30-day challenge, 30 days of painting with watercolor. Today, I've chosen this image to use as a reference for today's painting. And I've already gone ahead and mix my colors that I'm gonna be using. As the usual. I'm just going to go go ahead and sketch that out. Just roughly. Remember our sketches supposed to serve us as a roadmap for where we're going to paint. I'm just going to put them in the forums here. That the inside of the top eyelid here. Don't worry if you make a mistake and it was just go ahead and erase it. And remember it doesn't have to be 100% with just using this as a reference for inspiring and painting. Freeze above the eye. And then I'm just going to put in the iris and the pupil. But remember when we're doing less, we're looking at the positive space, which would be the iris and the pupil. The thing we're putting in and the negative space, which would be the bite of the eyeball. So you kinda keep those both in mind when you're drawing this. And then you compare your drawing to your image and see if it's about right. Then we've got the pupil and see this reflected who's taking a photograph. Not going to do it all in detail, just going to put them into basic shapes because they are highlighted. Then I am going to mark and for myself this highlight here. So that I remember to save the white of the paper. Then I'm going to see what other highlights I have in the eye. So e.g. I'm going to tidy up hot down here because I have this beautiful little white line. For me. It's always important to keep these these highlights. And because they are what really makes the eye come to life. When we've got a highlight up here as well. Because the lashes coming across here, it's called a shadow underneath here. Right. So I'm going to start off by wetting the paper. I'm just kinda make sure the entire plate is covered with water. So using a larger brush and clean water, make sure the brush is clean and the water is clean. I wasn't going to have max that you don't want on your page. That should pretty much cover it. If you want to make sure you can always just look a little shiny, more or less uniform, and make sure that your paper stays tape to your board because the foot lifts up before it's completely dry your paperwork. They've walked because I'm just going to give that a second to sink in for I start to paint something that's pretty light. So I'm gonna get my number ten brush. And I'm going to start with skin tone one. Bring it over from my painting compartment, my mixing compartment over here to the palate area and onto the test strip and just like a lighter wash. And then I'm just going to start defining some areas here that are darker. Now where you left off brush is where the paint is going to expand the most onto the paper. So just keep in mind, as you can see. He wanted to help yourself be able to recognize darker areas better. You can squint your eyes. It's always a really great way of just seeing areas instead, details. Just keep going. This is just the very first layer, so we'll be painting over this, but I always find, it's great to get that first layer going so that the nerves of the white paper gum still continuing with skin color and one slightly less light wash. Either some areas that feel a little more contrast. Now, if you feel like your highlights are being embedded in the paint as expanding into those areas, you can get some tissue paper and just add those areas dry. So when expand onto dry areas with a bit of a lighter wash and then clean my brush, dry it off a little bit. And just soft brush stroke. I'm just going to smooth out this transition here. In this corner as well. I don't know if you remember this, but the eyeball is never completely wiped. The highlights are completely white. So in order for the highlights to be able to send out, you always need darker areas. If there's too many white of the paper areas, you will not have the same effect of highlight really standing out. I'm just gonna go over them inside of the eye was my skin tone one as well. It's got a little bit brownish, reddish tinge and you can see the paper he has pretty much dried already. Gonna go over the reflections of the person taking the photo because it's probably going to be the highlight. This Kellogg's can turn one. Keep going. To use a little bit of a clean brush with a little bit of water, spread out these brush strokes. While we're doing this, the rest of the paper is drying, which is good. Okay, And then I'm gonna get my number six brush and I'm going to start painting a little bit with skin tone to go into the creases up here, e.g. intensify these shadows. Paper still a little bit wet so it'll expand in some areas where it doesn't. You can always modify the brushstroke with practice this as well. So you can just smooth it out after cleaning your brush, drying it off a little bit, just getting rid of the excess water. I'm just smoothing that out and I don't want us to expand quite so much. So smoothing that out too. And we'll just continue. Same thing. The planet areas that are a bit darker. So e.g. here the eyelash line is actually quite dark. I'm hardly see any of the bottom of the eyelid, so I'm just going to make an area of darkness here. I'm just going to put a little bit of color and I will smooth out. Continuing with skin tone. The idea here, the less pigment and less water to my brush, onto my tissue paper to get rid of the exosphere. And I'm going to find this area a little bit here, a little bit darker. Just keep going. I'm going to put a little bit of a darker line under the highlight that we've preserved and send out a little bit more. And you can be, don't like it to be this the fun. You can just smooth it out towards the inside of the eye. Gonna go back to my number ten brush. Now, I'm going to work a little bit on the area under the eye and I don't want it to be too intense, so I'm going to make a lighter wash. And then I am going to find this area a little bit more of a shadow under here. Underneath I directly meet the corner. Here. I'm just cleaning my brush, dabbing it on my tissue paper and just moving out these edges here. Dry off my brush again. I don't want the pigment to expand too much into this area. So I'm just smoothing that out so you can still see that there's a bit of a lighter part in the middle there. Protrudes. Next thing I'm gonna do is with my number six brush. It's getting some of the green ocher, bringing it over to my palette here. Hello to light, a little more pigment. And my, my test strip, I can see what consistency. And then I'm just going to work a little bit on the iris here. Just going over these areas. My wash. Remember the highlights that you've reserved for yourself? Don't paint over those who work on this part. A liver and a little more water to fill the firm doesn't have to be uniform and failed to find it more interesting when it's not uniform. I'm just going to get a little more pigment. Then I'm just going to inject it into here, see how it expands into this wet area and nothing that's really nice because it's a really nice watercolor color. Feel. These little look different ones it's drives. Another thing I'm gonna do, cleaning my brush, just still working with my number six brush and just having a little bit better, I'm just going to wet the area directly next to the iris. The iris expands a little bit into the eyeball area for quite enjoy. That smart, neat, it's no more organic. I continue now. Now that the paper is pretty much dry. Again, I'm gonna go back to my skin tone. But more of an intensive wash. I'm just going to put an opinion details. When the papers wet and we're working wet on wet, it's hard to get details on because as we saw before, the paint starts to expand and I really just want to get a couple of more details in here. Just trying to put the brush stroke on, then clean my brush. And the brush strokes, smooth it out. Do the same for the knee, smooth it off onto the pilot. Then I'm going to go back to my skin tone. One, a lighter wash. I've got my Number ten brush again because I'm going to go and I again get a little lighter still by cleaning my brush and then extending the brushstroke and the pigment. And bringing your background. Maybe also hear no more water. Inserting a little bit more pigment over here, and injecting a little underneath here. I really like how the paint expands, but you've gotta be careful because it's not very easy to control. Wet on wet is very hard to control. So I'm going to go ahead now and get my blue black. Make a light wash of that. Lighter because I'm going to go into the eyeball now. Going to put a little bit of color. You can then cleaning off my brush, just extending that pigment, remembering the highlight bottom there and offer them to the same on the other side. Remember if you've got too much pigment on your brush and accidentally get it onto your paper, doesn't matter. You can just clean your brush off and lift it up. Or if it's really, really a lot and you can look to that as well with the piece of tissue picked up. Now, I'm going to grab my purple shadow. Can just go into some of these details. Again. It doesn't have to be uniform all the way across and just do it in certain areas and that way it looks more organic. Cleaning my brush. And I am modifying the breaststroke. And continuing with the purple shadow. A bit of a lighter wash. Put a couple of areas and darker. That's part of the eyelid, e.g. just smooth it out underneath the eye here. The corner of the eye. Hear me. Now remember that the area that is next to the highlight needs to be darker. For the highlight to stand out. I'm going to grab a little bit of the green ocher, light wash, lighter than that. Then add that to the skin pigment a little bit. While that's drying a little bit. Let me go back to blue black and just work on the iris and the pupil a little bit. Darker parts sample the outside of this virus is quite good, but it's still a little bit wet right next to it because the way it's been quite organically into the area of the eyeball. So as you can see with building up layers and with patients, water to these outlines here. So it also expands organically into the iris. Go back to skin tone to per minute with my number ten brush. Just add more contrast. Some of these areas continue must contend to check to know payment areas. Okay. I'm gonna go back to purple shadow. What's my number six brush? And just add them wrong. No contrast. Some of these barriers smooth out a little bit. Adding some shadows, the shadows. I smoothing it out. That's redefining a couple of lines. Buying some contrast and shadows, injecting a little pigment. I'm here either. And all of this area is going to be darker anyway because of the eyelashes. I'm just trying to inject some more pigment line here. Maybe getting in contrast as well and the iris and the pupil using a bit of shadow. Obviously I'm layering on top of grains. When people be more of a brownish color. That's redefining a couple of lines. Skin tone, one here, lovely, orangey brown tinge, just layering that over here and so that it expands a little bit with the Google shared on the outside. You can observe the only white paper. I actually, this highlight up here, that's the only one we don't want to cover. Okay. And I'm going to put them little more skin tone ones here, bottom of the eyelids and a little more skin tone one up here I have a crease. Shadow under here. My size ten brush, making sure it's clean. And I'm just going to extend that a little bit contrived one as well. I'm also going to put a little bit of skin tone one into the eyeball because there's quite a bit of red and they I don't know if you can observe it, but I feel like definitely a lot of freedom. I'm gonna get some coffee brown. While this is still wet, just inject a little pigment, making sure it doesn't expand too much onto the top eyelid. Just going to get some paper. I'm just going to dab this area a little bit so that it's dry and paint white, want to expand into there. Then I'm going to continue injecting some headwinds. Here. These dark areas, the pupil outside with a light wash of coffee brown, start working in these lectures here just on the general area. And I'm going to take a little bit of the pigment or MTO experiment a little too much for my liking. I would the dry brush. I just put the shape that I want again, just a little bit more coffee brown area here and then smooth it out with a clean brush, is clean and dry, that is highlight sends out by adding a little bit with that less than. Then just continues moving about till you hippie, liberal coffee. I'm just going to add a little bit up here, the crease. And also that's really sadly. I'm just noticing now that this has expanded a lot onto the bottom eyelid. So I'm just smoothing that out a little bit. The inside of the bottom eyelid. I'm going to grab my number one brush now. Just get some coffee brown working on these eyelashes. So I just use my brush to lift them out. And obviously, where you flip, the end of the brush is going to be the finest line that you can get. And I like to work with coffee brand first because it's not as dark and make a mistake. It doesn't doesn't matter so much. We've got over those areas again with blue black afterwards when we're done, observe how the eyelashes are more or less. You don't have to do the same and try and kind of keep it varied, not one eyelash after the other and said, Hey, the same. Doesn't look very organic. Can see they start going in a different direction here. You observe that before that when you're looking front on it and I at one point, they start going in the opposite direction. So he'll be going towards left in them as pretty much the middle of the eye, they start going into the other direction. It's good things to know. I'm just going to go ahead and recap what the bottom. So you might still be a little bit too wet down the bottom here. Just expanding too much still. Okay. But while it's still wet, I'm going to go ahead and grab some of my blue black, and I'm going to add a little bit more ivory black. This is very blue. Then it's going to inject a little bit of pigment lashes so that it just expands kind of organically with they're still wet. I remember that watercolor dries lighter than when it's wet so that 123 shades lighter. So keep that in mind when you're painting. It's not gonna be as dark as it when it's wet. Here again, intensifying a little bit. Okay. And then I'm going to get good food black again and just I'm over here again. I've added a little more ivory black to the mix, which just feel like it was too blue and not really intense. I don't want to be using ivory black by itself when I paint. It's always good to use mixed colors. I don't usually like using colors directly out of the tube anyway. I always like to mix them. Sometimes I will use a little bit of yellow ochre out of the tube or for the eye, e.g. depression is blue out of the tube for an area of the eye. But I always find that it just gives us so much more depth and so much more richness when you, when you mix the colors yourself. A couple of details. And the I here, the game pulling up some lines but flicking the brush a little bit. And I'm just going to grab some of the green ocher. Just apply a little bit more, some barriers to this small brush. And I'm going to grab some skin tone one. I'm just going to put in your reflection. Eyelashes can either highlight. Again my brush and just add lovers can turn one. With the small brush. I lift up a little bit of pigment up here with my brush. And objects, can turn one. Lift up a little bit over here as well. To be lighter. You might just go back to my skin tone one for a second. Just to have a little bit more color. Here. I feel like it's got a little bit lost. Expanded into each other. Or up the top. Lift up a little bit of water here so that it doesn't expand them to each other again with much. Actually going to smooth this out. Now, I'm actually going to go and drive it off and then put on the finishing touches. Now when you just dried off your painting and it's still warm, the paint is going to dry faster. So just be aware of that. And if you can avoid painting on the warm paper, it's probably a good idea because I've still got some skin tones premixed up and I'm just going to use a little bit of bed, not as intensive. I'm just going to mix this with the skin tone, one to make it a little bit more intense but more reddish. And I'm just going to add that to some areas. Just a really light wash on a little bit more around the eye. Mixtures contain three months. And I'm also going to apply this to the inside of the top eyelid. And my number six brush, coming back over to the blue black, making a light wash. And I'm going to put them first. And then I'm going to grab some skin tend to get better. You can hear a little bit, maybe a little bit, and apply some skin turn to, to this side. Contend to get back in here a little bit. Smooth that out, maybe a little better. It's going to go with the eyelashes again or a blue black. Again, adding a little bit more of the ivory black. I'm just going to add a few touches. Remember that it dries significantly lighter as you can actually see. Jessica and just some of these details again, redefining a couple of lines of contrast and shadows. Okay. I actually think I'm just going to dry that off and then I'm going to leave it there for today. Right? So that concludes today's day of the 30-day challenge painting with watercolor. And I hope you've had a good time. I hope you've enjoyed it. And I also hope to see you again tomorrow. I'll see you there. 14. Day 8: Hello and welcome back to today's AI of 30-day challenge with watercolor painting eyes. This is the image that we're going to be painting today. And the colors I'm going to be using for our three. I'm going to start by sketching. I'm just using my HB pencil for this, just trying to get the general shape onto paper, I'm going to see where the shadows with the highlights of the eye. So we can reserve those and basically just get the overall shape of this. I don't worry if it's not exactly like the reference photo. What we're trying to get is an expressive painting. Look at this highlight here. Is this great? So yeah, we don't need it to be hyper-realistic. Wanting expression. We're trying something new today with the three colors. I'm trying something new today as well. I don't really haven't really done that before. Let's see, Here we go. Let's not forget about the highlights. Up here. We've got a bit of a highlight as well. Tiny bit darker than yeah. Around their shared and there's a little lighter. Finding it hard to discern where the darker areas or you can go ahead and squint your eyes. That really helps. Said that a few times already, but just in case you forgot. I think I'm gonna get right in there. And I really enjoyed working wet on wet, but last times that I did. So I'm just going to do that again. I'm just going to wet the paper with my larger brush, clean water. Then I'm going to take away some of the highlights so that the paint doesn't expand into them. I want to keep those clear. That actually extends onto the eyeball so I don't forget to take care of that. I didn't really market well. I forgot to mark and this little highlight down the bottom as well, but we don't want to be using a pencil while the paper is wet because that way we will totally ruin a painting. Just really ruin the paper. Great way to Ronnie painting before you even started up here as well. And I'm just going to begin with the coffee brown. Just a light wash Wash. Not too intense. Just start going over some areas here already. See how the paint expands. Its beautiful, really like that. Because it's a really nice organic field as you can kind of paint. But the paint will just do its own thing after a while. I'm gonna be mixing wet on wet and wet on dry as well. This session. What we'll be working a little bit faster when it's wet because it dries quite quickly and then it doesn't extend so nicely as you can see here, you're going to dry a big brush again, just smooth that out a little bit over the top here, something to lift that up would have pigment there. It's going to grab a slightly smaller brush again. Then number ten, smooth it out a little bit. Remember that you can erase the pigment with you a clean towel. Sometimes not all of it, but to some extent. Very good about that. Highlight them about them live. I've just gone ahead and Rick, just removing a little pigment here and they're totally varied. Feel like I'm starting to emerge already and we haven't really even started yet. Right? So much crime. A little bit from up here, as I said, bit lighter. Know, pregnant, the mass starts to expand a little more. Everyone wants to be. Dry before we begin from a mixed layer and stopped intensify some of these barriers that are pretty common over shadows. Remembering to visit the highlights. Next one here. Loosely put them in a darker area. Remember that we're trying to build up layers layer by layer. Just suddenly you get the volume in there. And I'm just going to dry that off now. Okay, so once it's completely dry, I am going to start the crease of the eye again, still continuing with my coffee brown, more intense. And then I'm going to smooth that out towards the cuff. I'm just going to do what we always do. Heighten the contrast buildup in the usual. Just continue and really just adding volume that we're just going to be working a little bit old either the image so that parts of it dry and then you can go over it again. Smoothing out brushstrokes with leaving them. Just as you prefer. Your coal. The eyeball again here. If you remove pigment, do it carefully so as not to my paper as well. Let's work layer by layer. Really observing what's going on in the reference photo. And training our eye hand coordination. I'm just going to grab my number three, brush. Get into those details. So remember that you can always correct areas using your brush or your paper towel. If the area is still wet, you can just dry off your brush and lift up the pigment. And if the area is already dry, you can wet your brush with some clean water and just re-wet the area, reactivate that pigment and then pick it up with the brush or with your paper towel. May not supposed to do it, but I find that it really works for me. You just have to be very careful not to lift up the paper. And if you have layers underneath that, you'd like to keep, you also have to be careful because they'll most probably come up as well when you reactivate the pigment. So you can observe that I'm really just deepening the contrast here just by adding more layers of the coffee brown. And I'm not sure if I mentioned this before, but for the highlights to really stand out, you need to have a darker area surrounding it. So that's what I'm doing here. You can see that highlighted the bottom of the eye and I'm just adding some more depth to the the bottom eyelash line. And just getting into some of these creases above the eye again, the area above the eye just heightening that contrast. So I think I'm going to start with shadow after I've dried this layer. Continuing, makes sure that it's completely dry. And then I'm going to start applying some people shadow here as well in the creases that I would go with us. You can see it's quite intuitive. Just get some colors and you go over some areas and then you see how it goes. And remember that the paint always dries a little bit lighter than when it's wet. So just keep that in mind. So what I'm really doing is just looking at my painting and then looking at my reference photo and just seeing with the darkest areas are with the lightest areas are. What the contrast is like. And I'm really just trying to focus on making this really expressive. So really having a good contrast between the darkest areas and the lightest areas in-between tones. So on the eyeball, e.g. we can't have a completely white eyeball if we wanted to have really outstanding highlights because you have to play those areas off against each other. So really just keep looking between the two images. Yes, seeing what you feel like needs to have more attention in your painting. I'm really enjoying working. Wet on wet and wet, wet on dry it. That's quite an experience feeling removing little pigment here because the shapes become somewhat strange. Really sure if that's because the paper's wet, but I'm just going to dry it off quickly. I think I'm going to start now with my blue layer. I'm just going to use my number ten brush to the Gim. Just going to dive very bad areas. This excess water in your brush. Working on the areas of the iris and the pupil. Really getting into this corner of the eye here. And I'm also just going to focus on this bottom eyelash line here, just making it darker, extending the brush stroke and then going back up to the top eyelid and increasing that crease and also extending that brushstroke, just smoothing that out. Making a little bit darker all over the show back into the iris and the pupil. And as I said, we need to make these areas darker around the highlights. If you're using a hairdryer, you probably notice that just after drying off, you're painting the paint dries a bit quicker. I guess it's still warm. And I just really want to get back into this white of the eye. So I'm just going to put some light washes on this eyeball area here because as you can see, the more I put on without going over the top, the more this highlight really starts to stand out. So this is what I'm talking about by a document in the areas around the highlight, you can just increase the contrast between the real white of the paper and where you're pulling a pigment on the paper. I'm just going to get my blue and my number three brush and I'm just going to go over a couple of details. So again, just adding more color to increase the contrast between the light areas and the dark areas here with the details. It's going to go back to keep brown for a moment. The trick really lives and adding the right amount of pigment and paint, not going up at the top end, very important is to reserve the highlights, the white of the paper. These contrasts will really make your painting stand out and you cannot achieve that by adding white later. There's certain amount pilots you can add with the white out of the tube, but it's just not the same. So I really encourage you to practice leaving the highlights as the white of the paper and also preserving some areas that aren't quite the white of the paper, but that the white of the paper really still shines through the color. To give it the light curve. Maybe just a touch more coffee brown. Here. Work on a couple of details. Also with coffee brown. Small brush, very small brush for number one. And I put it in some detail now with the coffee brown, I'm just going to start putting in a couple of eyelashes here. Just clicking the brush. Loose movements. Try not to do every eyelash. Really always like to go for organic fields. The blue, black and red pigment in there. The lashes. That much like how you work this guy and you can always correct it by using your clean tissue paper with your brush. Clean water. Just be careful not to go out of the page to match when it's wet, otherwise, right? It's going to have some shadow details in here. God, either this corner, coffee brown, then the little bit of glue, and a very light wash of blue black. Now I'm just getting into the final little details here. So the reflection of the eyelashes on the highlights in the iris. And I'm just going to work on those little details. Okay, so I'm just going to put a little bit lighter. Still not been lightest part. Very much. Okay. I'm just going to dry that off and then I'm going to leave it there for today. Okay. So once you've made sure that it's completely dry, you can just remove it from the board. And that concludes today's session of 30-day challenge. I hope you had a good time and I hope to see you tomorrow. 15. Day 9: Hello and welcome back to another day of, but they delayed challenge painting eyes with watercolor. Today we're going to be painting this image. And as per usual, I will be uploading the reference image to the resources section. I'm going to start by sketching the, I'm just using my HB pencil for this, just trying to get the general shape onto paper, I'm going to see where the shadows or highlights of the eye. So we can reserve those and basically just get the overall shape of the eye. Don't worry if it's not exactly 100% like the reference photo. What we're trying to get is an expressive painting. Then I'm just going to put in the iris and the pupil. But remember when we're doing this, we're looking at the positive space, which will be the iris and the pupil. The thing we're putting in and the negative space, which would be the white of the eyeball. You make a mistake in your sketch, don't worry about it. You can always erase it. Then I am going to mark and less self this highlight here that I remember to save the white of the paper. So as you can see today's eyes a little bit more complex. It's a profile, It's a child's eye. The reflections in the eye quite intense. You can hardly see what's going on on the eye, but we'll just see how we go and we'll just start wet on dry today. And as per usual, I'm going to start off with my skin tone, one, light wash. My hands and areas. Not all at the same intensity. I want the wash to be a bit lighter. I can just add a little water. Essentially, this first wash will always be paved over anyway, but just kind of gives us a good indication of where we need to take next. Remember that in these first stage is what we're looking for as just highlighting with the darkest areas are so that we gave a kind of sense of ways. Just keep painting black people in the iris first layer. Also a very light wash. I'm just going to start going either eyeball quite dark. And I'm just going to dry that off now because I'm making sure that first layer is completely dry. We can continue with the next layer. And for that, I'm just going to start with number three brush and my skin tone to them is going to define a couple of details. For this crease and the eyelid. Extending the brushstroke, modifying it. Just observing and trying to represent what I observed in the reference image. But it does not have to be exactly the same. It does not have to be hyper realistic. Trying to make an expressive I painting rather than just 100% what's going on. But I'm still observing it. That's really important. Now for number ten brush, I'm just applying these first layers and just starting to add in some of these details. Making your brush stroke. And then I rinse my brush a little bit, dry it off a little bit, not completely. And then I can just take it and make it smoother or take away a little pigment at the end. And start them tends to find some areas that are pretty good. Shadows. Remembering to visit the highlights. I'm going to make up a little bit of blue black, but with more blue than black. And I'm just going to go over the iris pupil. Then I'm gonna get my regular blue black. Well, that's drying. I'm going to grab some purple shadow. Works in warm. Here. There's a little purple shadow in there. Wants to work. Vectors can turn to them just building up the contrast. Looking to the areas that have done really stand out. And I'm just going to dry that off now. I'm gonna go ahead and make another layer of shedder up here. Cancel the m. The smallest brush can turn to those pregnant to live. Bathroom a little bit. And I will my purple shadow adding a tiny bit of blue, a little less red and a little more blue in there. Cleaning my brush and then modifying brushstroke, little penguin, then layer shadow, I believe at five lecture, we're going to go grab a little purple shadow and a little blue. I'm just going to go while that's drying, I'm going to grab my green ocher, a bit of a shadow over the eye. So I'm just adding this color to a few specific areas to give a bit of richness and variety to my painting. Out under the eye a little bit. Just go into families details again. Defining a couple of lines. In contrast, shadows. Bring it around here with a very light wash. It's going to drive it. I'm going to start by making the inside of the eyeball a little darker. Mix shader eyelashes there. And I just really want to get back into this white of the eye. So I'm just going to put some light washes on this eyeball area he had. While that's drying, I'm just going to give iris and the pupil another car. Really getting into this corner of the eye here. My skin can one. My number three brush. Here. It's going down to so again, just, I'm adding more color to increase the contrast between the light areas and the dark areas here with within the details. Can turn one. Now, blue black, add a little more black. I'm just going to give the iris and the pupil and mother go. So you can see that I'm not going over the entire iris here, I'm just going over some areas to kind of have this tonal variety and the iris. Little kind of variety. I'm also going to grab my coffee brown brown making Ireland's line here. I'm just blurring. Want to insinuate them. Stand in the middle leg. We can go here and just smooth it out. Live less than the former. Sperms. You can kinda see that here, but I was a pupil. Dilation. There's kind of a lighter month, very fine brush now. Now I'm just getting into the final little details here. So the reflection of the eyelashes on the highlights in the iris. And I'm just going to work on those little details. The eyelashes here, still wet. Paint moles. Wanted to be blurry. I'm going to grab a little skin tone to and I'm just intensifying up here over the eyelash line. The inside of the eyelid, the top eyelid there with coffee brown. I'm just going to go over the eyelashes here. I'm going to go over the bed, simpler black, everything because sometimes having some eyelashes down the bottom here. Continuing with my fine brush, I'm going to use a little purple shadow in the corner of the eye. And I'm going to use a little blue black, a little bit. I'm going to also use a little bit of skin tone to the eye a little bit more. Let's conclude black areas. The iris again. Just lightly going to define a couple of eyebrows up here. It's going to go a bit discontented around here. Remember if you can't see the areas of darkness, shader, just squint your eyes, makes it easier to discern larger areas and not details. Usually we eyes focused on details, so it's hard sometimes to see exactly where areas of shadow. I'm just dabbing a little pigment away their skin tone, one very light wash. So you can see there's just a lot of going back and forth between colors. Adding layers, intensifying. So really building up those layers to really give depth to our painting has taken away a little piglets. List of fun. Adding a little more, a little bit of purple shadow. The light wash of blue black, adding a tiny bit of blue, so it's more blue than black. I went to the other areas are behind you. It's just a little bit so that it's not all the same. I actually think I'm going to leave it here today. I'm just going to dry it off and then I think I'm done. Okay, guys, I think I'm done for today, so I hope you enjoyed that. I hope to see you again tomorrow for another day of the challenge of painting IS for 30 days. You there. 16. Day 10: Hello and welcome back to the 30-day challenge. 30 days of painting eyes with watercolor. Today, we're going to be painting this. I, and I am going to start off by sketching the I, just roughly just highlighting the areas that are interesting for us. And the general shapes. When you're sketching, you want to be looking at your reference image in your paper, just flicking between those two all the time. But remember, we're not trying to paint a hyper-realistic. I hear. What we're trying to do is get them expressive painting at the end of it. So it doesn't look exactly like the photograph. Don't worry about it. Find it's not the most important part. I definitely want to reserve this, highlight them here. Now I've got my general sketch and I'm going to stop painting. We start off by just wetting the entire paper. I'm just going to remove a tiny bit of water here. And then I'm going to start with my number ten brush and my skin tone one. I'm just going to make up a quite a light wash and just start applying that to my paper. E.g. spending quite nicely here. Already going to start trying to outline this crease and the eye a little bit even though it's going to be very washy. I know when I'm working wet on wet, I like to have my hairdryer quite close because otherwise it will just take a just to dry. So as you can see, I'm just applying paint areas here that I had expand onto the paper. I will already quite dark and quiet read. Having some more pigment into certain areas. Then I clean my brush and then I'm going to get the greenish time that I have. And I'm just going to go. The first thing I'm gonna do is I'm just going to reserve those areas here that I want for my highlights, but I want the white papers. So I'm just going to dab my tissue paper on this or that the paint doesn't expand into this area, then I'm going to start painting. I also don't want to expand and too much into that Eilish line. So what I'm gonna do is I'm just going to clean my brush. I'm just going to remove a little pigment and moisture from here. Still be smooth. Stoke kind of got into this area but it won't be as expanding. And then here remember we had that one highlight of the eye that we actually done, one for right now at all. Just smoothing out here, removing a little pigment and water. Before I go on dry this layer now I'm just going to remove a little pigment from the top here. And also here. Dabbing my tissue paper on the inside of the eye here just a little bit. Okay. And I'm gonna go ahead and dry it off now. Okay, so know that layer's dry. I am going to stop working a little bit on the crease of the eye lids. And for that, I'm going to just wet this line here. You can see I'm just applying water to stop. Then I'm gonna get my skin tone one again. I'm just going to dab it into those wet areas so that it spans. But it's a controlled expansion. Then I'm just going to work a little bit wet on dry. So it's a bit of a mix of wet on wet and wet on dry. While that's drying, I'm just going to go over the pupil and the iris a little bit as my number ten brush and I'm going to grab some blue black, just going to make a wash. And then again with some clean water, I'm going to wet this area that I want the paint to expand into and around to fill it all in. Sometimes it's interesting to have some areas that have the previous layer. I'm just going to dab my brush in the paint expands into the areas that are equipped with my brush. I'm just going to let it do its thing. My smaller brush, I'm going to start with one of the few details on the inside of the eye. My number three brush and skin tone to make it too dark, you want to be working with transparencies. Still. Look a little bit on this detail in here. My brushstrokes. Well, it's still a little wet up there. I'm going to inject a little pigment into this crazy stereo. We're ready to smooth out your brushstrokes much as you'd like or just leave them as they are. That's totally up to you. Continuing with skin tone to make that brush a little bit lighter. Mark here a little bit. This barium eyes. When that's dry up here. Reinforce that line a little drop. Now we're going to use my hairdryer, drive it off and I am going to continue working with skin tone to for now, let me use my test strip here is the kind of talent. Few areas that I want to intensify. Little bit of color on the inside of the eye. Remember the eyeball is never completely wiped unless there's a highlight. There's a highlight and you leave the rest of the eyeball what you will not see that I like because you need darker areas to be surrounding the highlight. For the highlight to really stand out. Then just with a light wash the blue black. Remember we want it to be quite light. I'm just going to go over the eyeball. Remembering that highlight down there. Just smooth that out. And with the green shade that I have made up, just a light wash, I'm just going to put a couple of shadows in there that I see here in the room that's very intense. Remember if you need to remove pigment and water, you can always do that with a clean brush by dabbing the paint brush onto your tissue paper and then just moving it out of the paper carefully. Really, really light wash I'm just going to give him Yeah. I can hardly even see them. It's a bit of a deeper shadow here on the eyeball, I guess from the eyelashes. While that's drying, I'm going to grab my blue black and my smaller brush, my number three, a little bit more intense. The wash still want it to be translucent. That can be a little more intense than before. And I'm just going to work on a couple of areas inside of the iris. Again. Always use for finer brush if you feel the need. For them, these little things that come out of that tuple a little bit and staying with the blue brick. Hi, my name's some detail here. Don't freak out if it's really dark. Remember that the watercolor dries 123 shades lighter than what you're seeing right now when you're painting with a mixed the blue black, green patches of color and here the blue black. Now while that's drying with my number ten brush, just going to use my skin tone three, I'm just going to go inside of the eye here. Contents. There's a highlight on the top and on the bottom here that I want to reserve kinda sides out with a clean, wet brush. I'm just going to move a little bit of this pigment because it's a little bit intense. Then it's going to go back to skin tone to intensify some areas. Use too much pigment. Remember, this happens to me quite frequently. Just go over it again. And remove it. So I'm just kinda available pigment with my tissue paper. We'll go back to skin tone one for a second. Contend to. You can see what I'm doing it. You just the same as always, building up layers by adding translucent layers of color, which makes the volume and depth. You can experiment with this a little bit quiet, signing a few different colors and a few different methods. While that's drying, I'm going to go ahead with my faithful shadow. A couple of touches on here. Still wet for them to expand Muslim to there. And here I'm just going to soften that out. And bottom. They're still a little wet too, which is great because it's going to expand into it. Which will make it look smoother. Look kinda working half wet on wet and wet on dry. A little bit of black. I will just plan out. A little big man. Okay, and while that's drying, I'm going to intensify the blue black and a little bit, a tiny bit more ivory black to that. So it's not as glue and more tending towards black. See how it's still translation. Jessica into families details again. Defining a couple of lines. In contrast. Smooth. Those out a little bit into the interior of the eye. Clean water. No pigment here and there. And once these areas are dry, I'm actually going to stop on the eyelashes and the bit. I'm going to start with the coffee brown. It's very intense. It all translation. We want it to be translated again. Okay. And I'm just going to mark the areas for doctors. Around here. We compare the marion which is quite low bathroom and what it is at the moment. I'm just going to add a little coffee brown than the eye as well. Coffee brown and intensifying a little bit in the sky here. Don't go over the top. Now I'm just getting into the final little details here. So the reflection of the eyelashes on the highlights and the iris love that tonal variety on the iris actually liked it really makes the eyes come to life. So I always worth a little bit harder on making random months really trying to mimic what's happening on the I that I'm looking at up here can actually see a little bit of ocher. So I'm just going to put a little bit of pica pure I've drawn there. Gonna drive it off again. Once it's dry, I'm going to take my number ten brush. And I'm going to go over this part of thumb side of the eye quickly with some skin tone to it. And then I'm going to dab in a little bit of purple shedder. Smooth that out to make it too intense. A light wash of blue back here again, pretty common. Practice that a lot of blue circles here. And I'm just going to die again. And while that's drying, I'm just going to grab my very fine brush and I'm going to start doing the eyelashes with some coffee brown. It's really defining them. Really observe the eyelashes here. You can see that I've got up all the time. Sometimes they're really actual eyeball. If you really observing what's happening there, you achieve eyes that are more organic looking, more realistic looking even the fastest expressive, expressive brush strokes. I've just got my blue black now, working on three areas. While that's still a little bit width. I'm just going to wait a little bit of pigment, Kiran, just take it away. You can do that even once it's dry, just to keep their kids. Because you're not actually supposed to. Theory, once the watercolors dry, you don't touch it anymore, but I like to do that. But carefully time I've done it and don't push your brush too much. Otherwise, you might just take away a bit of paper. I'm just going to start from eyelashes down the bottom now. I'm going to do that with my coffee brown because they're not as dark and very bad for us to get too dark already. I'm just going to brush over them. Clean brush. Just move the pigment around a little bit. Here. When a minister ulcer now at the top there, I'm just going to smooth out this line here, a little bit of this in circular motions with a wet brush with clean water is going over this area which hasn't completely dried yet, but almost. And just smoothing that out. Remember to take a little bit of pigment away. Just wanted to look a little more organic if we have very hot lines than it doesn't look very organic because there's not really any harsh lines in nature in their face. We looked at almost want to leave it, but I'm just going to give a couple of more touches with skin turn to in a couple of places. Namely here, just a couple of exceptions here. So you can see how by putting a dark and light next to this highlight, the highlight really just starts to come out. I'm just kinda take a little bit of pure cadmium. I really quite like how dramatic that those here. The last thing I'm gonna do is I'm just going to get some pure ivory black, just hydrate the pigment, make it quieter, backwash. And then I'm just going to put it over the iris. Applying pure ivory black to just one area to make it be the darkest area of the entire painting, which is what we want, because it gives it a little bit of depth and makes it more profound. With my very fine brush, I'm just going to draw out a couple of lines into the iris scan. So you want to make sure your brush is not dry. It's kinda slicker thing that I'm really got the shape right here at the top. I'm going to drive it and then I think I'm done for today. So I'm done for today. I'm happy with it and I'm going to leave it there. Thank you so much for joining me again today for the 30-day challenge. And I hope you had a nice time and I hope to see you again tomorrow. 17. Day 11: Hello and welcome back to the 30-day challenge painting. As with watercolor, today, we're going to be painting this image. I'll be uploading the reference image to the resources section. So I've decided that I want to do another monochrome I today. And I am going to start by sketching. Remember that it doesn't have to be exactly like the reference photo. Just using a photo as an inspiration to make an expressive painting. So I'm kind of using the positive and negative space here to figure out how during the number withdrawing, what we want to paint and also what we want to reserve. I'm going to start again working wet on wet surface that I'm applying clean water with a clean brush to the entire area of my paper. I'm just going to remove the little book by passing my paintbrush over it and then dad and my paint brush on the paper towel that I have next to my board. All right. And I'm going to grab the glute leg, bring it over to my mixing area, hydrated and make sure that it's a nice light wash. My two dogs. One to the first wash should always be quiet, translucent. It's going to start on the darkest areas. Now the paint is going to expand as we already know, to make sure that we are reserving the highlights that we want to reserve. The white of the paper. Eyebrows, go. Get them to the areas that literal and shadows. As you can see, I'm doing the same thing as always. Applying the paint and the paper. If I feel like I've ended much lignin paper, too much water, I just go ahead and clean my brush and remove excess pigment on my brush. And I feel like me and you're a little impatient. Greg, your hairdryer and just drive it off next once that's dry, I remember that we always want to make sure the layer that we've just worked on as dry before we start on the next layer. The next thing I'm going to do is just deepen the shadows and enhance the contrast. Already going to put in some eyelashes here, just roughly. Working on the areas of the iris and the pupil here. I'm just building up the contrast. Looking for the areas that are darker. I'm trying to really emphasize stand out. Then. I'm going to continue with the case of the eye, eyelid, smooth brushstroke. The P1 decided to work over there while it's still wet so that we don't have, in the end a huge difference between the makeup and the eyelashes. Look once it's dry, we'll see and start to intensify some of the areas that I've already gone over, shadows. Number ten, brush, I'm just going to grab the ball. And the bottom of the eyelid here. I feel very organic. Maybe you want to smooth it out a little bit. I'm just going to give that away, dry off. Once it's dry, you can continue easier working monochrome, because basically all you're doing is just adding one layer after another, deciding how light or intense you want your washes to be building up. The contrast really just continue increasing the contrast, building up the layers and really just adding volume that way. Just want to be working a little bit all over the image so that parts of it dry and then you can go over it again. Remember that if you're having a hard time seeing where the darkest areas though, you can go ahead and squint your eyes. That really usually helps to define areas. Sometimes either just a little too precise and they realize that there's too much detail and then they find it really hard to process information that's more general. So you can see what I'm doing here is I'm just going over the areas that I've already covered with a more intense wash. So I'm really just making it darker around the bottom of the eyelid and the eyebrows, just adding a little color. They're getting into the corner of this year but with a slightly lighter wash over this shadow under the eye, just making that a little darker to work in these areas. And so it's helpful to move the paint brush in the direction of how the skin goes. I feel like it can really start to see how the AI is coming out of the paper. And that's because of the contrast that's being created now, working a little bit on the ball here. Which remember, I think we covered never completely white logo and the shadow. Otherwise we wouldn't be able to see the highlights. We want them to stand out as why we have to put some shading on them so that we can differentiate between eyeball, it is not highlighted and the highlights guy. With my smaller brush, I'm just going to intensify a little bit, decreases, smooth it out a little. Here. I'm also going to add a little more intensity to this area of the eyelashes. Here we put some details in the eyebrows. Careful not to touch the eye if you're doing this while it's drying. Roughly. Going to be very precise. Just going to get back into this barrier here. Details. We just keep going. I mean, you do the same as always. Really. Just intensify, intensify, intensify. Make it as dramatic as you like. And I just really want to get back into this white of the eye. I'm going to grab the move fluid leg. A little bit of ivory black in there so that it's a little bit more towards black and blue. Just concur with the iris and pupil. Drama. Remembering to preserve highlights. I'm going to apply my eyelashes. Known for that, I have applied this blue black all over. And I'm just going to get my smallest brush and make sure that it's wet. And I'm just going to stop flicking it with paint so that it's really thin. Not always making the same marks, burying them up a little bit. Here you can see that back heel around, expanding and just remove a little pigment. We've got it off. The eye is already pretty nice. What I need to work on this area down here, and also this area up here. So I'm just going to do that. No, north on that for a moment. Lift up a little bit of pigment here. Here, a little bit to intensify that. While I'm intensifying, I'm being really careful to preserve my highlights still because the highlights of really what is going to make the eye come to life. Very fine brush. I'm going to go into the details of the highlight of the either. Personally. I mentioned reflected up here symptoms structure. So just to remind you to make a highlight really stand out, you need to put a darker area next to it. And also make sure you don't leave too many surrounding areas as the white of the paper. And just putting in the rest of the eyelashes here. Eyelashes up the top again. So yeah, I'm just adding the finishing touches now. I'm just looking where maybe I can put one brushstroke here and one brush stroke. This, that's really just the very small details that I'm covering now. Finishing up, I'm just going to intensify a couple of these shadows in here. I hope you enjoyed today's lesson and I'll see you again tomorrow for another eye and say, did I challenge? I see you there. 18. Day 12: Hello and welcome back to another day of 30-day challenge. 30 days of painting eyes with watercolor. And today I have chosen this image to use as my reference. I've also gone ahead and selected the colors that I'm going to use today. So why don't you go ahead and mix up those colors if you haven't done so already. And I'll meet you back here to begin with painting. Just going to do quick pencil sketch today. Loosely, the general shape. Remember if you don't want to draw freehand, you can always use the grid method or also trace your image to your paper using a light source. I'm just drawing in the inside of the eyelid here is the shadow over here which I want to mark. And now let's go down to the bottom of the eye. So then just draw this bottom part of the eyelids. You remember tear duct here. Look darker. The iris partially covered at the bottom as well as at the top here. So what I'm gonna do is I'm just going to draw around the circle and then erase the parts that are covered by the island. The pupil. We're just going to mark the highlights as well. So for highlight here, remember we always want to put in the highlights when we're painting because the highlights of what makes the eye come to life. So then here you can see this also a little line which is highlight, very light spot. Couple of wrinkles done. Obviously the eyelashes that come close here, quite dark. I'm just going to draw them in. And with that, I'm going to start painting. Once again. I'm just going to get my cane water. Remember we have two jars of water, one which is clean and one which we use to clean your brushes them. I'm just wetting the entire paper trying to get it evenly wet with another layer. And then I'm going to start painting. Starting with skin tone one is the usual, just to get things going, get the ball rolling using my test sheet. Very intense. Remember you can also use the test sheet is a second palette to make the wash as light as you want. Then I'm just going to start injecting some color. I'm just going to be very loose about it. So as you can see, I'm just making some strokes here trying to reserve the highlights. E.g. here, I've just gone over that. Someone will take a little bit of tissue, just dab it on there to lift up the pigment. And I'm just going to do the same for this highlight right here. Also for the little line under the eye there. So that when the paint expands, it won't expand to those areas. It will not expand into the areas that are dry. I'm just trying them off. Deepening the **** up here. Here we go. The lines up here, still very wet. Maybe we can do something. Just experiment and that's exciting. Turns out. Remember that this challenge is also try new things and I had fun with it. Doesn't have to turn out really well every time or anytime. Just going to clean my brush and I'm gonna go straight to my green ocher. I'm just going to start working on the iris here, covering it all. Now. Know how I'd like a little bit of tonal variety. So I'm just going to get my tissue paper to start lifting up a few specks of black men. As you can see, there's lot of light areas here and the iris actually miss little bit of a highlight up here, which is quite nice. Gone ahead and lifted up the pigment from the paper. Just going to see what happens if I use my skin tone to while it's still wet? See how that works. I'm just going to go over some of these shadows, skin tone to them. You also have this line here to expand. As you can see, working wet on wet. It's a completely different feeling. It's there. It's a lot less precise than if you're working wet on dry, e.g. but it's also very expressive. I would say, lift up a little bit of pigment on my brush here. Well, it's drying. I'm going to go ahead and add the pupil with blue black. And also I'm going to start working on these outsides here. The iris. Don't really want that to expand too much. So again, I'm gonna go ahead get clean part of the tissue paper. And I'm just going to dab it on the eyeball here so that we can add expands a little. And when it's when this is dry, we can just go ahead and make a little more precise with that again, under the IMU. So there's not an abrupt finishes the ice maker iris. Now with the medium brush, let me get an eye a little bit. Little touch of tonal variety. Also in here. You can see now that I've dried this part off, it's a lot easier to get a precise edge, doesn't expand anymore. Just going to go over the shadows again. Looks concerned too. I'm going to just smooth this out a little bit. You can see this part is actually quite a lot darker. And it's okay if it expands a little bit, little bit more of intensity under the eye here. As you can see, the paper's still wet. I'm just adding layers. Just going to go. This part here. Just adding layers as we always do. But the only difference being that the paper is wet. The paint is a lot less controllable, but it's quite exciting. See what happens. You can still always manipulate the paint a little bit smoother edges and push around the brushstrokes. Just quite hard to get a precise edge. That's all. Skin tone to get my purple shadow. Want going to add a little color to the inside of the eye here. Going over the top. And remembering that we are reserving this little line down here. Remember, if you use your brush to lift up pigment, be careful because I've just lifted up some of the darker pigment here, which I wasn't really meaning to do. It's not a big deal, but just remember that that's what happens. When you go over an area which is still wet with a dry brush, you lift up the paint. I want to get the shape of the iris a little bit more precise. And I go over these areas, as I just said, with a dry brush to lift up a little bit of pigment. The water. Make sure your brush is clean for this. Otherwise you'll be spreading paint that you don't want to spread and areas the wrong color, at least over this area again, smoothing it out. Also going to go over this area with the PIP. Quite dark in here. Shadows again, my pixel shader here. I left. You can see it's Murphy squint your eyes. Remember that trick if you don't know where the dark areas are, just when your eyes and there'll be much easier to see. Highlighted has gone again at the top. And I wanted to reserve here smoothing this out. So smoothing a little bit here. Under the eye while I'm painting, the paper is drying and towards the end, I guess I'll be working wet on dry. And I'm not going to try the Python once the paper's dry painting is going to be finished. My midsize brush again. Work a little bit on the shadow up here. Just a little bit. Just to very subtle cheddar. First the stuff as well, right? It's contend to go back under the eye here. My little highlight here couldn't get that back. My clean and dry brush, again was concerned to trying to define the bottom of the eyelid here. And it's not that easy because clear lives kind of grab my green ocher again and I'm just going to either side of the iris again. Continuing with the green ARCA, I'm going to use a little unstable up here shader. I'm also going to use a little bit and that'll help us to find bottom eyelid. Little bit inside of the eyeball here. Smooth. Ted. Continuing the blue black. It's going back into the eye. Let's see skin tone one. Find that again. The eyelid down the bottom here. Thinner, blue black again. And I'm going to make it very, very faint wash. Very fun to apply a little bit. Here is a little coffee brown and this dark area here. Okay, I'm going to start defining the eyelashes a little with my very fine brush. Coffee brown. I'm just going to flick the brush, see the iris spilling into the eyelid again. So I'm going to clean my brush, dry it off. And data. Three ones is this fuse together a little more? So I'm just wetting that. Hopefully lead to spill over. Meanwhile, let's make it like coffee brand Washington. It a couple of fire flashes down the bottom here as well. Remember to follow that up with certain parts where I'm doing to a little bit of blue black eyelashes up here still wet. Try not to make them all saying I feel like I've made them a little bit too uniform over here. So I'm just going to add one. Just wet my brush and diffuse it a little bit. I don't want it to stand out too much metal to let let that dry for a little moment. And we'll go over there again. Pick two coffee brown just injecting pigment. Now, I'm just experimenting. I encourage you to do the same thing as we don't. We haven't painted wet on wet for the entire painting before. I find it really exciting to see what happens. And to see how it turns out making semi-random maximum there. I'm just going to get a little bit. Pure Prussian blue, which we always have on my palette. I'm just going to put a little bit of that in there and spread it around. It's going over coffee brown again. Just injecting a little coffee brown iris and the pupil as well. Maybe around here. The edge of the iris. Tillage again, removing some pigment and water from this side here. Just smooth that out. Back to skin tone too. Because this part here just doesn't know me yet. Objects more pigment in there. We really want this part to be quite dark. I'm just going to go back over this **** up here because I lifted up too much pigment beforehand that I had to wait for it to dry. Skin tone. One here is not the lightest part of the paper. Just go back to using a little bit of the plate leg. No more intensely. And a little purple shadow. To find this line under here a little more. Highlight, really start to stand out. I'm just going to diffuse it a little bit so it doesn't look like a little line on them. Just like we practiced and start to intensify some of these areas that are pretty color over shadows. Remembering to preserve the highlights can turn to and smooth it out. Shedder, tip them, deepening the **** up here. I am going to have to dry it off. Firstly, I'm going to put a little thing from here. So I'm just going to quickly dry it off so that I can put the finishing touches on. Okay, So I really liked this aesthetic. If I'm being honest, I'm just going to do a couple of finishing touches. And that would be the pupil, which I'm just going to go over with the blue black. And also just a tiny bit more black in there so that it's not really intense. Then I'm going to grab the blue black and also just go over the edges of the iris. So if you've gone ahead and dry your painting, I don't know if you've noticed this, but your paper is more likely to let the paint dry quicker when the paper is still warm. Just keep in mind. I'm gonna go back to the Prussian blue. Okay, so that would be one of the things. And then I'm just going to go over this shader here again. Make it a little smoother skin tone to the little purple shadow to intensify this part right in the crease. Two here. And also, I'm just going to go into this part of the eye here. Smooth shadow to lie a little bit of coffee brand may want to whip. Still careful to reserve this highlight here. And I have another one down here. And with the Prussian blue, just a light wash. I'm just going to go over these highlights here because they're not as bright as this one over here. Okay. Just going to dry it off and then it's finished. You go, That's the finished. I I really hope you enjoyed that. I hope to see you again tomorrow for another day of painting eyes. And the 30-day challenge. 19. Day 13: Hello and welcome back to the 30-day challenge, 30 days of painting eyes with watercolor. This is the image that we're going to be painting today. And as per usual, I'll be uploading the reference photo to the Resources section. And as I've really enjoyed this the other day, I went to do another painting and just three terms. So the coffee brown, the purple shadow, and the blue black. So I'm just going to start as per usual with a sketch. So when we're sketching, remember what we're trying to do is just hi, let areas for ourselves that we're going to pay later that are important, such as shadows or very vibrant colors. And then I'm just going to put in the iris and the pupil. But I remember when we're doing this, we're looking at the positive space, which would be the iris and the pupil. The thing we're putting in and the negative space, which would be the white of the eyeball. So you kinda keep those both in mind when you're drawing this. Remember if you don't want to draw freehand, you can always use the grid method or also trace your image to your paper using a light source. Remembering to harden the highlights like cubes from the darker areas. Okay, I'm going to start painting with that as my sketch. None to begin with the coffee brown. Actually, I'm going to work wet on wet. I'm really enjoying working wet on wet for some reason. It just gives the whole painting a little bit of a slower you feel to begin with wet on wet. Because a new discovery for me, just going to remove a little bit of the excess water by going over the paper games, my paintbrush. And then I'm just going to stop working on the iris. Going to reserve the highlights a little bit. Swatch to expand. It's going to try see how we go. The lines up here, still very wet here. I'm just going to really soften that out. I don't want that to be too dark. You will say that this line here, I hope you witnessing through this whole process, that painting is really a process like we don't start off with a perfect painting to begin with. It's really a journey. Every painting as a journey and not feel like every painting is just a stepping stone to the next painting. And I really liked that journey. And it's so much more fun of you are relaxed and you don't worry too much about what it's going to turn that like. Actually, it's not just more fun, but usually your work turns out better if you're not worried about how it's going to turn out. As you can see, the paper is still wet and I'm just adding layers. I'm just going to go over this plot here. Just adding layers as we always do. But the only difference being that the paper's wet. Want to add color to them. I hear periods. And now I'm actually going to go and drive it off. Okay, so you layer should be completely dry before you start on the next layer and make sure it hasn't come unstuck while you were blow drying your painting. And then I'm just going to start working on the iris here. On some of the darker areas. Let me give them the eye a little bit, add a little touch of a variety also in here. And start to intensify some of these areas that I've already gone over, shadows. Remembering to visit the highlights. Then I'm going to cover the iris hue. Just going to smooth it out. Multiply the brushstroke, bring it over here. Then I will have a little under his alleged line. A little bit more of intensity under the eye. A little bit on the **** up here. Deep in English it up here. I'm just building up the contrast. Looking for the areas that are darker. I'm trying to really make this stand out. I'm going to start using a little purple shadow. Again. I'm just going to go here and I'm going to go ahead. Ed, Lead pupil. Also learn to stop working on these outsides here, the iris, the lighter wash, touch-up, little details and Iris pupil. Remembering to visit the highlights. Continuing with the eyelash Lauren. Smooth that out. Jessica into some of these details. Again, intensifying contrasts here as well. Just going to smooth that out with a lighter wash. Just go over some of these details in here. Still working with pip or center. Savings highlight. Grab a little bit more purple shadow me smaller brush and just turn this stuff Nottingham, these lines, the crease of the eye while still a little bit wet, so it kind of expands a little bit. Okay, I'm back my coffee brand for the light brush at the top here. A little bit. So you can see there's just a lot of going back and forth between colors. Adding layers, intensifying. So really building up those layers to really give depth to your painting. And I'm just going to dry that off now. Going back to purple shadow, I'm just going to pull him a couple of details. I'm just going to soften them a little bit. When you want to smooth out the brushstroke, what you need to do is either clean the brush and then dry it off or just dry it off. It depends really how charged the paint brushes. And also if you're working with a different color. And I'm going to define this line here, the corner of the eye here. Now remember that the area that is next to the highlight needs to be darker for the highlight to stand out. Hitting a little pigment to the corner of the eye there because it's a lot darker. Get them to look for a little bit and just work on the iris and the pupil a little bit. Darker pots example the outside of this virus. And just cut either the top eyelid again as well and just intensify this color coding to reiterate this bottom eyelid here. Insist on that. And I'm just adding in some more details here. Smoothing it out. And heightening the contrast, building up the layers. I am just getting into those small details of the eye that are really important in making it come to life. So I'm just going to quickly dry it off. Now I'm going to start applying some blue black. And as per usual, I am starting with the darkest areas, getting into those edges of the iris and really trying to heighten the contrast here by just putting in a few lines into the center of the iris and just really darkening the pupil, making that really stand out. I'm getting into this corner of the eye, which I feel like it's a lot darker. So you can see that I'm not going over the entire iris here, I'm just going over some areas to kind of have this tonal variety and the iris pigment here and there. Some lighter wash, glute leg get into some of these details here. Just going to smooth that out. Remembering to visit the highlights. Just kinda go back to my coffee brown areas. Not quite sure if I want to use the blue flag on the skin. Isn't that smart with skin? Because I feel like that would just take away from these areas here, which are the darkest areas of this whole picture. A little bit of coffee brown. See how we got building up our layers just little by little, adding more and more intense colors and washes. Just going over the iris and the pupil again with the coffee brown. And then with a light wash just going over the top eyelid, the inside as well, just darkening that. The eyelash line a little bit with a slightly more intense squash. Also just going to get into this corner of the eye again. Let me use a little bit of fat in the crease of the eye as well. Still working with the copy Brown. Put like that. It's not so I don't want to overwork this one. I just might call it as Dave. Quite soon. I will however, use the trick of just putting a little ivory black in the pupil and early in the pupil and not in the whole pupil, just with a very, very deaf as Tatas include black here. And I'm just adding in some more details here and heightening the contrast. And I'm just going to put them eyelashes. Well, that's drawing that I will be using my number one brush, pen, blue, black. Just going to make these flicking movements with my brush. Let's repeat the same movement every time so that pulled up look different. The bottom lashes, I'm going to use a little bit of coffee brown. Couldn't go either this top part, again with a little bit of blue bag. I can't get that a little bit darker yet. Remember that the watercolor dries 123 shades lighter than when it's quit. I actually think I'm just going to dry that off and then I'm going to leave it it today. Okay. Well, I'm going to leave it there for today. I'm happy with it. And I hope you've enjoyed this lesson, and I also hope to see you again tomorrow for another day a day challenge painting eyes. I'll see you there. 20. Day 14: Hello and welcome back to another day of the 30-day challenge, painting eyes with watercolor. And today I've chosen this image to paint the colors I'm going to be using. I'm going to start by sketching out the I just roughly onto my paper. So remembering that the sketch is going to help us and at the time of painting, wanting to get the shape, the general image onto the paper. And also highlight shadows and highlights e.g. or where it's really important to put in the color because it's really intense. Stuff like that. So I've got this lovely little highlight here which will lead to reserve right underneath the eyelash line. So when you're drawing the pupil, you can look at the positive space, which is the pupil and the negative space, which in this case would be the whites of the eye and how they in relation to each other. My reference image. And then how they look on your paper. Up these interesting highlights here. Again, I'm not trying to be too detailed. Just squinting my eyes because it helps me just see general areas of shadow. And we've got this one line coming up here, this window that's being reflected on the I here. And I guess some kind of railing or something in the window. So I've got a lovely little highlight down the bottom. So for that I'm just going to tidy up my drawing underneath. So I'm just going to try to get the drawing in one line. I highlight. This line starts up here splinting again. That's the bottom of the eyelid and the highlight. Okay, and then we've got these lines coming up here. Kind of wrinkles, I guess. Let me leave it like this. I'm going to wet my paper. Clean brush, clean water using my number 16 brush. And I'm just going to make sure the papers entirely covered with water. Then starting with skin tone one, mixing that up and bringing it over to my mixing area of the palette, to my test strip that's way too dark. We want to make a lighter wash. The first wash that tells me that intense. Just start remembering that when the paper is wet where we left off the brush is going to leave the most expanding brush stroke. A little bit here, move it around. And we've got this lovely shadow up here. Very intense. Just go over that again. Injecting little pigment, maybe moving a little bit with the brush but not too much. Don't want to break the paper. Maybe I will intensify my washy little bit just for this part. Making sure I don't have too much pigment and too much water on my brush. And if I do, I can just go ahead and dab it off on my tissue paper. Then I'm just drawing the lines with my paintbrush here. Remembering I want to reserve my highlights. Go under the eye here. Again with a slightly lighter wash. Wet this area here, this area here, see the curvature of the face here. Right? And remembering when we go over the lines that we don't really want to go over where we have highlights that we want to reserve. We can always just lift those up with some tissue paper. You want to try and do that as quickly as possible. Slightly lighter wash. I'm going to go over inside of the eyeball. Not as intense. See now here, my preserved highlights and all being overtaken by pigments. I'm just dabbing one tissue type down here so that I can make the white of the paper. I don't want to drag it across because then I might also ruin the paper. So moving on to skin turn to now, going to start intensifying some of these creases here. And you can see the paper's not that bad anymore, so it's not expanding as much. Not a big problem. We can go and smooth out the brush strokes in a minute. Just going to wet the brush a little bit in here and start darkening here. Just filling in some of the areas that I find appropriate right now. Just intensifying some shadows. Still working with the skin tone too. As you can see, it's building up layers. I'm just going to come in to this corner of the eye here, dark. And then I'm going to cut out into the inside of the eye. And while I'm at it, we'll make this part here darker so that the highlight which starts coming in here will be more parent. Remember that if we really want to understand that, we need to put it in contrast with something. It could be, in this case, we're using a darker color, but if you want e.g. a. Red to really stand out, you can put it next to a green and that will really make it pop. So that's complimentary colors. Using complimentary colors to bounce off of each other. I ended here smoothing that out. It's going to get that line in there. Right? And just this part here going quickly. So some red around the iris here. I'm going to start with the coffee brown now around the iris and the pupil. It's going to expand a little bit here. I don't really mind because I feel like I'm a preference. I mentioned iris expands a little bit into the eyeball area. I would just let it happen. Just roughly putting in these shadows and highlights, it doesn't have to be exact. That meant not as expected. You can always just take some tissue paper and lift that desktop. And then continue. Just wait a minute until it's a little bit more dry so that it doesn't extend into this area. While that's drying, I'm going to go ahead and start on my purple shadow. I'm just going to intensify some of these areas here. Especially this really dark shadow up here. And stop intensify some of these areas that I've already gone over. Shadows, remembering to preserve highlights, the eyelashes here so they make it darker. I'm just going to go either this area darker with the PIP shadow. And we just continue heightening the contrast. Vector, skin tone. A little bit. The area under the eye. Lift up a little bit of the pigment here and intensify a little bit. This crease under here. And also here underneath the eye. Still working with one skin tone, one eyelash line as well as can turn 1 ft out. I'm going to lift some of this up with my own dry paintbrush, small-world response, actually quite a lot darker. I'm going to expand that. Come over here, curvature, face and my skin tone one. Going to re, iterate this bottom eyelid here. System that really intense. And I'm going to put a little bit of red turns in. I eyeball. Remembering that I have this highlight them here. This side. Okay, while that's drying, I'm going to go over the iris, some paths from little bit of the screen. Okay? Then I'm going to grab the blue black and start to go over this darker area as well. The iris and the pupil. Then I'm going to get my coffee Brown stopped. Some of these creases again to expand and extend this paint. So I'm just going over the layers and reinforcing the contrast and you can see how the image starts to come out of the page more and more to the corner of the eye. Here. Just see what I am doing. Really intensifying phase shadows and these colors. And again, especially around the highlights that they really start to send out. Smoothing it out down the bottom here, but also gonna go over this line down here with the coffee brand. To heighten the sense of that, I feel like it's something urgent quite well. A reload the coffee brown and start to run a little bit roughly. Putting in meshes. Not too detailed, just for the field. Iris and the pupil again as well with the coffee brown, still way too light in comparison to the rest. And then I will go back to my skin tone to just tackle this part down underneath the eye again, this bottom eyelid, the inside. Intense color. And just go over the top eyelid again as well with skin turn to and just intensify this color, smoothing it out. My number ten brush. To smooth out a little bit. Also connect the eyelids. The rest of the graph, skin tones free for this, like a light wash. I was taught violet here, intensifying the colors. Maybe dabble tiny bit of skin tone three down here into the areas that are still wet, expands a little bit. And I'm going to grab the green ocher. Just make a light wash again my number six brush and I'm just going to put in the shadow on the eyeball here. It comes down from the eyelashes and cross here around the iris. I'm just going to fill the eyeball a little bit this color. So you can see there's a bit of a highlight here on the eyeball. And then also then go ahead and use a little bit of this on the other side. Quite intense. I'm just going to smooth that out now with a light wash. So just add a little bit of green to the skin tones. Here. And here. Okay, I'm going to dry that off now. Once that's dry, just remember that while the paper is warm from the drying, if you've tried with a hairdryer, then the paint will dry quicker. If you start painting straight away, just keep that in mind. I'm going to go back to my coffee brown. Make a bit of a wash here. I'm not too light, not too dark. And just reiterate some of these creases. Just intensify those. Don't have too much water or pigment on your brush. And if you do, if you notice that you have, then you can always go ahead and dab that on your tissue paper. Just get rid of the excess student to the corner of the eye. They're fun and I, this corner of the eye as well. To learn more detail on this in a minute with smaller brush. Now just the cation again with eyelashes, darkness of them. Slightly more intense wash. I'm going to go over the iris and the pupil again. Remember that the intensity of the darkness here isn't the same everywhere. So you can make some tonal differences by going over some areas and leaving other areas we're not gonna go over. And then in the next round, brush strokes, you can go with a different color or you can really experiment a little bit there. I really enjoy the tonal differences in the iris and the people who like that. It really makes it come to life and be more organic. I'm just going to grab this can turn to and start darkening here. Then with the skin tone three, just going to go over the bottom eyelids again here. They're a little bit here. Maybe add a little bit. The skin countries, some of the creases. It a little bit onto the eyeball here as well because Clinton three. Then maybe some skin tone one over on the other side. Jessica, shadow here with the skin, turn one around the iris. Down the bottom here. Now I'm just going to go back to my blue black and curved the pupil. My number ten brush for this. Just for pupil. Another, another go. I made a little more intense. Good luck here. Very washed out blue black. Learn more intensely in that wash. Little more intense wash, just going back over the iris and the pupil. And we just continue heightening the contrast with a very light blue black wash. I will just cover this highlight color. It's not 100%. Just to remind you. To make a highlight really stand out, you need to put a darker area next to it. And also make sure you don't leave too many surrounding areas as the white of the paper. And again, start working a little more intensely on the eyelashes. Them, I actually worked with my smallest brush, my number one brush. I have a little bit of skin tone to it and it's Kevin here a little bit. You still working with skin turned to her. And I'm just adding in some more details here and heightening the contrast, building up the layers. And now with the skin tone too, I am just getting into those small details of the eye that are really important and making it come to life. So you can observe that there's a lot of red in this eye and the photograph. And I really liked that. Just last steps and find colors a little more. Just going to put in some eyelashes down the bottom here with some coffee brown. Remember that the watercolor dries 123 shades lighter than when it's wet. Blue black. And I'm also going to add a little more intensity to this area of the eyelashes by dabbing my brush on the paper so that it's random and a little bit organic. Okay, well, I'm going to leave it there for today. I'm happy with that. And I hope you've enjoyed this lesson. And I also hope to see you again tomorrow for another day of 30-day challenge painting eyes. I'll see you there. 21. Day 15: Hello and welcome to another day of the 30-day challenge, painting eyes with watercolor. Today I have chosen this image to use as a reference. And as per usual, I am going to start off by sketching it onto the paper. Roughly not too many details, but I said this every time. What we're doing, highlighting the areas that we're going to want to paint. Mac and the shadows. Don't forget to mark and my highlights as well. I left line darker and then put in the pupil and iris. And again, I'm looking at positive space and negative space, or the positive space in this case would be the iris and pupil in the negative space would be the inside. Here. We're going to highlight here. And I'm going to be starting off by wetting the paper. I find that that has really worked well for the first brush strokes. Just to get the ball rolling and the pink flowing, I find that the looseness of white working wet on wet as really good. Okay. So I'm just going to wait a second. One that's sunken a little bit into the paper. I'm going to start off with my skin tone for just bring it over onto the palette there. Mixed it up quite nice. It's a little bit too intense. Remember that we can use the test strip is second pallet. And then I'm just going to stop working on some of the areas on the paper. You've got too much water or too much paint, too much pigment on your paintbrush. You can always debit on your tissue paper, which you should always have on hand. And then you just start painting, filling in both barrios trying to resist the highlights you can append was a lot less controllable than working wet on dry. But it also has this lovely effect of just kind of spreading onto the paper, which is nice. It's really letting the paint to stay for a little bit. As you can see where you left off your brushes, where the paint starts to spread. So just experiment with that a little bit. Remember that the eyeball is not 100% what? So you can also put some paint and pigment on there. So I'm just applying these first layers and just starting to add in some of these details. And I'm just going to start by putting in the areas with the most contrast, the darkest lines and my photograph, they're already looks like something. Will take a little bit more skin tone and just inject some pigment here and there can expand. I'm going to try to save this highlight here that I've just taken a little bit of my tissue paper. I'm just going to remove some water and pigment from this area. And then I'm also going to smooth it out up here that wanted to expand so much. The eyelid up here is actually a little lighter. So I'm using an almost dry brush just to remove a little water and a little pigment. I'm still working with them for a moment. I'm gonna give a very, very light wash here. Refining some details with an almost dry brush here, dabbing it on my tissue paper, Moving a little pigment to get a little bit of detail in there. It was quite well known that just smooth that out. Okay, I'm gonna move on to skin tone five now. It's more of a reddish term. So let's just save that, that I'm going to apply that to this corner of the eye. Actually going to change to my slightly smaller brush pen. Just work this corner of the eye. The detail comes across here. I'm just going to smooth that out a bit of an overlap here. And my than ten, so it's just inject a little more pigment into their skin, turned five just to go over the top island little bit. You can still manipulate the breaststroke even if the paper's wet. Trying not to manipulate it too much because you just lift up the pigment from the brush stroke underneath that want that. I'm going to give them to the I here. Just a little bit of color already. Hello, I'm Jessica and to some of these details again, going to drive it now. Okay. So I went, Let's try make sure your paper stays tight to the board. Otherwise it'll be very walked. It's we're working with a lot of water here. So I just make sure it's taped. I'm going to continue with skin tan ten. So just getting them to some of these details here. Remember a few papers to warm. The paint will dry quicker than when it's cold. And I'm going to go over the iris and the pupil. Remembering that I'm observing that highlight. Sticking with skin tone ten line here is Docker, kinda smooth out the edges. The top here. And I want the paint to expand a little bit there. Okay, Now, I'm going to take a little bit of skin times six. So even more red here again. So just to remind you to make a highlight really stand out, you need to put a darker area next to it. So let me use those contests. It's still wet, so be careful you can inject pigment, but I wouldn't suggest manipulating with restaurant too much. As I said. You might just take away the layer underneath a few manipulated too much, little bit here, and thank you for not to manipulate it too much because the layer underneath may not be completely dry yet. Now back skin tone can make a bit of a lighter wash. And I'm going to get into these details. Making your brush stroke. And then I rinse my brush a little bit, dry it off a little bit, not completely. And then I can just take it and make it smooth or take away a little pigment at the end. It's going to inject a little pigment here, actually. It's bands. And some of these creases, some of the darker areas. So this is definitely a dark area. Get into this crease up here. Under the eye a little bit. Change to my number ten brush. Think continue with the skin tone, skin smooth, and start to intensify some of these areas that are pretty color of the shadows. I think the pupils pretty much dry now, so I'm just going to grab some coffee brown guy here. Focusing on that highlight a little bit. Just going to fill my eyelashes here. Squinting my eyes to see the rough, darker areas and not put too much detail into it right now, it's dark areas. I've mentioned quite a few times before. It's a great way to see where the dark areas without focusing on the details, just squinting your eyes makes it a whole lot even. Grab some skin tone. Nine now. Pinterest inject a little bit of pigment into this still wet area of the pupil and iris expands a little bit of water and let's see how that was in the paint expands into especially added water, then keep injecting them. Pigment. Skin tone area. What I'm mostly going to do now is grab skin tone five. You can kinda see that there's a little bit of a shadow here. Member lighter shadow. Now, I'm also going to use a little simpler and five, are the shadows here. Kinda let them flow out, frustrate on the paper, then play around with it and live the more intense in some paths and less than others. It's got kinda gives us this nice variety. Off. Again, just making sure your paper stays taped to the board. We don't want it to be walked once we remove it when it's finished. So just keep pushing it onto the board. If it does come unstuck a little bit. Continuing now with a little purple shadow and a little bit of color up here. A little skin tone can again. Tonight. My other brush, remember ten under the eye a little bit. Remember that an order for highlights sustained out. The other areas have to be darker. We are working with the white about paper. This part here. I am going to start on my blue black for the iris and the pupil. Where I wanted to come to the lash line there is where it's darkest and start to intensify some of these carriers that are pretty color over shadows. Remembering to visit the highlights. Just add some extra pigment into the pupil because there is always the darkest part of the eye in them, just building up the contrast. Looking to the areas that are darker. I'm trying to really make this stand out. And I'm going to grab some skin tone for. I'm going to make a very light wash. Pulled the inside of the eye on the left-hand side. Not completely white. Hi, cloner. Here. A little bit in this corner, I cut out working with skin tone fives. Kinda dry that off. And I'm not liking the shape of the p of the irons over here. My paint brush, I'm just correcting that. Finishing touches. Going to grab a little bit of skin tone, ten, litres wash. I'm just going to go over the entire iris of the eye. Shadow. Working with skin content. Building up the contrast. Nobody has confirmed for very light wash. My very fine brush, I'm going to add in some eyelashes. And for that, I'm going to use the coffee brown. See, I've got my number one brush here. Just, just for a little bit of the detail. Like your brushes. Low contrast there. And last but not least, I'm trying to just get a little bit of pretty much pure ivory black. I'm just going to put that on the pupil. Remember, we don't usually work with pure ivory black. I don't usually work with few ivory black. Very, very small details, e.g. the pupil also going to give it a lighter squashed just underneath the last line there. And then back to my blue black. Contrast a little bit. I'm going to put on a couple of eyelashes at the bottom here. Just a couple. Very light. Isn't the coffee brown again? So I'm going to try that and then I'm done. You have it. That's the finished I for today. I hope you've enjoyed it. I hope to see you again tomorrow for the next i and the 30-day challenge. See you then. 22. Day 16: Hello and welcome back to another day of the 30-day challenge, painting eyes with watercolor. Today, I've chosen this image as a reference. And like always, I'm going to start by sketching out my, I just roughly onto my paper. So just trying to get the forms on the paper and also highlight the areas that we want to point out to ourselves to pay later. E.g. shadows or highlights, um, in our colors. Details that we find important. So we're making ourselves a roadmap. Eyelashes coming over here. Coming over here. Remember not to press too hard on your paper so there's no indents from your pipe pencil. That's really annoying because the paint will go straight and then we don't want that shadow under that. Here. What I'm gonna do before I finish, I'm just going to draw in this highlight that I want to reserve under the eye. This little line here, very light and also slide here. A little bit of highlight here. I'm going to go ahead with my large brush. I've really taken a liking to working wet on wet to start. I find that really simplifies things. Alright. I've just had to adjust the light a little bit. And now I'm going to start painting. I've got my skin tone one, just bring that over to my mixing compartment of the palette here. And I'm just going to start working on some of the details and making sure I've got my tissue paper close. Remember that where we left off the brush is going to be where it expands the most while it's wet. So knowing that you have a little more control over your paint. And then if you're not happy with the way that it's expanding, new brush, dry it a little bit and then lift up the pigment, the game. That's what I wanted to up here. You're going to get a little bit of tissue paper because that's a highlight that I want to reserve. Just lift up a little pigment and I'm also going to lift up a tiny bit of pigment and PO, look like of light. Then it's going to go over this area here. Also lift up a little bit of pigment here because this is also supposed to be highlighted. Continuing with skin tone one and it's still wet. Just injecting a little more pigment. Then I'm going to clean my brush and go over to my blue black and I'm going to make a light wash. Want to start working on the inside of the eye. So very light. Just going to go kitten here. A little bit. Clean off my brush and dry it, and stop just to smooth out this brushstroke here. And while that's drying, I will take a little bit of my coffee brown, make a light wash, and then start the pupil and the iris. Remember if you've got too much pigment or too much water on your brush, you can always just dab it on your tissue paper. Take it off. I'm remembering my highlights here. I'm hoping that the paint won't expand too much into that part because it's a little more dry now. Outside of the iris here Monday to lift up some pigment here because I've just gone ahead and covered that. And I'm also going to get slightly smaller brush. Just go in here, take off the little pigment from the virus, wetter and dried it off a little bit. And then I'm just going over the pod carefully to lift it up. Like that shape isn't quite correct. So I'm just going to go in there. My small brush and this can turn one again. There. I'm just going to go over some of these creases again with my smaller brush. The paper is still a little bit width, so it starts to expand and places. You can see that where it's still really wet, the paint doesn't really even take the paper. Smoothing out this brush stroke over here a little bit. And we just continue heightening the contrast. I'm still working with my skin tone one here, it's looking quite intense though, isn't it? Then with a very light wash of the skin tone one. I'll just go over this area here. Just smooth that out a little bit. Under the eye. They're a little more intense. And on the inside of the eye as well. Just making the most of the paper being wet. Now, I'm just going to grab some yellow ocher, just unmixed color, just literally yellow ocher straight from the tube. I've got a mud mixing compartment and I guess you should also on the palette, that's one of your colors. And I'm just going to give the iris critical wash. This. I'm going to lift up a little bit of pigment with my smaller brush, this area here. And then going back to coffee brown. Now with my smaller brush. Steps to get in here a little bit, see how wet the paper stores, see how much of the expense. Let's define a little bit more around here. It's still a little wet, so it still starts to expand into the rest of the eye. So usually when we're working wet on dry, we will wait for the layer that we've just worked on to dry before we start working on the next layer. But seeing as we're working wet on wet and this first stage, if we apply the next color while the color underneath is still wet, it'll just nicely blend in with color. Smooth it out a little bit, went a little bit over the top eyelash line. And I'm going to squint my eyes. Remember that's a really good way to see where the darker areas, without going too much into the detail and the eyelashes coming over the eye actually make it a little darker here. So we can add the detail in later with blue black. Just going over some details on the inside of the eye. Here. In the corner of the eye is actually really ducks. And take a little pigment away. And they're still want to go over that looks purple shadow and things. And just remove a little bit of pigment here. See if I can't make this a little bit more precisely. I think it's still a little wet. Okay. Well, let that expand. And I'm going to stop with skin tone to I'm gonna go over some of these creases again here. The paper is almost dry up here. You can see hardly any extending no Pentagon to this past year. So we're just building up those ideas. As we have seen since we started painting with watercolor. It's really always the same but different image. Still continuing with skin turned to feel like it's too intense, like that way too intense. You can just remove segment your brush. Just going to eyeball a little wash. No-one. Don't want to paint over that so quickly, we can just lift up this pigment here before it dries. And then continue adding layers. A little bit of pigment with an almost dry brush here. And now I'm gonna go and dry that off. So that I can work with a little more precision. When you've dried it off or when you've let that dry. Just remember if you've used a hairdryer, the paper will absorb the paint much more quickly when the paper is still warm. So I'm just going to wait for a second until it's cooled down a little bit. And then I'm going to continue painting. I'm going to begin again with my purple shedder. Let's bring that over to my mixing compartment here. And just got some areas that need defining and intensifying. Corn sample was not meant to be, kind of messed it up a little bit over here. It's lifting up some pigment. And it's going to continue intensifying scenarios. Adding more shape, more precise shape. Yeah. Remember what I said about the highlights for them to really stand out, I need to be directly next to an area that is darker. That's why I'm always putting either blue or black or purple shadow right next to these highlights. Making it a little more intense here than it is on my reference photo. But it really doesn't matter. What we're really going for. Some expressive. I am not a photorealistic, exactly like the photo. I'm just going to squeeze that out a little. Just since this a little bit more around. Just making sure I don't have too much water on my brush. And I can kind of observe that this part is a little bit flesh. I'll just put a light wash of purple there. Then smooth it out. A freely over done it with the pigment here. Just with a wet brush. I'm just going to remove some pigments. Wetting the paper first and then with the dryer brush because carefully so we don't ruin the paper. And then I am going to get some green ARCA. Just a light wash, just going to work on the eye a little bit. I'm back to coffee brown. Sentence of this area of pupil. Remembering a highlights. You can see they're not 100% white, so it doesn't matter, but they're now a little darker. Injected some pigment there it up. Actually, I'm going to get some of the burnt sienna, which I have on my palette for mixing with other colors. And I'm just going to use the burnt sienna straight out of the tube that I have on my palette and just inject pigment. Over here. Got usually like to use colors straight out of the tube. But sometimes it's helpful. I'm going to use my skin tones free now. Just stuck up with details. So I'm just adding this color to a few specific areas to give a bit of richness and variety to my painting. So just really select a few points to put this color. And now I'm just going to take the blue black and start working on the eyelashes. Start with the eyelash line. Then I'm going to switch to my very fine paintbrush. I'm going number one paintbrush. Put in some details here. The eyelashes, the iris, and the pupil. I'm just getting into some really fine details here. And you can see how making kind of random marks on the pupil here. So that will give a nice tonal variety which will make the eye look a lot more organic. Switch back to my slightly larger paintbrush, can get some number six. And I'm just going to add some blue black them to the pupil area here. Intensify that. Love more. Darkness here to the lash line. While that's drying. I'm going to get my coffee brown and my very fine brush. And just define this again. Is the area around the iris eyelash line a little bit. With my number six brush. It's gonna give them the corner of the eye that stem here, just some text, some pigment. Maybe just go back to skin tones. One for a moment. With the number ten brush. Make the light wash. That's way too intense. Light wash, That's better. Then just go over some areas. And I'm just going to dry that off now. When that's dry. Remembering that once when it's still warm, it will absorb the paint a lot faster. The paint will dry a lot faster. So just make sure it's not too hot. And I'm going to go back to my green ocher. Just a light wash and just a little bit to the skin tones, areas. Light wash. Right? And back to blue black, just inside of the eye here. Given lead another wash. Smoothing that out with a clean brush. A little bit of green ARCA. Intensifying that. And very intense. And we just continue heightening the contrast. A little green, okay. Coffee brown. Iris pupil. The eyelashes tend to take a little curved shadow onto the screen. Ends can turn one smooth. Let's soften that edge a little bit. So you can see there's just a lot of going back and forth between colors. Adding layers, intensifying. So really building up those layers to really give depth to our painting. I think today for the first time, I'm going to use the white. And the way I'm going to do they're pretty simple. Chest, I'm gonna take off the first leg. Let's hands dirty. And then I just get it on my brush and I just use a very thick highlights in the eyes. Here. Make sure you use it very thickly if you're going to use it. Otherwise, it will just be gray eyelashes, which seemed to be a reflection. Okay. So I think I'm going to leave it there for now. That will be the finished. I just make sure before you remove it from your board that it's completely dry. And I hope you enjoyed today's lesson for 30 days of painting eyes. And I also hope that I see you again tomorrow for another I and the 30-day challenge. I'll see you there. 23. Day 17: Hi and welcome to another day of the 30-day challenge painting eyes with watercolor. This is the image that I have chosen to use today as a reference. And seeing as it's a black and white image, I'll be using three colors again. As per usual, I'm going to start by sketching the image onto the paper loosely. Remember that when we're sketching, what's important is to get the shape onto the paper and also to draw and shadows and highlights that we want to reserve. So I'm just going to put in the forms here that the inside of the eyelid here. And then I'm just going to put in the iris and the pupil. I remember when we're doing this, we're looking at the positive space, which would be the iris and the pupil. The thing we're putting in, the negative space, which would be the white of the eyeball. Then I am going to mark and myself this highlight here. So that I remember to save the white of the paper. Looking at the negative space, which would be this here, just under the eyebrow, above the eyes. I'm going to leave the sketch there. And I'm going to begin by wetting the paper all over. Like getting my largest brush, which is a number 16, and just dipping it in some clean water and then just adding the water to the paper. We want the water to sink into the paper a little bit before we start painting. So I usually just wait 9/22 or so. So I am going to grab my number ten brush and get some coffee brown starting with multi brand today. I'm just going to start mapping and some of the shadows here, but the AI working wet on wet right now. Remember that when you take your brush off of the paper, the paint is going to expand the most. Once you figure that out, it's easier to predict what the paint is going to do. If you feel like you've got too much pigment and water on your brush, you can always dab it on the tissue paper, which should have won him. Over the eyebrows here, just the general area details yet. Just going to clean my brush and remove a little bit of pigment and the water from this part here. I want this part of the island little bit lighter. Put an eyelash line. When Ira, remember that we've reserved this highlight of the eye there. We don't want to paint over there and we see that the paint is expanding over there. Then we also wanted to take that paper towel and just dab it off. That's already emerging. I love wet on wet. It's great. Discovery through this 30-day challenge. Actually never really put wet on wet before because it was always so hard to control and I just like to be in control of my paint. It's why I struggled with watercolor. So you can see I'm just adding more pigment to certain areas, trying to start heightening the contrast already. So I can see that the pigment is expanding a little bit too much into my highlight there. So I've just got a little piece. She paid back and then just stay there. A way that works well for this thing to Deb was lovely. Night line at the bottom of the eye sits. Thank you, Greg. Little highlight as well. My paintbrush here. Here. Here. Just wetting my brush a little bit to contain these, this expansion of the pain but not make it sir, drastic. And then it's gonna get small pigment. This proud again. The papers slowly drying now. So to still expand, but not as much. Just gonna get my very small brush, just wet them a little bit, dry it off, and then just go over this little line than human I want to reserve. The pen has kind of expanded into another, wanted to disappear. Just wetting the pigment again to lift it up carefully. So we that type of thing paper and just dabbing on the tissue. I also really like how lining this is, Scott. I'm just going to smooth that out. I want it to be more organic. Chemical, unlike a bit wet on wet, it really does seem very organic, doesn't it? I'm just going to intensify here. I'm going to dry that off now. Feel like the paint is expanding too much. Alright, so now that's dry. Still very warm. So just remember that when you're painting on a warm paper that you've just dried off, the paint is going to try it a lot faster. So I'm just going to wait a little second until it's cooled down a little bit so that it's cooler. I'm going to start working with Hubble shadow. I'm just going to take my smaller brush, smallest, something I can work details with. I'm just going to start on the details. See I'm just applying very light wash to start because I've kind of lost my drawer in the process a little bit. Just redefining some things that I've lost my drawing. That's gonna be interesting. Layer after layer, like we have done all the time. Like I miss this a little bit, so I'm just going to take that off. And again, because it's dodge because it's more accurate. Does he do see a mistake that you would like to correct while it's wet, you can just grab some tissue paper and David on there. Or you can re-wet the pigment and then carefully lift up the pigment with your paper. Just really carefully so you don't lift up paper or other layers. I mean, if you do wet your paper after it's already dry, then you will probably lift up all the layers that are underneath as well. So you've got to think about that too. Okay, and now my number ten brush, I'm just going to smooth this entire area. Squinting my eyes again and to see about the eyebrows. I don't want to put in too much detail, any detail really yet. I'm just going to see where it's darker. Squint your eyes. It's kind of just smooth that out. Tidy this up a little bit again, waving my paintbrush little bit to reword this pigment on the paper and then just lifted up. I want this to be a bit smoother. Cribs more. Shannon, kinda be lost those lovely line under the eye highlights. I'm just going to creative than recreating it just by documenting the areas around it. Because I've said before, the highlights to stand out, the surrounding areas needs to be darker. Making them darker. Saying is I've lost the white of the paper them not by much, but it's definitely not the white of the paper anymore. The only white of the paper I have now is this highlight up here. A little pigment here as well, a bit too little bit of time. Some people wants more shadow, can stop to intensify some of these carriers that I've already gone over shadows, remembering to visit the highlights, grabbing my number ten brush again and I'm getting the people shadow. And I'm just going to intensify more shadows around here. And just got into some of these details again. Defining a couple of lines. Fine, some contrast and shadows. The outskirts of the eye now, Iran as well. So I'm going to drive it off now. Right. And when that's dry, I've just noticed that I hadn't really worked on this. Proud of the eyeball, a lot darker. I'm doing a little work on that before I start adding. I'm just going to lift off the bat here. Since the Clean little lighter for some reason. And now I'm going to go in with the blue black. I'm going to start with the details and stopped to intensify some of these areas that are pretty common I ever remember to make sure that you're painting stays taped to the board so that it doesn't warp. Because working on the areas of the iris and the pupil here. Can I grab my number ten brush now? And we'll just continue planning areas that are darker, cleaning the brush. And then I'm just going to extend that brushstroke here. Comes the round. That to expand a little bit not be so clear. Intensifying, intensifying the current layer by layer. So making sure the watercolor is translucent. Little bit of a wash top eyelid. Back into the eyeball. They're kinda working wet on wet here. Good. She's come and get them in the eye here. I'm sweeping motion. No more intense. Just smooth that out. Then you want to smooth brushstroke. What you need to do is either clean the brush and then dry it off or just dry it off. It depends really how charged the paint brushes. And also if you're working with a different color, by defining a couple of lines. Just inject a little bit of pigment. Drink around here. Jessica and to families details again. Just going to put them as my eyebrows, just loving detail but still wet so it kind of expands and it looks more organic. Observe how the eyebrows at the end here that come in from both sides and then at some point That's just from the bottom up. Dry that off again and see what it looks like. Hey, I'm just going to put on some finishing touches. Not yet happy with how this is looking. So I'm just going to smooth that out a little bit and then switches intensify a little bit here. And then smooth it out. Here. When you smooth out, try to smooth out with flatter brush. Not look the point that lie the brush flat with my teeny tiny brush and gets the number one. Grapes and flew back and just put a stray eyebrow, eyelashes here, green and round here. You can see in the reflection here is up here. Remember that the watercolor always dries a little bit lighter than what it looks like when it's wet. Good to know. And a couple of style it has some photons. Make that line a little bit darker so that the highlight of the eye, it's a little bit more apparent. The eyelashes with just using these flicking movements. And you can do more than one layer if you wish. Jessica, into some of these details, again, defining a couple of lines. I think I'm done. I'm just going to dry it off and then that's it. So make sure it's fully dry before you remove it from the board. Otherwise, it will walk. I'm just going to leave it on there for a little minute more so that it can cool down. And then when I remove it, it will be smoke. So that's the end of today's lesson. I hope you've enjoyed it and I hope to see you again tomorrow for another I am a 30 day challenge. I'll see you then. 24. Day 18 : Hi and welcome back to another day of the 30-day challenge painting eyes with watercolor. Today I have chosen this image to use as a reference for the daily. And I have mixed up the colors that I want to use. I'm going to begin by sketching the I loosely onto my paper. Remember that when we're sketching, what's important is to get the shape onto the paper and also to draw and shadows and highlights that we want to reserve. Don't push too hard with the pencil. We don't want to hit marks, pencil marks on the paper because the watercolor will just go directly into that. And we don't want that slightly in the eyelash line here, the eyelashes, they are really quite dark. I come down to here. Then later we can put them in details. The eyelashes, putting the pupil, the iris. You can see that this is hastened photographing this phi reflected in this eye. I want to make it that detailed. Squinting my eyes here to see the darker areas around the edge of the iris. Pilots here, this tidy up the bottom eyelid here. I can pull up the pylorus. So I'm going to leave it there for now with my large brush, which is the number 16. I'm just going to wet the paper completely, just making sure that it's evenly wet or other maybe you want to go over it a couple times using my number ten brush. I'm just gonna go over and stopped with my skin tone tin. Try that here on your test sheet. You can see I'm just focusing here on contrast dark areas. Also as the Spanish line. You can smooth this out a little bit. Lighter areas. You can see that just for myself, but very good at preserving it. I come over here on the bottom here. Just continue doing that. Maybe you can go back into her eye and then maybe with a slightly lighter wash. I will just call them eyelid here. And maybe also to stop putting a little bit of a wash inside of the eye to start off, get the ball rolling, lose your blank paper. And also, it's good to build up layers using the lightest color we're going to use first. And living up to the darker colors. I'm just going over the top here again, we can turn ten, but you can see the paper's pretty much dry, so it's not expanding anymore. Of course, do a lot of smoothing out myself. You can see I'm just building up layers. And I'm going to put a little bit more smooth. I'm gonna stopped using a little bit of skin tone five now It's a bit more reddish. And I'm going to intensify the areas that I've just worked on and there's still a little wet so I can just loosely asked my brush over bones. Careful not to interfere too much. Otherwise they'll take away the pigment this way it's a new color, will just mostly expand and to the color that's still wet. And I'm just going to expand that a little bit, just smooth that out and continue and try and find area that's already working. You want to smooth at a brushstroke. What you need to do is either clean the brush and then dry it off or just dry it off. It depends really how to actually paint brushes. And also if you're working with a different color, I'm just going to smooth that out. Real nice smooth feeling to it. And then painting the brush and let it expand onto the paper and bring that down a little bit here, McCarthy, I just put a wet paint brush, still working with skin tone five over this barrier here. Okay. And here the eyelashes. Be very dark and TD corner, I know I'm going to scan timeline, start working on the inside of the sky. You can see this part is still wet, so that'll expand it to there. That's fine. And here it's mostly dry. Just going to lift this up with a dry brush is clean and dry that I didn't really want it to expand and I'm just going to try it with tissue so that it stops expanding onto my eyelids. The paint will only expand into areas that have also wet. And we just continue heightening the contrast. Working on the areas of the iris and the pupil here, while the other areas dry. I can see there's a little bit of green in the eyes. Just going to finish this part here, remembering that this highlights. And then I'm going to go to my green ARCA plasma so that it confused the darker color around the outside. Okay, I have my skin tones six. At the back of those Ginsburg five can start to intensify some areas that are pretty color of shadows. Remembering to visit the highlights. Stress enough that these lines here, I don't want them to pick two prominent, want them to be there so that the highlights stand out. I'm just going to smooth everything out. This side, smoothing it out. On the corner of her eye too. Continuing. This contains six top of the eyelid here. Smoothing that out too. Okay. Now if my number ten brush, I'm just going to smooth this entire area. And a little bit That's contents. Smooth out up here as well. Just a little bit more. It's contains six eyelid. The top. Smooth that out. With the dry brush. Smooth that out a little bit. Continuing with skim through and sticks to the bottom of the eye here. Just a little bit of shadows and testify this area in here, this eyelid is also quite dark. Just wet my brush a little bit and I'm just going to smooth that out. A little bit more pigment in here, its contents little shadow here. Mendelssohn smooth it out and came back to skin tone. Ten, little bit more color here. So just put some more top here and smooth it out the same on the other side. I'm going to go to my blue black now. Start putting in some very dark areas around the iris and the pupil and also around the eyelashes. Really worked. The contrasts start coming out. Pretty much this entire area here is very dark. I'm just going to add that just so we don't get confused because those starting to get a little confused. Sunlight and in reality it's so dark. And then I'm just going to start adding a little bit of detail eyelashes here. And then meet here at the bottom. Right. And then I'm going to continue this area. Iris and the pupil shape is really, is some manipulate that a little bit. Good Then here. So I'll just remove that. That's pretty usual dead tissue layer to remove pigment. And then I'm just going to keep going. I'm going to go to skin tone nine. I'm just going to add some fat and the iris and the pupil as well. Feel like that's more brownish tan job here and I've got suddenly more of a bluish greenish tinge and just document the pupil as well. Or brownish off here. And then I'm just going to get the brush and just inject a little water for the distance to just use together a little bit. Grab the skin tone, find interests, cover these areas here, which are the arms. I'm going to put in details. And then I'm going to continue with skin tones sick. This corner. I smooth it out a little. Just adding a little bit of water to the outside of the iris here. So that expands a little bit. Quite enjoy that it's not 100% clear in the image that we're referencing. Trying to clarify again with the corner of the eyes. And then it's darker. Smooth it out a little bit. Intensify this shadow here. So highlight starts to come out. Still working with skin tones that defining the eyelid here a little bit more on the bottom of the eyelid. Sometimes it's not that easy to get the lines like he wanted, especially because the paper walks while it's wet. System tray, this doesn't really matter. We're not trying to go for the hyper realism. And we just continue heightening the contrast tone. You want to go back to skin tone five amendment. I'm just going to pick up here a little bit of a wash at the top, eyelid. Little more intense object, a little bit of pigment. In these pots on the, the I going to make a light wash of blue black now for the eyeball, light to dark, just a light wash. And I'm going to start going over this part here. I'm just drawing with my brush and then I'm just going to smooth it out a little bit. And this side of the eye to apply a light wash that's way too dark. I'm just going to extend this pigment. Can see the side of the eye as much darker. I'm just going to actually inject a little one here. And I'm gonna just dry it off. Right? And when it is dry, remember as long as the paper is warm from the hairdryer, if you dried it off with the hairdryer, the paint is going to dry faster. So just keep that in mind. Once you're comfortable with fields, Let's continue painting. And I'm going to go right ahead and start just making that shadow above the eye darker. Okay, so I'm gonna get right in there and just really intensify that. Smooth it out over the eyelid. And we just continue heightening the contrast. I'm gonna get right into here, into the corner as well with the entire nine and start darkening here. And also around here, I'm gonna go with eyelashes was contained mine, and then come down and define the cloner. I again. Then I can see this little dark as well as here. And also down here. It's been smooth this out a little bit. Now with a little purple shadow, I'm going to get into these creases and heighten the contrast. The corner of the eye with the shadow lines and then moving out. So do not force lines. Look for your gamut. Here again, smoothing it out, but I'm going to grab the screen, are just going to add a little bit to certain areas skimmed, e.g. here. It's very intense. Instead of a greenish tinge on the skin here and here. And I find this green really balances out the rest of the skin because it's quiet, reddish. And then the screen just kinda brings it back down to want to have a little bit more of a reddish tied on the top eyelid. So I'm going to grab my skin tone five, light wash, and I'm just going to go. And also, I would like to have a little more red on the bottom here. Now I'm going to add a little bit of a wash also to the top eyelid here. And then I'm just going to smooth that out. Kind of loses itself. Okay, well that's drying. I want to intensify the iris and the pupil. So I'm just going to get a wash with black. And I'm going to use an intense, more intense course that I'm just going to add some more ivory black pigment and Prussian blue pigment to my mix so that there's less water and more concentrated pigment. Quite intense. And I'm just going to start going over these areas that everybody remembering to hear both sides of the eyeball, that kind of loses itself. And why does the, I smooth it up quite a lot more. Remember ten brush, I'm just going to be a little bit looser. Areas. You can move a much lighter wash of blue black to start a game on the inside of the eyeball. So I'm just going over the layers and reinforcing the contrast and you can see how the image starts to come out of the page more and more. I'm just adding a little bit of detail here about the eyelashes. Generally. I'm going to go over this in a second and I'm just gonna go back to my purple shadow. Intensifies areas. Get some skin times, five. And a little bit of that in here. Then I'm just going to smooth this area out. The game purple shadow, come over to this corner. It's more than that as well. And underneath the eye. And then with my number ten brush, I'm trying to come up above the eye shadow and here as well. Now look but tiny, tiny brush coming back to my blue black. And it's very intense. It's great. And I'm going to start putting these violations, which just using these flicking movements. And you can do more than one layer if you wish. I'm just on my second layer now. And then I think I'm going to just put one very last finishing touch, which is with ivory black. I'm just going to go over the pupil here to make that the very darkest area in my painting. One more thing I'm just going to do a little touch over here is just smooth out this area. Okay, So when that looks a little more organic, I'm going to let it dry and then I am done for the day. I hope you've enjoyed today's class and I hope to see you again tomorrow for another day of 30 days painting with watercolor. I'll see you there. 25. Day 19: Hello and welcome to another day of 30-day challenge painting eyes with watercolor. I am today, I have chosen this image to paint. Let's get started by just loosely sketching the eye onto the paper. Remember when we're sketching, what we want to do is get the form, the general form, and also where we're going to paint shadows, highlights. I'm just give ourselves a guide. Person has their eyes very wide open so you can see almost all of the iris, but as you can see, there's still some of it covered by the top eyelid. But you can see the eyes pretty wide open. Now we want to look at reserving this highlight right here. Feel free to erase your drawing if you're not happy with it. Like I made it a little bit too long. Look at that highlight just here. I want to reserve that. Then we've got the eyelash line. I'm just squinting my eyes to see more or less where the dark areas Bob, corner of the eyes a little bit higher. It's also a nice little highlight down here. Can we want to preserve? Then let's look at these highlights here. There must be some kind of lighting system around. It's reflecting in the eyes when they're highlighted here as well. From there. Now, I was just going to leave my sketch like this. And I'm going to wet the paper using my number 16 brush and clean water. Just wet at all over. If you have a larger brush or a smaller brush that you'd like to use is fine. Just see what materials were best for you. I'm just going to let that sink in for a moment. And I'm going to start using my skin tone one night a wash. Right? And then I'm just going to start by marking them some of these darker areas. And remember when you're working wet on wet, the area that is going to be most expanding. It's going to be where you take your brush off. My brush, I'm just lifting off a little bit of pigment here. It's Dr quite quickly already. Just a little bit wet. Now, if you want to help yourself be able to recognize darker areas better, you can squint your eyes. It's always a really great way of just seeing areas and fed details. Inside of that top eyelid. They're down here already. We just keep going. This is just the very first layer, so we'll be painting over this, but that was fun. It's great to get that first layer going so that the nerves of the white paper, you've gone swimming to look a little bit more pigment here. And going a little lighter with a wash stall. Little bit of color inside of five. Remember the eyeball is never completely white unless there's a highlight. Because if there's a highlight and leave the rest of the eyeball white, you will not see that because you need darker areas to be surrounding the highlights. For the highlight to really stand out. Well, that's dry. I am going to grab my green marker and just start. Iris and the pupil, making sure not to the other the highlights. Just going to start with a light wash and I'm gonna be careful not to touch the areas I've just worked on, on the inside of the eye. Was this paint is going to expand. So I'm going to continue with skin tend to just go over those areas again, applying paint and then manipulating the brushstroke. I'm just taking it over here. And I'm just kinda smooth it out. So I'm just applying these first layers and just starting to add in some of these details. Barn and darker areas. Come and grab some coffee brown. People. Define. Some darker areas. Grab a little bit of yellow ochre, just the pure yellow ocher. And I'm just going to use that data a little bit of pigment on here because I feel like the eye is a little bit yellow. That's quite interesting, isn't it? I'm also going to grab a little bit of burnt sienna dead that in there to get some tonal variety of, I loved her know, varieties in the, I feel it really makes the painting come to life. It looks organic. And we'll let that dry. And while we're doing there, I'm gonna go over to my Paypal shadow. Once again, start working on some details here. Our next slide here. Smooth that out. I'm going to smooth it out towards the bottom as well. So a wet paint brush and I'm just going over the edge of the paint expense. Putting a little more pigment, a mere shadow. I'm just going to put some more details. E.g. to farming a little bit more down here. You can see the shadows here. Pretty much all the way across. You can interrupted in the middle, so it gets more of an organic feeling. And also with a lighter purple shadow, I'm just going to comfortable wash to this Bible here. The highlights stand up more. Make their spend a little bit. And the moon little pigment. Just a little lighter. Then I'm gonna go over to the other side of Phi with this full-service highlights. And going back to skin tone to go over this. So the top eyelid, I'm going to smooth it out a little bit. A little pigment with some kind of reflection of the highlights in there. I'm just going to smooth it out towards the bottom. Little bit of pigment. That edge. Again with the skin tone through a little bit more intensely. And here I'm going to grab my sometime street light wash. That's way too dark. It's really light. I'm just going to dab a little bit on my tissue here and then smooth it out. Flat brush this web smooth. While that's drying, I am going to go back to coffee brown. More intense. And the pupil. Next line up here with the coffee brown to the level where it will just go. Spend kinda really local organic corner of the eye there. And move my number ten brush. I'm just going to go back to the screen. Okay. Very light wash, very light wash. Just want to take away a little bit of this red. I'm just going to put a little bit of a greenish tint. Shadows, helped her down a little bit. Remember, you can use complimentary colors to turn down **** is that the two poppy? Red? I'm using some green and that will help make it more balanced. And I'm going to go for my blue black now. Just kinda make it really light, wash, really light. I'm going to start adding a little shadow. The eyeball. Make it too dark. Side. It's more in shadow towards the bottom here. Mentally of different phyla that we want to reserve. And now for the highlight to make it stand out more is going to work more intense. Just around. Saying back to purple shadow on the deal, Whichever you put them face. That will help make the highlight more apparent. On this island here. Moves the pigment around with fresh. While the pupil is still damp, I'm just going to blue black male the most. I'm just going to work a little bit around the outside of the iris. Detail here. Very fine brush staying with a blue black. People are a little bit errors. Can take care of. It's really dark. Remember that the watercolor dries 123 shades lighter than what you're seeing right now when you're painting. But in some detail now, the coffee brown, I'm just kind of start putting a couple of items here. Clicking the brush, loose movements to try not to do every Irish the same. Really always like to go for organic fields. Not imagined that two things are the same. Some eyelashes down the bottom here. It's really loosely trying to bury them again. After coffee. The photograph here, just kind of trying to make my own eyelashes. And while that's still a little bit, then I'm just going to go over the top. Simply back. I'm just going to quickly throw that off. I'm just going to wait till it cools down a tiny bit. Once it has cooled down a little bit. Going back to my blue black. And I'm just going to outline with a little bit more green Parker, little bit more variety in their multilayers in these highlights. And then I'm just going to add a little bit more black up here to the left line. Not focusing on the details back, darker and more intense. And sometimes the frame a little bit here. Multiple shadow here. Let's do I'm here to serve expands a little bit. Mostly burnt sienna. I'm just going over this, but just remember pupil, more non-mixed burnt sienna that we've used for mixing our colors. To mix them new for this. I'm just gonna go back to my skin tone. It's going to flip my tiny brush. Really care for it. Crease here, shader here. So this becomes more apparent. I think what I'm missing now is just a little bit of dark eyes. Random there. Nothing. I'm just going to dry that off and that's me done for today. So there we have it. That's my finished painting for today. I hope you've enjoyed that and I hope to see you again tomorrow for another painting and the 30-day challenge of painting with watercolor. See you there. 26. Day 20: Hello and welcome back to another day of the 30-day challenge, painting eyes with watercolor. Today I've prepared this image as a reference, and I have also decided which colors I'm going to be using. And as per usual, I'm going to start by drawing a rough sketch with pencil. Doesn't have to be exact, just general shape and then marking in the shadows, the highlights areas I want to say there is I wanted to paint. Just giving myself some clues about where to paint and we're not paint. Can see there's quite a lot of wrinkles here which makes it very interesting. Find slab chose this one. So when you're drawing the pupil, you can look at the positive space, which is the pupil and the negative space which in this case would be the whites of the eye and have it in relation to each other and the reference image. And then how they look on your paper. Don't forget to mark in the highlights. I'm going to leave the sketch there. And I'm going to wet my paper using my largest brush for this. I'm just going to let it sink in for a second. So I'm going to start with purple shadow, just mocking in the darkest areas here. I'm going to start remembering that when the paper is wet, where we left off the brush is going to leave the most expanding brushstroke. Remembering to the highlights. She's got five of my highlight Theia. It's going to expand a little bit here. I don't really mind because I feel like I've referenced and mentioned the iris expands a little bit into the eyeball area. More purple shadow. Intensifying, injecting pigment. Just go over that again. Injecting a little pigment, maybe moving a little bit with the brush, but not too much. I want to write paper. Just smooth that out. I'm just going to dry that off. Alright, and now I am going to continue with purple shadow. And the paper's dry now so there'll be more precise. Remember that your paper will absorb the paint quicker. Women still warm from the dry. Jessica into some of these details, again, defining a couple of lines, intensifying some contrast and shadows. It's building up layers. Start intensifying some of these creases here. Start to go over this darker area as well as the iris and the pupil. And then filling numbers, barrios trying to reserve the highlights became just going to flip the brush a little bit. Extend that over here. I'm going to go inside of the eyeball. Not as intense. Remember to keep your highlights highlights. You can lift up the pigment and the water from there. If you accidentally go over it. You can also use white paint because it's best if you just try and try and reserve as best you can. My medium-size brush out a little. Just continue increasing the contrast, building up the layers. And really just adding volume that way. Just want to be working a little bit all over the image so that parts of it dry and then you can go over it again. Still going with the people's shadow. Filling my curves with the face here. It's going to dry it off again. Okay, now I'm going to move on to the coffee brown and start going over some areas again, starting with the pupil, the eyelashes here so they make it darker. I'm just going to find this area a little bit. The area under the eye. You can always change brushes and then manipulate the brushstroke to liking. Sometimes it's hard to get into these areas details with the medium-sized brush. So just see what feels good for you. Preparing. We're trying to make this little highlight them here stand out, which means the areas surrounding it to be darker. Don't want to outline up exactly, but we want to create this idea that it's, that the eye is which, which means my life. Jessica, into some of these details again, redefining a couple of lines. Sometimes these areas can be hard to define, but you can also play around with it. Leaving a little bit open. Okay. Now to smooth that out. Yep. All right. Go ahead and try that off again. Now I'm going to continue with blue black. Just intensify the shadows, you know, the drill. Just kinda car pupil iris again. I left mine at some of these creases again. Just going to smooth that out. Remember that the intensity of the darkness here isn't the same everywhere. So you can make some tonal differences by going over some areas and leaving other areas we're not gonna go over. And then in the next round, brush strokes, you can go over that with a different color or you can really experiment a little bit there. And just tackle this top down underneath the eye again, this bottom eyelid. Also with the blue black intensifying and contrast shadows. And Jessica into some of these details. Again, injecting pigment, still wet. So you don't want to move your brush too much because you probably lived up the layer before. You can inject pigment and they'll just expand and really organic way. Smooth that out a little. Just grabbing my smaller brush to get into the details a little more. Like I need a little more intense. Good luck here. Lift up a little bit. Again. I've got pretty much bread dry brush, and I keep data on my paper towel. Trim the excess pigment and water in the brush, just picks it up. And I'm just adding in some more details here and heightening the contrast, building up the layers. Just couldn't grab some more until these creases. I'm not going to go into the wrinkles and detail injecting pigment. I'm try that off again. And I'm going to continue with some blue black flu flu black with more intense black pupil. So yeah, I'm just adding the finishing touches now. I'm just looking where maybe I can put one brush stroke here and one brush stroke. This, that's really just the very small details that I'm covering now. Just gonna put in a couple of details with my small brush. Not the smallest, smallest one. I think this one will do. Just since the I am to highlight here. Okay, I'm gonna drive it and then I'm going to be done for the day. And they go, that's the finished. I I really hope you enjoyed that. I hope to see you again tomorrow for another day of painting eyes. And the 30-day challenge. 27. Day 21: Hello and welcome back to the 30-day challenge. Daily diet is a painting with watercolor. Today we're going to be painting this image. I was at the final app store the other day and I saw this bright light gold color, which I haven't actually had a chance to try out, but I might just try that out because of the nice little highlight that she is going on on her eyelids. So let's see what happens. It's optional if you don't want to get some kind of metallic shade, that's totally fine. You really don't have to just see how you go. As per usual, I'm going to start with a sketch. I'm just sketching freehand. I always find it quite helpful to practice sketching freedoms when we're working on units like individual parts of the face. So you have an eraser on hand if you make mistakes. You've probably noticed that I don't always have the eyebrows in the painting. I'm not really a fan so much of painting eyebrows, so I prefer to hit the space under the, I really do. You wish you can see this part here slightly lighter so it will just trying not to look at the eyelashes too much, but they obviously all this part of the eye. So we can't really ignore them. Do dark and quiet a lot. So this is a really interesting I marking and the highlights with the eye that I'd like to reserve as well. This shape isn't quite right. That's correct. Good. I think I'm just going to leave it there for now. Start with wet on wet, wetting the entire paper with a clean brush and clean water. And I'm just going to remove some of the water with a very fine piece of my tissue paper. So I'm just going to make low point. Can just remove water from the past that I don't want to pay to expand into like these highlights here than here. This one here. Just removing a little bit from here from the eyeball. Then I'm going to start with my number ten brush and my number for skin tone. Remember to have your test strip so that you can test the color. Yep, That's cool. I'm just going to work start working on the darkest areas here. Now when you're painting wet on wet, you don't want to insist too much with your brush. The paper is a little more vulnerable when it's wet. So I'm just applying these first layers and just starting to add in some of these details. So the width of the paper, the more the paint will expand as you can see. So I'm just working on this first layer and just being a little bit looser about the paint and just letting it expand a little bit more. I'm still trying to preserve my highlights. And now I'm going to go and dry that off. Make sure you're painting stays taped to the board. And then you just want to make sure that it's all dry and it is an I'm just going to continue with skin tone for for now and just go over those areas that I've already started working on. This ones here, e.g. this eyeliner corner of the eye. You want, you can smooth out but brushstrokes. I always like to do that, especially at the very beginning. When you want to smooth brushstroke, what you need to do is either clean the brush and then dry it off or just dry it off. It depends really how charged the paintbrushes. And also if you're working with a different color. First we're trying to work on the general areas of fact Muslim later we can go into detail from the general. The pupil and iris. Being careful not to go over those highlights about myself. And then I'm going to intensify on the outside under the eye here. And also just go over the outside area of the eye with a light wash around the top there and come over to the other side, intensify the crease in the corner of the eye. Just floating up my layers and then smoothing it out a little bit. Just continue working in this way. So I'm gonna go over with the eyelashes, are here. Grabbed my slightly smaller brush, the number three. I'm going to be continuing for now with my skin tone for and I'm just going to intensify this crease of the eye a little bit. You can make the mark and then modify the brushstroke. I'm just building up the contrast, looking for the areas that are darker. I'm trying to really make this stand out and I'm just going to dry that off now. Yeah. Okay. So it's completely dry. I'm just going to continue now with my skin turn six. Get into some of those details. It's a little bit darker than the skin to N4. And just getting into some of these creases above the eye again, the area above the eye just heightening that contrast. In this corner of the screen for some of these darker areas. Want to be reserving this little highlight them here. Highlights is what makes thighs come to life. As I've said before. For highlights. To stand out, the surrounding areas need to be darker. My number ten, brush, continue with the skin turns six. Sam, just continuing to increase the contrast here and also following the curvature of the face a little bit. Kinda get into the eye, the pupil and the iris now, some coffee brown. I'm just going to give it one coat. Remembering those highlights. We don't want to go over the whole thing controlling the coffee brand and eyelashes a little bubble. And then just come over and just putting in the rest of the eyelashes here. And I'm going to get a little bit of black. And I'm just going to dab some here with the pupil. Starts to expand a little bit. Now, I will make a lighter wash of the blue flag and work on this barrier here. The iris is kinda like Louis color. A little bit of the pigment, they're very light wash of skin five, it's going to start going over some of the eyeball here. And can I get some more coffee brown number ten brush? And this work on this area under here, a light wash. I just wanted to start to really get some contrast in here so we can start to see the darker areas and lighter areas once you stopped happening, the contrast, I just really start to come out with the paper up here. So careful. Smooth that out. And I'm just going to dry that off now. I'm gonna get some skin tone five. So I'm just going to give that of a general wash a lot of the areas because I feel like it's a little bit reddish. Make sure your paper stays glued onto the board. So as you can see, I am just covering some of these areas. I'm not going over all of the areas because if we do then often we just lose that kind of tonal variety that I love. So yeah, just selecting some areas to go over with this shade. These strokes here. So working wet on wet and wet on dry and mixed fashion. I'm just going to dry that off so I can see better. Right? Making sure that it's completely dry. I'm going to stop putting them through shadows. Shadow. When we learn this is a lot darker than the purple shadow, but it just, it'll give it building up the layers going to add volume. So I'm just really building up this contrast all over my eye here. So getting into the eyelashes, the corner of the eye then here, reinforcing the line under the eye. Smoothing that out a little bit. I don't want to have lines as such. Just that shadow under the eye also on the inside of the eye and that corner there. I'm just going over the iris again in the eyelashes with the iris. Just really trying to add depth to this painting and rewriting Carlin richness. Also going to go over the eyeball a little bit. Just careful not to go over the top and also to preserve the highlights, to remember if you have too much pigment or water on your brush, you can always just dab it off on your clean tissue paper. Just gonna put some type of shadow here. Actually no light at all. Lovely contrast up here as well. Going to dry it off again. Just making sure that still glued down. Go into the eye with my skin tone. Nine now, remember we're working transparencies, okay, So even though you want to get data, we don't want to go and pick. So it's always translucent. Very important to remember that we want the colors to shine through then underneath as well. That's going to be every color that shows through but beauty that work. So I'm also going to go around the outside of the eye with the skin tone line just with a wash that's not too intense. And just my number ten brush. And just adding some details in there to heighten the contrast. Again, really trying to make that I come out of the paper. Also have the top there. Smoothing out the brush strokes when I feel appropriate. Couldn't go over the iris and the pupil web. It's drying. Here. Some blue blood. Getting into some details. Just apply a little bit more blue black but very light wash to the eyeball. Remember that the eyeball is actually not watch. It always has a little bit of a shade to it. Sometimes you can, sometimes move bread to observe. You can also invent your own color. Grab my skin turned five, light wash. I'm just going to go over the fundamental eyelid here. Remembering that high that I reserved. Want to go over that. Over the six contains six light wash over this part here. And I'm just going to dry that off now. I feel like it needs a little bit of a ton of variety. It's a little too reddish for me, so I'm just gonna get skin tone ten, which is more gray, greenish, want to make a wash of that. And I'm just gonna go over some areas with this. Just going to go over this part here. And now I'm going to go and dry that off. Now usually I use the blue black or Payne's gray on the skin at all. But saying is there's some eyeliner in the game. I'm going to use blue black for that. So I'm just making a wash. My number three brush, painter, him makeup. Careful not to reactivate the layer underneath that. Don't insist too much. Just going to smooth it out a little bit towards the top. Again. I really do DAC in this whole area. Going to mix a little bit of coffee brown and the blue black. Class. Welcome to this area underneath the eye is down the bottom here. I will use my number one brush. Complete lack of interest in details here. And I again. So as you can see, I'm just really getting into some fine, fine details down here. You can leave it potentially. I could leave it here, it'd be fine. But I'm just really enjoying getting into these really, really tricky little details. I'm not going to keep going for much longer. I think it's almost done. Good. Thick skin turned nine. Contains six. Hello with a color in here. I'm just adding the finishing touches now. I'm just looking where maybe I can put one brushstroke here and one brush stroke. This, that's really just the very small details that I'm covering now. Florida Washington here, simply black and some skin color for the Eigen here a little bit. Just going to add a little bit of this reddish time lesson's content for the eyelid. And I'm just going to insinuate a couple eyebrows at the top as well. Just whispering the brush over that. You can use any of the darker tones for the one that's dry. I am going to try this gold color from the eyelid. So you know that girls. But as I say, it's optional, so I'm just excited to try that out. Different kinds of elders know the Golden, the reference image is more like copper, gold. And this is definitely not a couple of gold. Master. It looks like when it's dry. So it's a little shimmery. I don't know if you can see that. That's cool. I'm just going to go a little bit over the eyelashes again and then I'm going to leave it there for today. Okay. Well, I'm gonna leave it there for today. I'm happy with that. And I hope you've enjoyed this lesson and I also hope to see you again tomorrow for another day, 30 day challenge painting eyes. I'll see you there. 28. Day 22: Hello and welcome back to the 30-day challenge of painting eyes with watercolor. Today we're going to be painting this. I, and I've already gone ahead and done my drawing. And also I've gone ahead and mixed my colors. So without further ado, let's start painting. And as per usual, I'm going to start with my skin tone one. Put a test strip under there. Maybe you can use your test strip as a second palette just to see how that's going. Wash wise if it's too intense or the color is not quite right. Let's start. So again, we're just going to try to mark for ourselves areas that are important. And that we'll want to heighten the contrast and later as we go. E.g. the shadow here. Remember you can smooth out your brush strokes as you wish. I say this every time, but this first layer really is just to start indicating where the colors are gonna go in to take away from this nervousness of making the first maps. So you can be really relaxed about this. Max. You don't have to worry because we're going to be painting over them anyway. I just start working up your layers. First part. Alright, so while that's drying, I'm going to grab my skin tone. And just again, the lash line here. Know what a wet and wet so that it looks quite organic. I'm just going to modify my breaststroke the middle. Then I'm going to grab my coffee brown. I'm just going to start working on the iris and the pupil layer. Remembering that I want to say highlights, which are much myself. That's just this one here under the lash line that's quite a lot darker. So I really want to get them there. With my skin tone, five, fill in areas, indicate the lashes that you can kind of see up here. I always like to have a little bit of tonal variety, so don't fill in the entire iris. Not inject a little more pigment. Then I'm just going to continue now working with skin, turn to an intensifying some of the shadows here, right in the crease of the eyelid. It's going to modify this bootstrap as well to soften that. Continuing with skin Hunt, who just going to get into a couple of details here. The darker areas. Like I've made a mistake here. It's a highlight I actually want to reserve. I've just gone and lifted up the pigment layer and I'm just going to repeat that a little bit up here. Breaststroke. Okay. Now with my number ten brush, skin turned to again. Make sure it's not too intense. And I'm going to intensify the shadows under the I modifier that breaststroke as well, just soften a little bit darker. You are directly under the bottom lash line as well. Not all the way through. So as I said in another lesson, your eyes are constantly moving between your reference image and the image that you're painting. Your piece of paper. Trying to observe what is happening. Slightly lighter, wash the skin, turn to just gonna go over the eyebrows. It's going to intensify a little bit. Here. As per usual, we're just building up my layers. Just observing and putting in color. Remember if you can't see larger areas of tonal variety, you can just squint your eyes. It makes it a lot easier. I'm going to go back to the lash line now. Look a little bit of purple shadow on the side. It's still a little wet, but it doesn't matter if I just inject a little pigment. And here you start with your brush too much. Intensifying the crease of the eye with the purple shadow. So it's going to work a little more on the shadow under the eye as well. I would say again, my skin tone to remember that watercolor is translucent, so I've done start working with opaque colors. I'm actually going to give the eyeball the little wash, and I'm just going to get a little bit of blue black or Payne's gray and just make it a really light wash. As I say, I think in pretty much every lesson, the white of the eye is not actually white. When we are observing highlights. It means that the highlights as the white paper and I have all this dark hasn't met. If we leave that I will completely shading, then we won't be able to identify the highlights and make them stand out. Just gonna get my number three paintbrush again, just a few areas with spin turn to remember that we're practicing, so it's fine to make mistakes. And it's fine if it doesn't turn out amazing. Just trying with the things that we don't leave yourself, the freedom to die of different things. We're not going to learn anything and will always be making the same mistakes and creating the same words. Just relaxed. Working with skin tone one now just a few areas here. Actually going to grab my larger brush and just work on the top of the eye there with a little skin tone, one. Just building up the contrast. Looking for the areas that are darker. I'm just trying to be a little bit looser with my paintbrush today. Not smooth at all. My brushstrokes. Quite hard actually, yeah. I was second-guess my brush strokes really because we don't know what it's going to be like once it dries. Where the mystery, which has half the fun of watercolor, but it's also a bit nerve wracking, isn't it? Okay. So while that's drying, I'm just going to go back to my coffee brown. Just start working on this pattern. If I again, just want to be working a little bit all over the image so that parts of it dry and then you can go over it again. Just continue increasing the contrast. Really just adding volume that way. Okay, And I'm gonna go ahead and dry it off now. So you wanna make sure that your layer is completely dry before you continue working. Yep, that looks good. Okay. So I'm gonna go grab my purple shadow. And I'm just going to start working a little bit on these areas. Here. Shadow. You can see it's quite intuitive. Just get some colors and some areas and then you say how it goes and remember that the paint always dries a little bit lighter than when it's wet. So just keep that in mind. Smooth it out a little better. A little bit too intense. Now, a little pigment from here. I'm actually going to take this opportunity to go over the pupil with some blue black. I feel like there's a little bit of blue in there as well. These highlights is actually only one really, really bright highlight, which is that small up there. I'm gonna get my skin tone too. Stuck on some of these inside areas. There are no more red. And skin tone. One system come back here. Just to highlight there, but I did not want to go over again. I'm going to remove my pigment and then I'll wait till it's dry. Skin tone to five. Just going to go over some of these shadows up here. Remember that we use in the photograph as a reference and it doesn't have to be 100% like the photograph. So we're really just wanting to practice painting eyes, having a bit of fun with it, and experimenting a little bit with leaving brushstrokes as they asked, moving them out. Seeing what difference it makes. Up here. I'm just going to go purple shadow. And I just really want to get back into this white of the eye. So I'm just going to put some light washes on this eyeball area here because as you can see, the more I put on without going out at the top, the more this highlight really starts to stand out and get some coffee brown. And I'm just going to mark and a few of the eyebrows up the top equipped with pizza. While I'm at it, I might as well just either from other parts of the iris and the pupil again. Jessica into families details again, intensifying, redefining a couple of lines in the eyelashes around here. Just whispering to find paintbrush either they're still using coffee brown. Hello coffee brands here. So I'm just going to darken little bit crease of the eyelid. Some coffee brown. Quite intensive. Modify that. Gosh strength the middle. My number three brush for that. My skin tone to work on this area under the eye again. Just smooth that out a little grab a little shadow. I'm just with a light wash inside areas that I again contend with touches here and there. Little bit of pigment in there in the eye crib sheet and just get in there and make that a little darker. Skin turned five again, just the eyebrows, little wash all over just in some parts. And then smooth it out a little bit. And going back to the iris and the pupil with the coffee brown, maybe a little more intense. The trick really lies and adding the right amount of pigment and paint, not going out at the top. And very important is to reserve the highlights, the white of the paper. And I'm going to get some blue black and also just bring people here and dab a little bit under the Irish line so that it gets darker pigment into the wet areas there. And with my tiny brush, it's going to send me that some of these shows again the shadows here, just pulling down pigment that I've just injected. I'm gonna go over some of the eyelashes as well. My small brush and my blue black, coffee brown. I'm going to write this one line here. In the bottom row. Observe how the eyelashes, good. You don't have to do it 100% that if you make them all the same, it won't look organic. Try and vary the shapes and forms and any direction. Go over the top, continuing with my tiny brush. Put it in a couple of details. And the I here, some purple shadow. Just to remind you. To make a highlight really stand out, you need to put a darker area next to it. And with a little bit of blue black, just kinda go over the eyebrows again, just adding a few. Remember to add variety up here as well. Don't do everything the same. We could probably go on for awhile, but I think I'm going to leave it there. The last thing I'm gonna do is just go over the pupil with some pure ivory blank. So that, that is definitely the darkest part. I'm just going to dry it and I'm going to leave it there for today. All right. So that's a finished painting. I hope you've enjoyed it and I hope to see you again tomorrow. 29. Day 23: Hello and welcome to another day of 30-day challenge. Painting eyes with watercolors for 30 days. And for today, I've chosen this image as a reference. Unfortunately, my camera was not working while I started this, so I'm just going to walk you through the beginning steps. As you can see, I just lightly sketch the eye and I began painting already with my skin tone one. It is all fairly standard. We've done this before, so I invite you just to join them. Once you've mixed the colors and got your sketch ready. Just going to go over sections. But the second layer of skin tone, one, I'm just building up the contrast, looking for the areas that are darker. Now that we've done the first layer, I'm going to start already just to define iris and the pupil little bit. So I'm getting my green for bed and I'm just going to start outlining a little bit here. I'm just going to flip one, wash over the whole thing. Remembering to visit the highlights. Just wanted to take a little pigment away from here. It's a little bit lighter. I'm just going to go back to skin tone one. Just put away, wash up here, making a brush stroke and then I rinse my brush a little bit off a little bit, and then I can just take it and make it smoother or take away a little pigment at the end, making sure that it's dry. I'm going to start working with my skin tone to intensifying a little bit around the crease of the eye and the eyelid. Finish line here. Just going to smooth that out. Continuing with the skin tone to the I here carefully putting a metal line. Remember you're always looking at the reference photo and at what you're doing on your paper. You don't always checking out what's going on and you don't want to be just looking at the reference photo or just the paper. Notice you put on a little too much pigment, that's my problem. You can just smooth it out with your brush, will pick it up with your paper. Can be quite loose with your brushstrokes. Just going to put the eyebrow them with some coffee brown, smooth it out a little bit. I'm just going to go back into the, I intensify that a bit with blue black. Actually just define the pupil. Then bring a little more darkness to these areas at the edges. Soften that up a little bit. I don't want it to create a line. Move my paintbrush, my wet paint brush over this outline here on the inside. And add a little water around the pupil. Just going to inject some pigment here and there. Even though we can see the pupil quite well-defined, I don't like drawing and painting it this way. It just looks a little too comical. Me. Make a couple of strokes, can try and simulate what's going on in the eye. So I'm just going to get my green ocher again and make a circle around the pupil. I'm going to get in there again with my skin tone to keep intensity. I'm still using my small brush, but you can use the brush that's more comfortable for you. We're just going over some details on the inside of the eye here. Really observing what's going on in the reference photo. In training our eye hand coordination. It's not the one that I wanted to pain. That's the line that I wanted to move to. Middle segment where from here. I'm going to start going over the eye wash. Now I'm going to make flu black, very light wash penstock filling them the eyeball a little bit. As you will recall, eyeball is not white. Otherwise we wouldn't be able to appreciate these beautiful highlights. May have to be the widest white of the paper. Okay, and I'm actually going to go ahead for ready. Just a little bit of shadow because it's really quiet. Because on the side, We get my Paypal shader. I'm going to darken over here. It's really want this to be dramatic. Light wash. I'm just going to go over this part here. You'll be able to see how little highlight above the eye starts to come out once I got over the eyelid line with some skin tone to just about the entire line. Just make a mark. Yeah. While that's drying, I'm going over my iris and pupil again with the black. Black to that. A little bit of wet on wet here. So that means I'm just adding a little water and then just dabbing on this that kind of expense and that's not as clean as if I just start painting. See the eyelashes are inflicted on this highlight. Now while that is drying back to the shadows as the eyelid. And for that we're gonna get a big tip. Shader can just intensifying here. Next line. And then I'm going to bring my smaller brush and getting into the crease of the eyelid again. But still, I'm just kinda dead going to publish it. I'm there as well. Then grab my larger brush again. More crumbs me, and then stop the shadow under the eye. But this ****, I'm going to use my skin tone to it. Skin tend to up here as well. Well, that's trying. With my purple shadow with a little more blue. I'm going to get back into this corner of the eye. Very intense. So I'm just going to take away a little pigment, smooth it out. It's gonna be a very, very light wash. I'm going to try and get into this part of the eye with the great OCHA. Really has like a greenish tinge. E.g. I'm going to get into the eye rather little bit, copy round, make a few marks up there. We don't want them to have too much protectionism, but just kinda said I blend into the picture. I'm gonna get my coffee brown and just intensify a little bit around the eyes decrease. And I'm also just going to focus on this bottom eyelash line here, just making it darker, extending the brushstroke. Going to intensify again in the eyeball here with purple shadow. Let me get some skin tone three, which has got more cadmium on it. And then going back up to the top eyelid and increasing that crease and also extending that brushstroke, just smoothing that out. Go back to skin tone worm. Shape them a little bit of planning these areas in the Bible a little bit more. Then I'm gonna get my skin tone too. And you put a wash of spin turn to some ties side, kind of unifies that he painted separately, then it makes it different claims. The eyebrows again, little bit coffee brown color. I'm going to get some more blue black and intensify and a year. Now that's a shame because that's still wet. We don't want to touch that yet. We can work on the inside of the iodine. Just putting a little more detail, I'm going to grab the green and also just intensifying they're a little bit kind of unite the two colors. Black brush strokes. Remembering we want to keep the highlights of the eyes is the one to pay. My number ten brush. I'm going to go and put in a couple of green ocher shadows. Q e.g. seemed to be using quite a lot of pigment, but then smooth it out as I make the stroke. Can probably observed that. I feel like that's pretty dry. A little bit of blue black and just define a couple of eyebrows. Now I'm going to go over the lash line, just intensify that with some blue bag. Just continue increasing the contrast, building up the layers and really just adding volume that way. Just want to be working a little bit all over the image so that parts of that dry and then you can go over it again. I'm just going to start on the eyelashes. Start directly with blood back down here. Then I'm going to switch Kathy Brown. So now we've got them in the coffee brown. I'm going to go over some of the blue brick. Maybe we don't want to do things always the same because then it really will bring you into the organic. We don't want to be kinda filling in all the spaces here. Black. I'm actually going to mix, blend legless, some coffee brown. Pregnant here, their eyelids, eyelashes too thick, you can kinda dead the pigment off of your paintbrush and go back over it to take away some of the pigment. This corner here again, a little bit of darker pigment. Very fun lab. Just kind of adding a little color here and there. And you can see how it really gives it some depth. The more we build up the layers, the motifs that I have, and the more volume. So I'm gonna get my skin one again. Just give light wash to this part here. Put the eyelashes done the bottom. Now, starting with coffee black. I feel like the shadow here needs to be a little darker and intensify that first. In the meantime, just get yellow ocher, pure, obviously diluted with water. And I'm just going to wash a little bit with this. Like I would do a good kind of smoothing out a little bit these outlines here. Okay, Well, I'm wedding for the part under the eye to dry, I am going to get black, just ivory black. Pure. Pretty much a pupil less than half. That needs to be the darkest. I'm gonna get coffee brown. Jessica, eyelash line a little bit darker. Then with my small brush, I'm just going to whisk little bit out to the left like that, just filled in the Spanish wine, making it more organic this way. Getting coffee brown again, making sure this layer is dry. On the bottom here. Getting a little bit more intense, coffee brown. Maybe get in there with a little blue black too. Not all of them. I'm going to try that off. And then I'm going to leave it there for today. I hope you're happy with that and well done for completing another day of the challenge. I will see you tomorrow. 30. Day 24: Hello and welcome back to the 30-day challenge painting eyes with watercolor. This is the image that we're going to be painting today, which I'll be uploading to the project section as the usual. I've already gone ahead and mix my colors. So I suggest you go ahead and mix those colors. And I'll see you here in a minute to start on the sketch. I'm going to start sketching now. Remember if you don't want to draw freehand, you can use the grid method or you can trace your image using a light source. I do suggest you start practicing drawing freehand. That's really great practice. So here's a little trick. If you're not quite sure where the shadows, you can squint your eyes. If you squint your eyes, you can see things less clear, but it all kind of gets grouped together, which is sometimes really helpful for identifying general areas because the I just sees too much detail. So sometimes we find that hat to discern general areas. So again, remember that we're trying to make a roadmap for ourselves. The way we got to paint colors, where it's going to be dark. Also going to draw in the highlights that we want to reserve. The pupils around. Here. Remember, don't press too hard on your paper, otherwise, the pencil is going to leave an indent on the paper, sorry, up marking here the highlight that I want to reserve the paper of like a bit of a highlight just here. And then we've got this beautiful highlight them bottom, which will really make the eyes look alive. I'm actually going to start painting now. And as per usual, I'm going to start off, let's can turn one light wash, mock and some areas not all at the same intensity. What the wash to be a bit lighter, I can just add a little water. Essentially, this first wash will always be painted over anyway, but just kind of gives us a good indication of whether you really observing what's going on in the reference photo and training our eye hand coordination. While it's drying, I am going to continue. Let's can turn to learning some things on the inside. So I find them here. Either dab a little bit towards the middle tier. Here. In the first layer, I'm really just trying to establish some kind of ground and work with the drawing that I've made. Just going to grab a slightly larger brush, my number ten brush, over the entire thing, actually, except for the highlight there. I'm just going to get into detail there with the smaller brush or a little bit. And I don't want it to be all uniform. As we've discussed many times before. I'm going to take away little bit of pigment here where I see that there's a lighter color and the eye, just like that. Dabbing your brush onto your paper in-between. Clean my smaller brush now and start going over the crease of the eye with my skin tone to smooth that out a little bit here. Also, eyelashes are coming in here and slightly lighter than the takeaway little bit of pigment here. Then continue working on my crease. Remember already going to start going over the shadows over here. We're just going to use a few of the other colors in this moment. Just smoothing out when I feel like it's appropriate. Depending a little more there. We need to add a little more. Yep. I'm also going to grab a little skin turned to an area. I remember the white of the eye is rarely actually white. And then continue going over the shaded areas a little more with the skin tone to appear, e.g. get my skin turned five member, you can use your test sheet to mix colors as well. I'm just going to start. So I'm just kind of playing around saying with a good fit, I'm just going to put a very light wash over pretty much the entire top of the eye. You're not experimenting a little bit. I'm not really sure how this is going to turn out. The beauty of it, isn't it? While it's drying, I am going to get my purple shade. Guide on some of the inside of the iPad's really intense. Apply them Back in this area here. And a lighter wash? That's correct. Yeah. Kind of work and a little bit more on my crease here. And I'm going to put a very light wash of skin tone to the eye here. I'm just going to drive it. Okay. Continuing now, I will stop intensifying the crease of the eye with skin tones, sick. Grandma number ten, brush and make a wash. Number six. In those shadowed areas. Remember that we're building up our layers so we don't wanna go too intense right at the beginning, just slowly adding and that creates volume and depth. You have it either corner. She's really just all pretty much in shadow. The washes over being that we don't want to cover the entire pain, paper and paint right from the very beginning. But we just want to darken the more intense. As we go along in the end, possibly the whole paper will be covered, but we're not sure yet. Let me go little by little. While that's drying, I'm gonna get back into the eye. And for that, I am going to get my skin tone for just give up a bit of a wash over that in a minute. I'll do the same as I did before. I'm just removing some pigment. Maybe I'll start adding objecting little pigment around the edges. It's going to take away here. And with skin tone, I'm just coming around here. Around the edges of the iris. The pupil, let me touch up. The layer underneath is dried already. Don't worry about it. You can just smooth it out with your paintbrush. And while that's drying, I'm gonna cribs can turn nine again, a bit of a lighter wash. And I'm going to go into this caries here corner of the eye. Now we don't have to be too precise here with the eyelashes. No, trying to go as well as more of an expression, not a complete copy of the reference image. And we're just practicing how to pay us. That's the main thing here. Just intensifying, objecting little pigment there. And also just in here injecting pigment that might be paintbrush too much because you might just know when you pay your layers still, not dry. Skin tone nine. I'm also going to get into this product for eye a little bit. Just intensify the shadows here. Just going to go back to my number ten brush with my skin tone five, it's going to go there. Here. Just really intensifying everything. Now, remember that you can be really free with your brushstrokes. You can lead them exactly how you make them in the first instance. Or you can smooth them out. Still working with skin tone five, him to this very dark shade on the I do want to make a little more intense and while that's drying, we can go back and intensify the iris and the pupil a little more. Going on with my coffee brown now makes it look a little blue black. Making a few months in here, you can see this random brushstrokes, the pupil, and the path under the eyelid to be dark because it always does. Often you'll notice that these things, it's kinda like a sun coming out of a hole in the iris. Like that. I'm going to leave it there for now and dry. First thing I want to do is go over the inside the eye the eyeball with my blue black or very light wash. Okay. That's a little too intense. I'm just going to put a little wash over pretty much the entire thing. Bearings here. Make sure your brush is clean. Smoothing it out. Now I am going to go and just some shadows with some federal shadow here. Just observing where the shadows are more or less. Here. Obviously that's very intense shadow over here. Now I am actually also going into the inside of the thigh here because it's really dark, intense enough. And then just quickly try that. And then I'm going to continue with the iris and the pupil. And in fact, I'm going to grab my skin time, Tim washington, I feel like I haven't really got the color to green wash. I know that. That's a little more like it. I'm just going to take away a little bit of this pigment to you. I'm going to grab my skin tone. Nine, get into those intense shadows. I'm going to begin. You're gonna be working on quickly because it dries really quite quickly. I'm gonna come over this side, since five is still working with into nine. Just wetting my brush now and again to smooth out these shadows. And then dabbing my brush on the paper in-between smoothing to add a little pigment in here so that it expands a little. Or to be quite dramatic over here. So this is kind of wet on wet technique, just intensifying the shaders. Shader. Then I'm also going to just go over the ledge line with the center. And I am going to get into the crease of the eye. Also it's going to align this side because it's just not very intense. Gonna get some shadow and more intense. And I'm gonna go over the iris again with a little bit of coffee brown. Using it there so that it doesn't look like it's Photoshopped and also keystrokes, eyelid. You'll hardly see them once it's dry. It's just so that it doesn't look like a blob. Some ivory black. I am going to define the pupil and I can commit, will already see a little more contrast. I'm going to grab my skin friend, who's come on. You. Not on the eye. Variety of color. Red. Just going to dry again. I want to add a little more tonal variety to the skin. So I'm just kinda go back to my skin, turned five and kinda lightly wash some areas, e.g. here under the eye. I love my skin tone. Tim, he's going to get back into the shadow under the idea. Here. This part of the eyes still too light, so I'm going to go back in there with some shadow under the eyes also, like God taking away things that I don't want to take away. Just want to take away a little bit of pregnancy here Next. And then I need to go back over this part as well. Too bright, still. Very, very light wash of skin tones. Six, I think I'm going to dry out and then do the eyelashes, and then I think I'm done. For the eyelashes. I will start with skin tone line. And that's all I have because I've been here, they're not really defined in a dark colored light color. So I went really and all its maximum DACA mocks and then slowly towards the center of the eye. Just whispering the paintbrush like this, making very small kind of staccato masks that we don't usually make. We're trying to usually make com movements, but now the exact offset for them as well. What you can do, of course, Let's try that. I'm going to type y a little pigment. Extremely careful not to. I'm just doing this by wetting my brush and then insisting a little bit of the pigment, especially because it's a little bit wet. Just painted some eyelashes and lab. I'll see how that's coming along quite nicely. Pigment the top and bottom. So I'm gonna go with skin turned ten from now, killing a few months and he has a uniform. Coming over here. Add a little bit slipped to the skin, turned five just quite like this reddish time, right? And I'm also just going to go back to my purple shadow, get into this corner. And then towards the bottom there I'm going to add to this container, the container five little bit just content online checkout. How much from this part here? So just to remind you to make a highlight really stand out, you need to put a darker area next to it. And also make sure you don't leave too many surrounding areas as the white of the paper. Okay, and then finishing touch, a little bit of pure ivory black again on the pupil here. And I actually think I'm going to leave it here today. So I hope you enjoyed that. I hope to see you again tomorrow for another day of the challenge of painting IS for 30 days. So you there. 31. Day 25: Hello and welcome back to the 30-day challenge of painting eyes with watercolor. This is the image that we're going to be painting today, and the reference photo will be in the project section. As per usual. I've already gone ahead and mix up some colors. Again today, I'm going to be starting by sketching. And I suggest you try sketching freehand. It's really good practice. If you don't feel comfortable or confident enough to do so, you can always use the transfer by grid method or tracing using a light source, like a light table or a window. But I do suggest you practice sketching freehand, especially if you don't feel so comfortable drawing because that way you get better every time you try. And once you've got the hang of it, it really becomes more simple. I always like to start by the general shape and then you get more into the details with the paint. Since this beautiful shadow up here, which we'll want to mock him for ourselves, can really, really, really want to reserve this little light reflection at the bottom of the eye. So I'm just going to make a sketch, bottom eyelid and then Mark and live on a line here. Iris comes down C Again, we cannot see the entire iris. I don't think we've had one image yet where the entire iris is visible. And I think I've said it yesterday or the day before. If you're not quite sure where the dark areas I you can squint your eyes because that way your eye just picks up on some general areas and not all the details which can be sometimes quite confusing. I squint quite a lot when I'm drawing painting, especially in the first, initial stages. You can see we can't actually see the pupil at all unless in this image we can see the person taking the photo of it, but they reflect to them the eye. And that's the data as part of the eye. So I've just gone ahead and lock that and I'm going to stop painting now. Starting with skin tone, I'm just going to start lacking in some areas for myself, not the whole paper. Remember that? We're just going to start off by highlighting a few areas that are going to be darkest or brightest in terms of color. Most cheddar. Lifting up a little bit of pigment here. Smooth out this brush stroke. This one. Third, assume that the shadow is going to be the same and every I that we paint, because as you can see, e.g. it's quite interesting in this one. Often this line under the eye is the lightest part, but here we have it as two doctors patent even shadow under the aisles and darken that. Just really observe. But we want to go from the general to the specific. So first of all, we're just going to pull in all the areas and areas and start drawing today. I'm also printing them the eyebrow. One thing I forgot to mark for myself with the highlights of the eye. Let's do that quickly before we start painting the pupil in the eye this and I let them hear it here. So I'm going to start on the iris with the green ocher color. It's not really enough for me at the moment. And a little bit there is too much water. I'm just going to stop. In all the areas that are not highlights. You can keep observing your painting just in case you didn't do a very good job of drawing your highlights. You can still just reserve from observing way they are. Maybe you want to start working at the top here with the smaller brush. I'm going to grab my number three for that. And while that dries, I'm here at the top here. So I'm just going to remove that with a clean wet brush. And then ******. Tissue type that extend into this area here. And I'm also going to just remove no pigment in some parts here. We don't want it to be all the same color. Generic. And I like it to have a little bit of color variation already in the first part, we're going to build up my layers and then we'll be able to see that shining through. Okay, I think actually now the skin is dry, so let's just grabs can turn to and just intensify some shadows here. Just laugh a little bit. More words. Darker. You to modify your brush strokes like this. And let's also grow the eyelash lined with skin tone because it's definitely my slightly larger brush again. Get into the scanner here. Remember maybe a little bit lighter and then continue with the shadow. Remember we're trying to build up our layers. If you feel like you've used a little too much pigment, that's my problem. Just a little reminder. You just wet your brush, clean up, then you debit on your tissue paper. And then you can with an almost dry brush removed from you. While it's still wet? Well, that's drying. I'm going to give the ival quick light wash with the blue black or a Payne's gray. I say this every lesson, just in case you forget. White of the eye is never really wiped. Not really. Because if it was you wouldn't be able to see the highlights. I'm applying and then I'm removing. Want it to be quite light. These highlights that I've kinda like myself good, but they're not the lightest highlights, so it doesn't matter if I've gone over them a little bit. I just don't want them to be forgotten about the highlights in the end. What makes the eye really come to life? And the eyeball or with the different shapes I like to make my brush strokes so that they mimic the shapes. The roundness of the eyeball, like these brown brushstrokes. Make that line underneath the eye. What highlight really pop out? I'm going to just outlined just underline the inside of the eyelid here for very fine line num using its contents six for this. Then I want to go and just smooth that line out a little bit so it looks a little more organic. Turkey's made a mistake. Remember that you can always lift it up with your tissue paper. Just observing here the thin side of the island. Darker so I'm just giving it a blush with skin time to go back to five here. And I just really very, very back corner of the eye a little bit to the eyeball. The eyeball highlights, but it's not completely white of the paper. I'm using skin tone five-note to intensify this crease above the I want to share a little bit. And I'm going to smooth this out towards the top. You see the shadows going onto the top of the eyelid there. That varies as well, depending on your painting. Sometimes it goes at the top, sometimes it goes towards the bottom. Don't use too much water. I'm going to go back to the pupil and the iris. And now I'm going to go and they look a little bit. Brown and just intensify everything again. I always like to lead details like the eyelashes and things blast. As I said, we start with the general and then we move on to the specific time. A couple of layers here, it's trying but fast so I can just keep working harder. Next, I'm going to stop working on the shadows above and below. I, with my skin tones six. Miami modify that, just smooth it out a little bit. So observe how it just really slowly building or fell laos takes a little while, but it just adds so much more depth and volume rather than you just slept on the color at once. That watercolor requires a little patience. I'm now seeing that I feel like I have made the pupil know too narrow. I wrote with. So I'm going to grab my coffee brown again and just finish line because it's way too light right now. I am going to get some purple shadow. And ones like working with them, especially under the eyes, can apply that live really going to be covered by some other colors as well soon. But I just find that some of it still shows through and it gives it a really nice tonal variety there. A little bit hot that I didn't want to. Do. You might think that currently it's not looking a lot like the colors in the reference photo. But just bear with me. Get my skin tone for the eye here. Then look a little closer. Black. Just going to intensify some shadows. Once we add in the eyelashes, this part will be covered anyway. So this is quite a difficult image. I'm noticing. My skin turned nine. Just add a little bit in this corner here. Nowhere does contain five. Find you've made your paint to a pike. Remember you can always lift up your brush or your tissue paper. A little bit of skin tone for item there as well. I'm going to make a skin tone five wash that yea, transparent. And I'm going to start working on skin because be a little bit generous which areas are covered and then pulsar maintain the highlights here. But that need them to be the white of the paper. We just want them to be a little bit lighter. Hue. Remembering the high minds, a little bit of wet on wet technique and get sometimes six. Just an example. You trap here. She's pushed them and see how it expands. I didn't like it. I can always modify the brushstroke once it's a little bit drier, or I can just lift it up. So as you can see, I am just covering some of these areas. I'm not going over all of the areas because if we do then often we just lose that kind of tonal variety you that I love. So yeah, just selecting some areas to go over with this shade. Want to do now is just grab some highlights here. Let me scroll up Brexit, actually clean it, dry it, then. In there and lift up some pigment and the water will have to go over it a couple of times. It's very ordering like minus. And then I'm just going to grab my skin tone to five again, just go over the inside of the eye a little bit darker. I'm a tiny bit of blue black wash. And to plan time under here, next thing I'm gonna do is just add a little bit more skin, turn mine on the corner of the sky. Smooth out the edges. Really want to do now is just add a little bit of variety by getting the green. I'm just adding some shadows. Time everywhere. But some areas. It's not so beautiful contrast to the reddish tones that we use. I'm going to grab my coffee brown eyebrow. Tend to find that a little bit booting up the contrast. It looks a little more organic. Now I am going to grab my blue black, my smaller brush. And I'm going to go back over the iris and the pupil. General wash. Now here, the last line, the object literal blood back into the eyebrows as well while I'm at it. Some payment terms here. And I'm just going to dry that off now. Once it's all dry, I am going to grab my skin tone tin and apply a light wash to most of the face. Remembering the highlights. Just going to play a little pigment. I wonder is if the highlights, we're going to do this, be careful not to run your paper. So just really softly brush, dab it on your tissue paper. And I'm just going to dry that off now. I'm going to grab my skin tone. I'm going to add some shadows. Just keep happened with contrast. The drama. Smooth this out a little bit. These parts are quite intuitive now, you know, some of my skin tone to fire. You. Again. I just keep adding layers. You find that it's dramatic and nephew that it's about the right contrast. Your tonal variety in colors. The detail. I'm going to go back to the skin tone, five areas that beautiful reddish time. Alright, I'm just going to start insinuating the eyebrows on the eye. The little coffee brown. Make a few brushstrokes that aren't. Just because we're not actually going to see this area at all. And marriage here as well. Skin turned nine. From the contrast here and middle. I'm gonna go back to the pupil and the iris. Clip black, no more intense on the floor. Such a light was really hard to make the contrast. I'm going to go sign. And this includes leg. It's going to take a stab at the eyebrows. I want to go for the area under the eye, go in with my skin tone. Here, I feel like that's not quite enough. The Maghreb, content five and just go over the top with a little bit. Going back to skin turned five. A couple of details here. I'm going to take a little bit of skin turned nine millimeter. And I'm just going to dry that off now. So once that's dry, I'm going to start working on the eyelashes and I'm just using coffee brands stateless. Since kindergarten or smooth lake. Hey, what's a little bit of practice and learn. She's going to want to give that almost the entire embeddable wash because these highlights here, the blue is just going to cut. I'm lifting up some pigment here. You're like up the tub was still, still got a little more reddish. Content five, little bit of Finland here. We're going to remove pigment on the corner of the eye here. Just lighter areas here. Smooth it out. Just grabbing a little more. It's been cleaned out. Just a little bit under the eye here. And now finishing finishing touch, I'm just going to go over the pupil area, even though we can't see the pupil going to get ivory black almost completely. And just ask him reflection here for person taking the baton. And then also just kind of go over the island line again. I'm going to add these little details to start with. I'm just going to dry it off and then I'm just going to leave it there for today. Okay. So that is the finished work for today. And I hope to see you again tomorrow for the next I'll see you then. 32. Day 26: Hi and welcome to another day of a 30 day challenge. I am going to use this image today as a reference, and I'm only going to use blue, black, and coffee brown. So first things first, I'm going to skip that I roughly onto the paper as the usual trying to Mark and myself where to paint in the way to leave blank, e.g. this highlight here, a little highlight here. This photograph is a little bit unclear. It's a little bit unsharp when I quite like how Express was, so I want to give it a go. It's not the easiest to draw either because it's such a strange shape this time, because of the shader. Just give it your best shot. I'm gonna give it my best chocolates. There we go. So this is one of those rare cases where you can actually see the entire iris and pupil because the expression either shark or bewilderment or anger, disbelief. And then eyebrow, very close. The eye. Also quite unusual. Comes back down there with the here. So I'm making sure we've put on our highlights and we put in our shadows more or less, put a road map to paint. I'm going to leave it there. And I'm going to start I'm going to wet my paper. If you prefer to work directly wet on dry, that's fine too. I just took the step of myself that I really enjoy working wet on wet. I'm going to begin with the coffee brown. I'm just grabbing some of that from my mixing compartment and putting it onto my palette. And I'm just going to stop. Remember that the brush will release the most paint when you take it off the paper like that. Expand, conceive and need to take a little bit of water and pigment so that I preserve my highlights as the white of the paper. Let me find that some possible then don't worry about it. You can wise a little bit wide out of the tube at the end. I prefer not to do that, but I had done before and this per se, the widest possible eyebrow you put in the shape of that. Written here, shadow here. Okay, So now that we've got the first layer, I'm gonna go back to the coffee round. Slightly more intense wash over some areas again, e.g. here the pupil lot more intense. This barrier here. Because those are a lot more intense. Then again, go back to some of my highlights that I've drawn and myself then and now getting lost. My brush and try that again. This expansion under the bed. And you can still smooth out the edges. And you can see that there's this pile of papers already pled dry, so that's not expanding much anymore. Okay. To copy Brown. Keep reiterating the dark areas while it's wet. I'm just going to smooth this out a little bit. Iris again. You see the pattern is pretty much dry here now. This afternoon. Stuff going over the iris, even these brushstrokes little bit. And then bring this highlight here. A little bit over the inside, as I say, it's not client's conduct percent white of the paper. I'm just adding layers and layers while it's still wet. And I think the minute I'm going to dry it off and then I'm going to start with the blue black. It's been a little bit and we'll start remembering that the paper absorbs the paint quicker when it's still warm, we're going to just wait a second. And then the meantime, I'm going to get my blue black wash ready. And maybe I'll start with the lighter wash. And I'm just going to go over these areas, the darkest ones first. I'm just going to smooth it out a little bit faster. And a little bit of color to the inside of the iris. Pupil. Use bed a little. Redefines the shapes that you want. Here. Let me get my slightly smaller brush minimum six. Just need work a little bit on the shape with this virus. Can then grab a little bit of my tissue paper. But I'm here to take away some of the pigment and some of the water so that I can work more precisely on the iris. A little bit. I'm just going to go back to coffee brown. At the top there. It kinda gets lost in each other because she had a tough the AI and I asked him to become one. Up here. This is also got a little bit out of hand. I'm just going to put back the shape. It's a little bit of the blue black building up the contrast. Looking for the areas that are darker. I'm trying to really stand out. A little more blue black in there. I'm using my number six brush and continue back here and just try and get a little bit of variety in there. Just wet my brush with a little bit more water and just go into some of these details again. Defining a couple of lines. I'm just continuing building up the layers, injecting pigment into the wet areas that I want to give more intensity to. Put in a couple of details here. The eyebrows. Again, maybe you want to wait for a little bit until it's not so warm. The meantime, get your brush and your paint ready to go. I'm going to start on the eyebrow. Brush across and kind of make it organic. I don't know how much detail I really want to put into this eyebrow. I've started going over areas with the coffee brown again, roughly intensifying shadows and finding areas. Still working with my number ten brush. Light wash onto the eye. Even if it's very high contrast image and it looks like the eyeball is white. But if we make the eyeball not what this highlight here is just going to stand out so much more. So just by adding them a little bit of pigment to the eyeball, you can see how that just really stands out now. Here I'm just going to get my very small brush and the blue black. And I'm just going to add a little bit of extra ivory black. I'm just going to put a little bit of black under the pupil there, make it more intense. Said Deb some into these wet areas that are here. Now if the blue black, I'm just going to put in a couple of more eyelashes, more detailed up there. See the allergen from the top and also eyebrows. Let's put in some eyelashes here. Now. Remember that the watercolor dries a lot lighter than when it's wet. So don't worry if this looks like it's much much darker when you're painting, blend a lot more. Once it's dry. Just going to put in a couple of lashes and the bottom here as well. Remember we want to make them a little varied. Going to put them little less insect, but the top tier, that's just really disturbing them. Sending the whole rhythm and liquid back to him. A little coffee brown. Now again with a blue black. I'm just going to go over this part here quickly. Remember ten brush. Make it a little more intense. Like this little list. He's fine. And then I'm gonna drive it up. Okay, so that's today's AI. I hope you enjoyed the class and I'll see you again tomorrow for another I and the 30-day challenge. And I hope to see you then. 33. Day 27: Hello and welcome to another day of 30-day challenge. Handling eyes with watercolors for 30 days. In for today, I've chosen this image as a reference. I've also gone ahead already and select the colors that I'm going to use. Today. I'm also going to start with a sketch. Doesn't have to be exact, no general shape and then marking in the shadows the highlights areas I want to say variance, I wanted to paint. Remember when you're sketching, you're looking at your reference image and you're drawing simultaneously, pretty much constantly flicking between the two. So having said that, I said every time, but I want to reiterate it because it really is important. We're not trying to make a hyper-realistic drawing or painting of our reference image. We are trying to practice painting eyes with watercolor and we want an expressive results more than 100% replica of the photograph. Look quite sure where this iris would end. So I'm just going to draw a full circle even though afterwards I will be erasing the paths that the eye lid will be overlapping. Because we know that the iris is a circle. Let's draw the full circle and then erase it. If that helps you, That's the way you can sketch it every day. So we're drawing in these spaces. We need to pay and also the space that we want to observe the sample, these highlights. Okay, so I'm going to start and I'm going to start like always when I'm using these colors with my skin tone, one, just to break the ice. So I'm just going to start by adding in some of the darker areas. The first layer, I'm really just trying to establish some kind of ground and work with the drawing that I've made. And just sadly kind of start to build out the colors. So that's why we started with a light wash and the lightest color first. And we're just starting to indicate to ourselves the areas that we need to build on and the next layers. So that's pretty much just what we're doing in the first layer. And we will paint over the first layer and we probably won't see any of it. But this is just really to get the ball rolling and start this building up of layers. Just from my menu. Before we start on the next layer, I need to make sure my first layer is dry. Right? Now. That is dry. I'm just going to work on quickly the iris and the pupil. And for that, I'm just going to give both of those at a light wash with the green. Careful not to go over the highlights that we are wanting to reserve. Okay. For a while that's drying. Make a wash of skin tone to start working on these areas here, I'm going to use my number three brush for this. Again. It's my number one brush. It's tricky. One to three. I can get the idea. Remember that we're trying to build up layers layer by layer just suddenly to really get a volume in there. As you can see the inside of the eyeball, he is actually darker than the bottom of the inside of the eye hand. Really observing what's going on in the reference photo. In training our eye hand coordination. Building up the contrast. Looking for the areas that are darker. Skin tone, one can turn to adding layers. Very sadly. Wasted time. The crease of the eye very interesting is this whole very dark shadow, then a little bit of shadows and the light than the eyelash line and this path, I find that intriguing and I find it quite hard. But that's why we were practicing, right. So while that's drying, I'm just going to give iris and the pupil another go. I'm going to add a little more yellow ocher to the green mixture around the pupil little bit. Then I'm going to let that dry with my number ten brush. I'm gonna get back to the skin tone to ingest goodbye, I graphed as a background. Just continue increasing the contrast, building up the layers and really just adding volume that way. Just want to be working a little bit. Hold on to that image so that parts of it dry and then you can go over it again. Let me get into the eye here. Just a little bit of color already. And also to plot them either via the inside. And then if you feel like you've done everything you can for the moment, but it's still wet. You can just grab your hair dryer and just dry it off or just wait for it to dry. So I'm making sure that layer is dry. You can start to work on top of that now if she liked. And I am going to continue again, starting with the darkest areas. You can see I'm just moving around the image, just continuing to go up the layers, going over layer again and again. Every layer like to smooth out my brushstrokes little bit. So while that's drying, I'm going to grab my blue black wash. I'm just going to work on the iris and the pupil. I'm just going to remove barriers. Ton of variety. Remember how to remove pigment. You just clean your brush, dry it a little bit, and then you stop by the areas that you want to remove. I'm just going to go outside of the iris one more time for this, but remember to make sure you don't have excess water in your brush. And I'm actually going to use my number three. What better? Through black. While that's drying the little bit of skin tone three. And then number ten brush. Just go over some areas. You can see it's quite intuitive. Like a light wash over that entire area was very light wash. And it's going to go back to shadow and apply some under the eye here. Some more. Boost shape has gone out of control and then they correct that a little bit. Split my small paintbrush and I just stopped and lift up some of that pigment and make it into a shape that I want. To be careful if you do this, remember to very carefully. Otherwise you might just lift up your paper as well when you're painting a little bit. Be careful because if you haven't completely dried, it's just going to start expanding into the area again. So maybe just wait a little minute. Okay. I'm just going to grab my number ten paint brush again with my green. I'll put it in a couple of shadows. Here, e.g. we're here or here. I'm going to grab a light wash of blue black. I'm going to start just document the eyeball a little bit more. Dark. On this side. It's going to inject a tiny bit of pigment on this slide here because it really gets very dark. Spend either you can wait to defer to try how you can dry it off. I'm just gonna go back with my number ten Bosch to some skin time to just can apply a couple of brushstrokes to some areas that have found lacking in depth a little bit. Shadow. The loose hand. Then also on the inside of the eyeball. Them a little bit of purple shadow. Iterate this area here. The number three brush. All right, grab some coffee brown and just go over some darker areas. Next line here. I Alicia. So I'm really just going to loosely put them in a darker area. You feel like you have too much pigment on your brush. You can just wipe it off on your paper towel. Rinse your brush like new wash document with some of these areas, the iris usually the outside of the iris. You work the Dr. and the rest of the, I just always like to smooth out these paths so that they've got looked like the photo shopped in just with a clean brush, making these kind of movements towards the inside of the eye. And then also just going to smooth out any movement. So the specific emotion, you just smoothing it out for them to grab the coffee brown in the crease here. Got it. Wanted to be the same intensity all the way around because that also looks like it's better shelter to the grips. My shadow. Just going to start with the brown eyebrows up here. Smooth skin tone. An intense course. I'm just going to go. I want to go over the top. Here. Are just a little bit shadow on the corner of the eye. Some of the skin turn to page here. Mostly this kind of plot on the top eyelid for me inside the skylight and a little bit wrong. So the eye that looks a little strange. So he's promote rice moved pregnant. Talk here. A paper towel and live. A little glute leg. And just go over these areas here that are darker. Blue, black. Really intensify the, I love it away tonight. Actually, I'm going to grab a little coffee brown and add a little bit of courage to do that. A little more Prussian blue, little more purple shadow. I'm just going to go back to skin can run purple shadow. I'm just going to drive it and see how it looks. But I think I'm almost finished. Right? So couple of things, just some minor details. Lift up a little bit of pigment. Couple of places. You feed them through this very carefully. When I'm lifting up this pigment, even though the paint has already dried, I'm just going over it with a wet paint brush and then dabbing the paint brush on my paper towel from time to time. Now I know you're not supposed to do it, but it works for me, so I do. I prefer doing this and using white paint. Watercolor. Span this pilot hearing a little bit. Now I'm going to put on the finishing touches, which is the eyebrows and eyelashes. I'm going to start with the eyebrows just with some blue black, just wispy movements. And they have to be exactly like in your photographs. The other day the day challenge I said it time and time again. And then just a couple of them the the I here. So don't worry if it goes wrong. Lift up the pigment with your paper towel. We use in coffee brown. A little bit of five big black pupil. One more thing I'm gonna do that. I'm just going to put a couple of strokes in here. Like it's too monotonous. So this is coffee brown, boring. Okay. And I'm going to leave it there for now and hope to see you again tomorrow for the next INSEAD day challenge. Remember it's not going to be every day a great result, so don't disappear. Some days are better than others. Some days you just have more of a flow. So I hope to see you again tomorrow and yeah, thanks for participating. 34. Day 28: Hi and welcome back to the 30-day challenge. 30 days of painting eyes with watercolor. Today we're going to be painting this image here. And as per usual, I'll be uploading the reference photo to the project section or the resources section of the class. And I've already decided which colors I'm going to use as well. Okay, so I'll just go ahead and start sketching. It doesn't have to be perfect. We go over this every time, but remember, we're just trying to get an expressive painting and doesn't have to be 100% like effort. However, when you're sketching, remember to look between your sketch and the reference photo. You're always looking at both of them trying to bring out i and observing and the hand to follow what I as deserving. Remember I sketch is supposed to serve us as a roadmap for where we're going to paint them. For iris. And again, I'm looking at positive space and negative space to the public expense in this case would be the iris and pupil. If it helps you to complete the circle of the iris, then go ahead and do so. Just remember that the eyelid is probably going to be covering at least some part of the iris very rarely that you see the entire iris in. This beautiful little pilot can hear that we'd really like to. So I'm going to start painting. And I've really enjoyed working, starting working wet on wet. So I'm going to do that as well today. Just with a clean brush and clean water, wet the entire area that we're going to be painting. The entire piece of paper. Just let it soak in for a second. And then I'm just going to dab a clean tissue onto the paths that I don't want the pain to us then into this time I did the I here. The ones down here doesn't have to be exact. Here. We want to be really exact. Then I suggest getting a smaller paintbrush and just applying a little more water to the areas that you'd like to expand and to say had been taken away now with your tissue paper. Then I'm going to start with my skin tone one. As per usual, just making a light wash. You can always check it on your test cheat here a lot of water, they're absorbed some of that. And then I'm going to start painting in the darkest areas. I'm just going to let the paint expand safe. Here's a little bit of a highlight as well on the bottom eyelid. On the inside of the eyelid really can be quite free. And the first layer, especially if you're working wet on wet and she's starting with the skin tone one. Still don't want to be applying the paint. All of my paper, I still want to have that reserved some tonal variety a little bit from that level there. While that's drying, I'm just going to go ahead and go over the iris with some black light wash. I'm going to reserve the parts of the highlights that we've already marked them. They're just going to move a little pigment in some areas. It's really going to start expanding again into those areas. But I find that it really likes two. A great look when you work in a little bit of variety into the iris. If you're in inpatient as me, you probably have your hairdryer quite close. So I suggest we just try that quickly so we can keep working. Making sure that that's completely dry. Before we start on the next layer that is completely dry, I'm going to grab my number three brush and I'm just going to take my skin tone to and start to work some details. Quite intense. I'm just going to. Some water and I'm just going to smooth that out. I'm going to go back to my number ten for now. Just make that expand a little bit. Just doing what I usually do. Observing what I see on my reference image, and then just build up my layers. Still looking between your painting and your reference image all the time. And we're just starting to indicate to ourselves the areas that we need to build on the next layer. I'm sorry, that's pretty much just what we're doing in the first layer. And we will paint over the first layer and we probably won't see any of it, but this is just really to get the ball rolling and stop this building after flyers. Well, that's trying to get the green ocher color that I made to worship the edge. I'm just going to go right. And while that's drying, I'm going to start the first wash on the eyeball. Just a very light wash with the blue black. Just going to put the skin to the eyebrows as well. A little bit of background. I'm going to smooth that out. Because as you can see in the reference image, It's feeling not that we have the live between the eyebrow and the eyelid. It's gonna get more skin to some details of the eye. Again, just building up layers as per usual here for Chrome, for the iris again now. But simply black. No more intense this time. Too much water. Is that highlight them. We want to reserve smooth color and also the pupil. Then just let it dry. Now I'm going to go inside of the eyeball again with a little shadow. I want to make it dramatic, but also on my Layers little by little. We don't want to go over the top. I'm just smoothing it out. Same on the other side. We're going to apply some pepper scattered bottom of the eyelid here. And also to the top them. Quite dry. It, I'm just going to wait until it's dry. And in the meantime, just going to get my very fine brush number one, and also with the little purple shadow lines and here, the black coffee brown. Now still with my very fine brush. Putting the eyelash line and here I'm just going to make some random max so that it looks organic. And then I'm going to go back to my skin tone to very thin brush and just get into the corner of the eye here. A little bit. Smooth that out. Trying to get my number three brush. In just a couple of details here. One to get some blue black and just hide from the contrast here. Just injecting those pigment there into the pupil. And I'm going to use my number ten brush again. And some purple shadow on the crease of the eye. I'm just intensifying up here in either the eyelash line. Gets more fluid black. A little bit more variable there. I'm going to be a little bit more skin tone one. Here. Add a little bit of a greenish shader. Yeah, who I really do, It's good. I'm just adding this color to a few specific areas to give a bit of richness and variety to my painting. So just really select a few points to put this color is going to grab a little bit of skin tone one again, and I'm just going to go let a little bit of whitewash. I'm mimicking the shape of the eye when I paint them. Push header, hoping that the iris is kinda dry now. So I'm going to go over that again. Especially the shaded paths doing up the contrast as per usual. And I'm just going to grab a little bit of Prussian blue and a little bit of the back. I don't give a bit of a bit of a wash here. Then. Just with a little bit of yellow ocher that we have on a palate. Remember pupil here wants to expand. I'm going to go back to my coffee brown and just work a little more on the eyelash line now. Adding intensity. Smooth out some shadow and mixed with some blue black. More of a dark bluish color is going to define some areas around here. Smooth. Wash, flag for endless Tyler behind. Well. And start to intensify some of these areas that are pretty color over. Remembering to visit the highlights a little bit. So you can see that I'm not going over the entire iris here, I'm just going over some areas to kind of have this tonal variety and the iris. Once I'm done with that, I'm just gonna go over the crease of the eye with some purple shadow, smoothing it out. Then I'm also going to go back to my skin tone to it just makes the top of the eyelid a little more dramatic. Removing excess water. We just keep going until I'm satisfied. I'm still not quite happy with the contrast of the iris and the pupil. Still wet pigment in there. And I just really want to get back into this white of the eye. Play around things. Absolutely. I can also go over the either shows with my very tiny brush though, and get back into that shadow under the top eyelid. And then also going back to the iris and just putting a few more marks and there just a couple more finishing touches. And there will be some coffee brown. I just wanted to go over the crease and the anchors. Really quite intense. Shed a little, take a little bit of this ocher green. And I'm just going to dry that off now, making sure that it's completely dry. I am going to give it one more cut of purple shedder. And with my skin tone to more reddish. I'm actually working with a clean brush. Just continue increasing the contrast, building up the layers and really just adding volume that way. So yeah, I'm just adding the finishing touches now. I'm just looking where maybe I can put one brushstroke here and one brush stroke. This, that's really just the very small details that I'm covering now. I feel like you can really see the layers from underneath shining through. So this means that I've been working with translucent layers underneath the eye. They e.g. I think that's really pretty and that's really the beauty of watercolor. I'm just going to put in a couple of eyebrows up the top with a little coffee brown and then I am going to try it. And that will be it for today. Maybe just a little bit here and I can turn to all right. I'm going to dry it and then we're done for today. I always think I'm finished and then I look and let's dry and it looks different. So I feel like that was really missing that little highlight there, just stood out. Okay, now we're really dumb. I hope you enjoyed it and I hope to see you tomorrow for another day of painting. Eyes. 35. Day 29: Hello and welcome to another day of 30-day challenge, painting eyes with watercolors, but they did guys. And for today, I've chosen this image as a reference. For that. I've already gone ahead and mix up some colors. I'm going to start by catching my eye onto my paper. I'm just sketching this in here. The crease of the eye importance must shed a tear duct here. This last line here is quite a lot darker. I'm just going to mark that as well. Got this shadow here comes. And then they put them, the pupil and iris. And again, I'm looking at positive space and negative space, or the positive space in this case would be the iris and pupil. And negative space would be the inside of the eye. Spot over here, we've got a highlight. Here. We've got the scarier, huge, It's quite dark. And then we can also just draw in the eyebrow little bit. And if you look closely, there's also a bit of a highlight down here. It's going to put that into because these kinda highlight give the life. Let's dive right in with skin tone. One can be that precise right now. Can be a little bit lighter. So we're just going to go over the dark areas for now. We're just applying brushstrokes and then we're extending the pigments, smoothing it out, modifying the breaststroke. In this way, just applying layers and layers of translucent paint come down to the bottom of the eye. Remember to reserve the highlights as the white of the paper is still continuing here with skin tone one. And I'm going to go over some dark areas to start really building up that contrast, but slowly. Add a little bit with a clean brush, almost dry, that I would love to get into the eye here. Just a little bit of color already. And also to the bottom eyelid here, the inside. I have gone over my highlight here. So I'm just going to the following little bit of tissue paper and just lift it up. I'm just continuing still with her skin tone. One stop to intensify some of these areas that are pretty cool over shadows, eyebrows, bit of a foundation to with the skin tone. One current law that's trying a little bit. I'm going to get the green ocher. And I'm going to go over the iris and the pupil. Remembering that I'm observing the highlight, but just covering the entire thing, otherwise. Taking up a little bit of pigment. Remember, variety here. And then I'm going to go in with my number six brush and intend to bring it over to this mixing pellet. And some of these creases, some of the darker areas. So this is definitely a dark area. The eyelash line under the eye as well. We just continue increasing the contrast, building up the layers. Then this blend of modernity here side. Once you start getting into the inside of the eye here, you can see this dark line. I'm just going to smooth it out a little bit up to the top to be inside, to look inside of the eye. I'm going to add some of this time to treat the inside. And on this side, smooth it out a little bit. Keep adding more. And I'm gonna get my skin tone three. You have too much water on your brush. You can always get rid of it on your piece of paper. Tissue paper. Just kinda get him here a little bit. Here. Let's just smooth it out. Just going to add a little bit more risk in turn three and certain areas like here. Let me use my paintbrush member, tim. It's quite an intense watch. Don't want that. I'm just going to put a light wash of most of the paper. Then I'm going to go back into the iris and the pupil. And I'm going to use some glue black here. And just start to finding a little bit more. Some areas that are darker. Sample around the iris and pupil. And then wet this area, just some clean water. And let painted spend a little bit. Okay, Let's start with my purple shadow. I'm going to stop the eyelash line. That's a lot to live at the moment. Always find it fascinating to see how the ice starts to come out of the paper. I'm just going to expand brush strokes. I'm going to get them to clean water, just a little bit damp. Brush this column that the brushstrokes. And also on this side, I can add a little shadow. Highlight them here, which was saved. Grab a little bit of skin tone three. Just got out of the bottom eyelid. Just too light right now. And I'm going to get the number ten brush, purple shadow. I'm just eyebrows. I'm going to go start on coffee brown. Pupil, iris again. I'm just building up the contrast, looking for the areas that are darker. I'm trying to really make this stand out. Tonal variety. Well, that's drying. I'm going to grab some of this green. Okay. Just a light wash and go over some of these areas. Maybe also the shadow over here. So I'm just adding this color to a few specific areas to give a bit of richness and variety to my painting. Go back to the coffee brown, my number six brush. Here. Excusing a little coffee brown on the crease of the eye up here as well. Eyelash line again. And with my number ten brush, I'm going to go over the eyebrows. Coffee round a little bit, make them a little more organic. So after you have tried it with a hairdryer, your paper's always going to be warmer and that means it's going to absorb the paint quicker. So be careful of that. I'm going to go back to skin tone one for a moment. So as you can see, I am just covering some of these areas. I'm not going over all of the areas because if we do then often we just lose that kind of tonal variety you that I love. So yeah, just selecting some areas to go over with this shade. I'm also applying it to the inside, smoothing it out, and also look at the pattern around the iris is also a little bit orangey. Continuing to smooth out a little bit. Just want to be working a little bit old either the image so that parts of that dry and then you can go over it again. I'm also going to add a little bit color. Skin tone three. Most fun. Yeah. That's a tiny bit too much. Going back to skin tone to adding more contrast. Just making the eye a little darker. So let's highlight can really stand out. And now I am going to get black and I'm going to add a little bit more ivory black that's not dark enough. And then I'm going to go over the inside of the eye again here, pupil, the iris, and the eyelash lines. After that I'm going to grab my number ten brush. Then maybe I'll just clean my smaller brush and go back to the Greenberg and just add a little bit more of that here. Maybe with a little bit more pigment and some paths more. What the paper is shining through. And I'm going to take a little more blue here. Question blue and just work a little bit with that. I'm here. And then I'm going to take a little coffee brown. Still working with my number six brush. I just want to be back in details. In the corner. I forgot. Now that we have in the bottom here, I'm going back to spend time three blue color. And I'm going to use a little coffee brown, little more sienna. This part of the eyelid here. And also having them there. And then back to skin tone one little there. I think I'm just going to put in the eyelashes now and then I'm done. I'm grabbing my coffee, my blue black. And I'm just going to stop flicking my number one brush like this. So you get like wispy brush, brushstrokes. Remember not to do them all the same. We can say this dot coming into the eye here a little bit. Continued doing that. I'm getting a little bit of the coffee brown and I'm just going to add a couple of eyelashes and that time could vary a little bit. You can see the colors already fading as it dries. I'm also going to add eyelashes down the bottom here. So as you can see, I'm also adding in some finishing touches, some little details here with the coffee brown just around the crease of the eye and then the inside of the eye. I'm just going to add in a couple of wispy eyebrows up here. And then I'm going to call it a day. So make sure you wait until it's completely dry before you remove it from the board. Because otherwise, I'm just going to put in a couple of reflection eyelashes here. Um, if you remove the image before it's completely dry at this, going to walk a little bit so we don't want that. Right. I hope you enjoy today's lesson and I hope to see you again tomorrow for another eye and say, did I challenge? I'll see you there. 36. Day 30: Hi and welcome back to the very last day of the 30-day challenge, painting eyes with watercolor for 30 days end for today. I've chosen this image as a reference, and I've already gone ahead and mix up some colors as well. And I am going to go ahead and sketch this I onto the paper just loosely as per usual. So I'm just making loose marks here before I really settle on the final mark to get the shape right. So what we're doing again is obviously withdrawing the general shape and then we also indicating for ourselves where there's light and shadow. So I can see here, I've got the tear duct and then the iris stats around the bat here I would say just come across down quite large him and I said, I'm just going to erase a little bit. I think the poem is correct, but just a little bit loud. Let's try that again. Inside of the eyelids. Inside of the top eyelid. Shader comes from the iris here. Next line there, then the crease above the eye. Because the eyelash line also takes up a little space. Here. We have the pupil and right and said the pupil, we have a highlight and a little highlight here. Okay? Today I am going to wet my paper. So I'm just gonna make sure that it's completely covered and completely covered in the water. Removing excess water, I want it to be nice and colors and not do it. Okay. I'm going to start with my skin tone one, just test it out on my test sheet here. And I'm just going to start going over the areas that are a bit darker here. The crease of the eyelid up here, you can see it starts shadow a little bit of room here. The eyelids as well. Cuff tear that little shadow under the eye. And of course, the eyelash line around here kinda caused them to be shadows. Just smooth out a little bit. There's a little bit of red in the eyeball, but I don't want this to be repairing yet. Miami just starting. I'm just going to intensify the stylish line up here. See how nice it's expanding and going under the eye. Also just intensifying those shadows a little bit down there and around the outside. Still working with skin tone one. Yeah, we're just trying to start building up those layers a little bit, just really sadly, and while the paper is still wet, the pigment will start expanding really nicely. Well, that's dry a little bit. I'm going to go into the iris. I'm just going to get a very light wash. I'm just going to start. Don't want to paint on my highlight there in the middle of the pupil. Lifting that up a little bit of tissue paper. And apart from that, though, the iris and the pupil, a little highlight down here. My smaller brush, making sure that it's clean. Just going to remove a little bit of the pigment here. Kind of variety going on there. And I also want to be a little bit lighter, a little bit more for what is the paper shining through? Once I'm done there, I'm just going to start working with my skin tone to I'm working underneath the top eyelid and also I took the eyelash line with me here. I'm also just going to focus on this bottom eyelash line here, just making it darker, extending the brush stroke and then going back up to the top eyelid and increasing that crease and also extending that brushstroke, just smoothing that out. Let's Spend a lot here. So I'm just taking away. Lit up there. And then also lift up a little bit of pigment from the inside of that. I'll go ahead and work a little bit with clients can turn three, make a light wash. I'm just going over the areas that I've already covered and also going over these areas that is still the white of the paper and some areas that I don't want to be the whitest white of the paper. So the lightest highlights should really be the highlights inside the eye. And yeah, other than that, I'm just going over the areas that have already covered again to heighten the contrast and just start building up those layers. Can turn to a couple of areas. So as you can see, the paper is still a little bit weird, so the paint is still expanding quite nicely in the layers that I'm adding on top of this still slightly wet layers are mixing with these colors. So I am working with different colors on top of each other while the paper is still wet. And usually when we're working wet on dry, we will wait for the paper, the layer underneath to completely dry before we start on the next layer, on the next color. So every time you paint, you've got to ask yourself, do I want these colors to mix directly my paper which has a wet on wet, or do I want to build up the colors so that they sit on top of each other and one shines through the other one and they kind of build up to make a color and a different way which will be wet on dry. So yeah, when you're using wet on wet, so you will have to take into account the colors will expand into each other. So as you might have noticed in this challenge, we've actually gone ahead and mixed wet on wet and wet on dry. And I really enjoy that variety and the richness that it gives to the painting to work with these different techniques that I'm going to start on my purple shadow. Just get them to the timing a little bit more. Some areas. I will smooth it out towards the inside. Like that there at all. I'm just going to use my number ten brush, get rid of that, and then dead tissue onto the eyeball. Get rid of a little bit of color there. I'm going to use a little bit of the green ocher, very light wash. I want working on the areas of the iris and the pupil here while the other areas dry. Okay, I'm just lifting up a little bit of pigment. Then I'm going to go into some of the areas of the skin with us as well. Green ocher. A little bit into these still damp areas are in the shadows. Here. Lash line size, you can see I am just covering some of these areas. I'm not going over all of the areas because if we do, then often we just lose that kind of tonal variety with that I love. Yeah, just selecting some areas to go over with this shade. Using a little bit is contained three tissue paper here. I'm just going to smooth that out. Then I'm gonna go back to the blue black and just put the shadow up here. So wouldn't detail pupil, color and variety and here and the pupil and iris. Okay, go ahead now and use a little bit of the coffee brown to define the lash line to look really dark. From here down the bottom here. It's going to tighten it up a little bit. Clean and dry brush. I'm going to use my very small brush to start just clicking out a couple of eyelashes here. So just going over the iris and the pupil again, trying to fix this little part here. I'm just continuing eyelashes because flicking the brush. And just putting in the rest of the eyelashes here. Remember that you can also lift up pigment or water with your tissue paper. And with the small brush, I'm going to go back to skin tone to, and I'm just going to find a little bit more of this area here. I'm gonna go back to black and just put a couple more touches on the iris. Very light wash of blue deck. I am full. And now I'm gonna go and dry that off. And then I'm going to grab my blue black again and just really intensified. Okay. And some of these areas, e.g. the shadow under here, little more variety and the virus here, just a bit light wash. And I'm going to mix a bit of coffee brand on here and the shadow. And just really lashes again. Then limbs detail. Really small brush for that again, excusing coffee brown. Plucking the brush like this. Then I'm going to use a little bit of blue black. Retrace the eyelashes a little bit. So you can see there's just a lot of going back and forth between colors, adding layers, intensifying. I'm going to get the blue black and I'm just going to add a little bit. I have the black or the pupil. That's going to be the darkest. Then I'm just gonna go back to skin, turn to if my number six brush and just scan here a little bit more finishing touches with them. I maybe a little bit more of the green ocher around the pupil here. Careful not to touch the pupil said unto them, expand the black into the iris here. Maybe a little more skin to skin turn three. Some of these areas, Jessica, into some of these details again, defining a couple of lines. I'm going to dry that off and then I think I'm done. One more thing I'm gonna do is I'm just going to put a little more shadow around the bottom here with my purple shadow around the top here. A little bit more shadow underneath here. So yeah, I'm just adding the finishing touches now. I'm just looking where maybe I can put one brush stroke here and one brush stroke there. So it's really just the very small details that I'm covering now. Really getting into this corner of the eye here. Okay, so I'm just going to draw out again and then I think that's it for today. So that concludes today's AI and I hope you enjoyed that. So with that, we finished today's AI and also the very last i and the 30-day challenge. I hope you've enjoyed it and do join me in the next video for some final thoughts and comments. I'll see you there. 37. Final Thoughts & Comments: And that was like Guys, thank you so much for joining me in this challenge, and I hope you've enjoyed it. So if you're watching this, then you've most probably completed the 30-day challenge. Well done. I'm really excited about seeing your projects, so go ahead and upload them. You can upload each eye separately or when you finished with the challenge, It's really up to you, but if you upload it as you go, I can already give me some feedback and pointers if you want. I just wanted to share with you that I feel like even though I'm creative every day for a living, I've really enjoyed this challenge and I use it to get into the rhythm before starting my day's work. So it also gave me some sort of structure. And I have to say I feel like I improved throughout the 30 days too. Thanks Heaps a game. If you have any feedback, I'd be really happy to read about it in the discussion section. So I just go ahead and drop me a line there if you want. Now if you're wondering what to do with 3D paintings of eyes, I have a couple of ideas. You could e.g. find them until the book, or you could obviously frame them and hanging them up in your house, either in groups of three or four or two, or just single. You could give them away as present. You could make cards out of them, birthday cards or Christmas cards. But if you have any good ideas, you can also go ahead and share them with me in the discussion section. I'm really looking forward to seeing you again maybe in a future class. Alright, I'll see you there.