Tortoiseshell cat fur painted with kitchen salt - wet on wet watercolor tutorial | Agnes Bodor | Skillshare

Playback Speed

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

Tortoiseshell cat fur painted with kitchen salt - wet on wet watercolor tutorial

teacher avatar Agnes Bodor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction and project description


    • 2.

      Tools and materials


    • 3.

      Drawing and using the masking fluid


    • 4.

      Start to paint


    • 5.

      Continue to paint


    • 6.

      Adding details and application of salt


    • 7.

      Finishing up the painting section


    • 8.

      Removing masking fluid and retouching


    • 9.

      Finishing up


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

Community Generated

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





About This Class

Tortoiseshell cat fur painted with kitchen salt - wet on wet watercolor tutorial is a project where we will use kitchen salt not just as a technique but as a technique to express cat fur. We also will test and practice the technique briefly. Kitchen salt technique often shown in videos but rarely as a part of your "watercolor brush  option". Here I show you that it is a valid technique to create real fine art.

Meet Your Teacher

Teacher Profile Image

Agnes Bodor

Level: Intermediate

Class Ratings

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Introduction and project description : Hi, my name is Agnes borrowed and I am from Hungary. I moved to Seattle in 2007, and since then I live here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made doing origami, photography or whatever occupying my mind. My favorite technique was always water color and I love to paint landscapes and core threat. But nowadays, I mostly paying to get when I paint cats, I wanna catch their, FOR their beauty, their movement, not just copying according to all what our Alice calculations. Also when I used water or I wanna use the potential of these materials that their own UP. I don't wanna use. Euler Anthora, I wanna use. And water color. I think soon be used very slowly, very three. Let us cuz this is enabled on paper because to make good piece it watercolour. It's very, very important to understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorials, this is a cracking lifespan. To make you understand this very complicated math area, the water colors, and be able to use its beauty. But be it Master. Hi everyone. Thank you so much for choosing my tutorial today. It will be this very beautiful dot-dot-dot shock cat. And the interesting or new part will be in this tutorial. Compared to the previous was the use of kittens thought. So besides all the things, the letter met technique, the blooming, the pushback technique, I will add a new technique today. It is the kitchen side. And the idea here is that the kitchens saw technique result a very similar effect as blues. Just a miniature version of the blooms. It's much smaller. So you can see this specialty of turquoise shock cat. It has this very tiny speakers, color speakers in the first, so it can be black on the orange, orange on the black. And that's tiny spectra can be really beautifully represented by the kitchen salt technique. So this will be the new thing today. But I will use all the other thing I explained in the previous tutorials. So regarding the kitchen search technique, I tried several paper and paint and different conditions and it's tricky to use it. So if you have the right condition, it's easy. But first of all, I found out that kitchen salt is not working on every paper. We're all on the good watercolour paper, but it didn't work, for example, on the constants et al paper. It works mostly on most of the pain, but not all the pins. So for example, ultramarine blue is not working with kittens sought or even with pushback or, or wash back technique. So it's very similar. So you can say, hey, lumberjack, transparent orange from Harappa and ultramarine blue from Daniel Smith. And I'm adding the kitchen sought to adding the kitchen side as other techniques. It's really depend on the right timing. So the patient need to be Sammy dry, not dry, not too wet. Here I'm adding on all kind of level. So you can see one side is much wetter and the other is more dry. And I add the ultramarine just to show how much it's not sensitive to this technique. And also the, as I said, the pushback and the callee flow where it's not working on either. So it's probably the pigment structure. Can, can define that if you can use this technique. Another trick with the salt technique, it's take time to develop, so it's very easy to overdo because the final version, the final effect is only visible after dryness, which can take hours. But even just to see the beginning of the effective 5-10 minutes. So be very careful in the kitchen, salt it take time. So now I cut the video and you can see how it's developing. So it's much stronger already and it's not even dry at. And the third trick is dry, very slow. So it's Luke dry. But so what I'm showing right now, I touching with the hand, it's look dry but it's still not dry. So you need to be very careful when when you when you wait to the drying process and it is half-a-day, overnight or even longer. So the painting I will show today, the tutorial didn't dry within overnight plus several hours. So that's important. And here I just show few example how this kitchen search technique come out on the end. So I, again, I would like to emphasize it's really easy to overdo because the effect grow by minutes, by minutes and even hours. So be very careful. Test on your paper, test on your pain, makes some time measurements just to make sure you're not overdoing it. So here is another example for using the kittens Art. One of my older boy circuit, where I used it mod everywhere than compared to the previous ones. So I don't know how kittens side crystal effect sacrificed our size affect the result. That's also something you can try. I tried very big crystals at, didn't work very well. The tiny crystals I have in my kitchen salt, I'm making really intense effect. So maybe the smaller crystal are more effective because it just melting or the solving in a, in a wet paint and it's pushing the paint away where the crista is. So I don't know, my my Assad has very tiny crystals, but the effect is very strong. So you seen the tutorial video. It's very intense. I actually, for my taste I over their head. And here's my last painting I wanna show as an example. So again, try to not use everywhere. Just choose the area of anyone I use in twos areas where you don't use. Also one more thing may be important. If you have shadow or something like that, it's better to paint after drying. And when you remove the kitchens, because it when you, when you spread the sod, it's often spread everywhere go salt crystals go everywhere. And then you will see like little look like snowflakes in your shadow area. So wherever it's wet area and the and with the paint and salt crystal fall on it, it will have the effects, so be careful value at the side. So in the next section, I explain the tools and the materials. And I hope you staying with me. 2. Tools and materials: So here I am introducing the tools and the materials I used. As always for water colored paper is the most important material. So I don't think it will work on, on, on a paper which is not a watercolour paper. Also, I think it's better to have at least a 140 b tick paper and cold press, but maybe other texture would work too, especially rough. So the paper I am using in this tutorial and its absolute, My favorite is the long term prestige. Prestige is important because if it's not labor, that's prestige, just their long-term, that's a student brand. So there are long term prestige, it's caught on paper and it's a 140 Abby paper. And this is the full sheet, 22 by 30 entails. And I'm not suggesting to use anything smaller than 18 by 2040 inches, but that would be even had the other brands, other good watercolour paper, artist quality paper brands would work. So if I wouldn't use the long-term prestige, I would probably go with arche or add to his paper. But many other paper like stone hand or Kilimanjaro, which is probably a cheaper paper, would work too, from Kilimanjaro by the ticker. So maybe that point you are not cheaper. So it's needed to look the prize. But from Kilimanjaro, the turnover is very thin. I mean, it's possible to use that. It's just really tended to real provably Bucher. I have better experience. I told many times with Fabriano, artistic oil is bucket buckling way too much for my test, you will need several large ball of water, at least two bytes. 45 is better. Choose vital transplant and ball. You wanna see when your paint degrading and always have one clean bowl of water around you. So you can see on the top my favorite modeller brushes. I don't know the brand. Unfortunately, I bought in an art store in the Asian section. I love it. I have it for at least than maybe more years. They rusty falling apart. I will look for new ones, but that's what I like. But most brush brand has modeller brushes, so that's easy to replace. It's not important to, by this brush away from a high-quality for, I use watercolor pants sale, any brand, any Notre color is fine. It's disappearing when you wet your paper. And that's my amusingly, regarding brushes, I mostly use printf stone brand. It has many subtype IN I like very much the elite and the nap dawn. I don't have preference or on the beach one day, they different, quite different. Both are really good. Neptune is very fluffy hoarding a lot of water. Acquire Arete from print stone is more springy. Size-wise. If you buy round by around, around 20 or so. If you, for, for large, any of these brand, if you, if you buy not round back quill, it's about eight. Size 814 Irwin, I would suggest a size eight and probably a size four. I also started to use silver silver black velvet brushes. I only have a size eight now and then over a wash. Many people really like it and I'm ordering from that. So that's that I think it's good one too. I don't have too much experience. But if you have any watercolor brushes, that what you've learned. So musing, masking fluid, this is the brand name using any brand would be fine. I guess. There are reviews on, on, on YouTube if you want to choose another brand, I'm using this for a long time. I'm happy with that, but I heard there are mostly the older brands are mostly seminal and people like them. So this is what I use, PEBO drying gum, and I use reed steak or chopstick with the tape to apply it. So nothing complicated here. And butter last for, hears. It sensitive to drying out, so make sure you cap it back. So this is the silver black velvet brush I'm ordering right now. If you're interested. This is, I think, bleak, but you can buy it on Amazon. I don't know. I didn't compare the prices and fortunately, this is my team brush. It prints stone artists brush size 0. If you want something where it in like that, I really, I'm really happy with this one. Not necessary. So any good watercolour brush size four has enough good tape. This is the fiber customer, artist, pan I using the size smart for whiskers or i details or signature. And I think it's the second one in this row. If you want to buy it, it's from Blake again. So the thing I really want to suggest to everyone, This is this Daniel Smith, extra fine water color test Sheets called Dot Card, I think so if you just search the Internet, you will find YouTube videos. Amazon bleak. Many places salad, it's around 25 bucks. I think. It has a little sample from all the 238 or so-called lower, which is amazing. It is just so fun to have. You can test the colors. It's not just the colors, but you can test the quality of the paint. For example, Sam is very Dan's easy to reactivate, some much harder to reactivate. And there is a description and you can see if it's transparent or semi transparent or not transparent color. You can see many properties if it's ground relating or, or It's incredible. Light fast SEM. So if how much it's resistant for, for light, sunlight. And the YouTube has tons of videos, man, people playing with this. You have that at home. You always can task your colors and order based on that. You can buy similar stuff for other brands too. But I found this is the most amazing. It's, it's really good stuff to have. I really suggested, but I give you suggestions, but I know people have very, very many different brands of watercolor. And if you have another brand, don't buy it. Don't buy this. Just try to find similar color, honestly, it, it will be fine. The only trick is to have an artist quality watercolor tube. I really saying tube, because the pen is just so hard to get enough paint on your brush. And so I really suggest your, so this is my two favorite brands, but most of the brands I ever tried an artist qualities fine. So my favorite light around or very bright but very transparent orange. This is the Hora de transparent orange. I suggesting this if you buying the black, I'm always using the lamp black. Every brand or most heavily black. And honestly, any lamp black would be fine. It can be harder than what Danielle Smith or other brands to don't panic on that brand you buy if it's artist's quality, lamb blacks are very similar. So if you have these two colors, alarm black and some kind of transparent around, you are fine. But I use a little bit darker orange, which can be from Daniel Smith. This I'm pretty sure I'm pronouncing things wrong, but you can read it. Vanity and read, or garnet, genuine. And the Lunar than red rock is more dark. So, so the first row is like a more darker orangey brick colour. And the lunar red oak is, is a deeper brownish, warm color. And you don't need to have all of this. So if you have, it's fine. Every SAT contains similar colors and even you can make set. So I am using blue, these three blue, very similar in appearance or any of them, you need only one. Any of them if you want to use blue. It's not necessary for this painting. And other than that, I use dark brown. Some kind of dark close to black brown sometimes. Again, absolutely not necessarily because the orange with the black, we'll give you something very similar. If you buy, it's a one Dyke brown or sapiens. The two darker brown. And I have two blues which I adore both of them. And they are very similar. One is now drought aimed, and another one is pi1 is grey. So sorry for the pronunciation. I've wrote it on the slide. So if you want to order, you can find it there. And the last thing, at least in my mind, I hope I'm not missing anything or not match. You need some kind of wiping. Paper. I'm using a came via Skype. This is designed to not release particles or falling apart from water. Toilet paper, tissue paper will fall apart. So your best bet is probably kitchen paper tower in. I'm also using water spray butter. Any brand is fine. You don't need a high-quality. So I hope you have everything ready and you come to start to paint with me, which is the next section. Thank you. 3. Drawing and using the masking fluid: So the next thing we're doing right now is taking out paper and drawing out the cat using watercolor, pencil. Brand color. Not important. Maybe use Malhotra colors, gray brown, light blue. I don't know, ochre is better than some really bright colored. But in this method it will disappear eventually. And you can use the outline I provide. But actually, I suggest to draw just based on a photo. First you learn from it. Second event, everybody have a given type of distortion usually. And so the way how you draw out and how you change a little bit the ratios and staff. It will be your it will belong to your style. I don't know how ask to say that. So think about Modigliani, who painted every woman very elongated or we can, we can continue this line like oil painters has their own way of distorting the image. And it's a good thing. Actually. I think it's good if you draw just based on the photo and using your own mind to do it, because it will be more individual. But if you just wanna concentrate on the painting, he was the the the outline I uploaded. So after you have approximately the outline. And so because we using masking fluid, the verb using masking fluid, those area, the ear, the eye, the whiskers, stuff like that. That's where you need to be exact because you cannot draw an approximate here. Because that masking fluid line, we'll be very exact. It just one line so that area you need to kind of finalize before we adding the masking flow ed. The other can be changed later. It will change any wave when you add the paint, it will change a little bit for sure. But yeah, the face and I and the whisker position and direction that I mean, if you keep the whiteness of the mass, but the masking three provide it will stay like that. So that blue thing is my masking fluid. I still need to draw a little bit on a face. Masking fluid needs some kind of mixing. So this is why I slowly move up, upside down and back few times. Sand, I am drawing the details where the masking fluid goes. I chose this cat actually because the phase is quite simple. It's more about the colors and the structure of the fur than then the face. So I'm using my lead stake to draw with the masking fluid. You can see I test out a line on my paper next to me just to make sure it's not dripping and stuff. So I did the whisker, the outline of the ear and the other ear. And a little bit the eye. The eye shape you can change later a little bit too smaller. Not the other way around, but yeah. So you can make it a little bit smaller later, so I just make an outline to keep it right that area so I can work later there. And as I told it many, many times, you need to wait until the masking fluid dry. Don't try to do anything painting Wise before it. Not completely dry. It will it will cause problem. So just wait until it's dry with my masking fluid. It takes several minutes, probably 15 or so. But it's clearly visible when it's dry. You can see this one change color to dark blue. It's obvious. So just make sure you wait enough and prepare your paint, your watercolour paint. And then we meet when the masking fluid is dry. 4. Start to paint: So welcome back. I hope the masking fluid is dry. If it's dry, you can start to wet the paper. I use a spray butter, but you can just use your big moat lead brush. It's a really big brush. It's because it's a really big paper. So it's probably easier if you have a spray butter. I really make it wet everywhere, like kind of soaking. And when I kind of spread everywhere, I use a vat accomplished, live that brush. And I start to equalize the wetness everywhere and make sure it's it goes everywhere. And I dipping my brush to clean water and add more wetness. And it takes a few minutes until the swatter sinking to the paper. So so I do it this for a few minutes. I mean, not the brushing, but after I am happy with the water level everywhere, I just wait two minutes. And yeah. You need to have the paint prepared. I would say at least two colors, black and some kind of orange. I talk about, I talked about in the tools and materials section. But I use a little blue to try moraine. Not necessary. But the black and orange is kind of the basic tools I made it. And maybe some little yellow, tiny bit of yellow, yellowish green for the eye. And I'm doing this, I removing like a brush hair, fall out, so I'm just pushing it off from the paper. I always have a tweezer around me. Just normal eyebrow trees or if I have to remove brush hair, it's pretty annoying and it's live it's changed the paint floor. So I just like to remove them completely. So you can see like minutes goes by. And before I start to bend just a little bit, the wetness sink in. I don't want that to stop water swimming gonna waters on the paper surface. I want the paper but inside. And usually I start with the lighter, lighter colors. So the in this case I use a little blue. It's kind of test question. But I I really use just a little bit so and then I use the orange and black. Mainly. I use big brushes and I kind of put down these colored blobs very everywhere and in a very simple way. Just not too much thinking, just kind of sketching up everything, putting up the big places. First, I always try to put the colors in, in more in the middle because it will spread. It spread outside. So the outer direction. So I, I usually not going on the line. I going further in the middle direction from the lines because I know it will spread out and I just barely labor legs and ears and stuff because the is on the left ear of the cat. It's okay because the masking fluid Hold it. But I'm not painting the backside of the ear or the other ear. And so I'm, I'm just mainly working on the middle of the body and the other parts a little bit late. I mean, a little bit later this we spread out. So I went to see how far its spread. And I, of course I am watching the photo and I'm trying to like not super precise, but like vaguely go by the the colours and colour ranges, how dark the color just based on a photo. I really surges big confidence here, like the detail that you can see, it's not important yet. You, I just worked with big brush and just scan through the body and put down the main colors. And I lead the pain spread and melt together to generate those beautiful. I'm a diffusion pattern into each other, just spread into each other. Showing this fairy texture of the watercolor. I talk about every single tutorial, especially the last one. So the painting section. It's a long, long, I don't know. Probably, I would say 40 minutes, 50 minutes. And the first paintings section, but it's cut it up around ten minutes segments. So it's I don't have brakes there. I just had to break the video to approximately ten minutes parts. So in the next 40 minutes we will paint continuously or maybe even a little bit longer than 40, 40-50, I would say. Sometimes I do a water, but not much. So you see I use the blue, black, the transparent orange, and a darker color. I, I, I left suggestions what color? I suggest, but, you know, it can be a similar colored and the color names in every brands are different. So I'm not saying you need to buy this brand and that color exactly just something like deeper brownish orange color and something lighter, transparent orange. The black is lamp black and it's ultramarine blue, but other blue is fine too. So I'm breaking up the video here. See you in the next one immediately. 5. Continue to paint: So I'm still working on the main body and the scooting down the basic colors. Better to start with lighter colors and goal it the darker ones. You can see, I let some places I lead those light orange to dry a little bit. And the idea is because when you add the salt later, it will remove the vet band. So if it has a dry once dry under painting, that color we'll come out and not the white of the paper you will see. So if if the if the paint layer is just wet, it will it will, the salt will bring up the white part of the paper. If you painted some color there and that colors stained the paper. And then you add the second layer and then the solid. Then that first layer will be busy bar. So in this case it's the orange. Those lighter on, on GI painted first on a back, especially. So as it gets a little bit dry, dry, dry, not dry at all. It's just not as wet. You can start I switched you can say switch smaller brush to a smaller brush. It's probably a size eight. And I can add smaller colored blocks. And also you see I'm lifting paint. So if you need to change things, I'm lifting again. If you need to change things, it's time now because as it goes to drier and drier state, it's harder and harder to lift. So if you want to eliminate paint in there, it's now before it's dry. So if you need to lift, Think about it. So you can see it's not flowing as much. So you can start to add details also because it's start to dry, not as flowing anymore. Like right now what I'm doing, I'm adding just water to generate blooms. So it's also time for that. On the areas where it's getting drier but not dry. This is what I mentioned when I removing brush hair. With tweezers. I also adding pigment now so you can see like there are a kind of wet black area and I just add more paint in the middle. It's a good state because it's melting together. You see there is no edge, no line because everything is wet so you can spend your colors. Like if you want more dark, black, for example, it's time to add just pigment, like just more paint, not very, very dense paint actually. And then it's melting into the old layer because it's still that the consistency about heavy cream, not heavier, denser than that about heavy cream consistency. It's watercolor is you cannot really use it. Take, it's just ugly. There is a temporary or goulash. You can use thicker layers. It's designed for that, the water color. It's not great when it's applied tech or very ticket list. Probably this is the tickets. You can I mean, it's my opinion. I'm not I'm not absolute and not knowing the absolute truth. But yeah, I wouldn't go with watercolor thicker than this house painting the Scat. But it's really beautiful when you go even thinner. For other things. You can also see I'm adding water, some blooms around the neck and other places. So there are several places where beautiful blooms happening. So blooms happening when you just add clean water to semi dry paint. I have separate videos on the previous lesson where I explain blooms and cauliflower. It's in the title so you can find, if you search for Bloom's and cauliflower. So it's time, it's kind of time if you want to add this kind of effect. Actually if I wouldn't show the salt technique today, I would live. The cat is as it is right now. I really like it. But we will go forward a lot to play with the Saad. I just painted like a literally alloying today. I you you can do the I later. I mean, after we remove the masking fluid if you want. So now I am trying to generate those very specific pattern turned to his shock at have, which is like very tiny, tiny color. Like sports. Just really small spots in the like, small little black in the orange or smile eater or add in a black area. And the salt specifically good to generate that pattern. So the salt is doing exactly what we doing with water and called Bloom and cauliflower, just miniature version of it because it's caused by a solid crystals. So it's a miniature bloom or cauliflower what the salt makes on the water color. I'm using kitchens. Kitchens thought very smart grid. But it's crazy what it's doing. It's so effective. I mentioned before, but test your SWOT. And actually the sod need to happen in a right time, which is the semi dry paint not too wet. If it's too wet, it's, it's just melting together. It's not really doing individual little blooms. But it's almost like melting together to a one big bloom. I don't know it. I think paper, paint, and salt are all important and also how that is your paper. I know for sure because I tried to make video winter snowfall for kids on just cheap watercolor paper which was constant acts. The solid effect didn't work. I use the exact same paint where I know the salt working. It didn't work on that paper. I was so surprised. So I know it's working on on all those paper I usually was saying. So you can see I'm still doing Sam lifting here and there. Just correcting few things. And I have to cut the video again. So I think it's time to bring the salt. 6. Adding details and application of salt: So I'm still finishing uplifting around there. It was founded just a little bit to take. And I'm also adding water just to generate the little bloom here and there. Or actually it's not. It's a big book. The tie. And now I can add more the outline lines like on a leg for example, because it's not falling out crazily anymore. So I don't need to worry about everything flowing away. Suddenly. So I'm using the, the Qin vibe to lighten up few areas a little bit. And again, I'm adding just water to just have some blooms a little bit like like pushing away the paint with the with just water. And I'm using lake lifting just with my big Bros the edge of the big brass, just lifting some pain. When I want a little bit more line-like drawing. So after you add the sod, it's really hard to paint anymore a little bit. You can do it and there, but it's not easy. So it's good to have some kind of version where you have pay and you ok to stop. And then when the wetness is gold, you add the salt. And the next step is you can paint a little bit D1 thereafter, but not much for sure. Then you need to wait until the halting dry. And so as I said, where you add the salt is try so, so much slower. I I was waiting overnight before I went back to finishing up the painting overnight and it still was a spot where it was and dry. So I'm saying this because before you start to add the salt, you need to arrive to a point. Where you can't really continue the painting before it's dry entirely. So after it's dry, you still can do a lot on it when you remove the salt and the masking fluid, but it's better not to. So it's better to have some kind of goods state and then add the salt. So I am just using this very simple kitchen salt. Please test assault on a piece of the problem is you have to use your own paper, like using oil painting, but you don't like and pain just a black thing. And VT, at least 2030 minutes at Alito's third way, 20-30 minutes. The effect is crazy. I overdid. I honestly saying I overdid even I know how, how strong is the effect. I tried to be very modest when I'm adding a side, really just pinches salt and it's just crazy effective. It will generate. So Intel's pattern. So be very careful, very, very, very easy to overdo the salt and donate everywhere. So I tried to watch the photo. And if it's everywhere, it's just boring. So it's better to like check the photo and where you see those tiny color changes in afer. That's the area where it's it's good. I'm still keeping keep an eye overflowing and using a piece of cake to remove overflow, blowing paint. Very still planning spreading too much. So the side effects start to be visible in few minutes, But it's not defined. The finer is in half an hour to an hour or even may be more. It will be effective. Maybe way more than you expected. So I am taking time to watch what's happening and where. And if I need to interfere. 7. Finishing up the painting section: So I live to the little bit of paint on the back. But it's it's it's best not to, it's just best to watch what's going on. So in my painting, the side effect start to be visible. So now I see where it will develop. It's nothing not even close to define development. It will be much more intense. But at least now it's visible where I added salt. So it's obvious where the salt butter and we'll develop a lioness decide just to be a little bit more modest on it than I was. I think they get a little bit too much. So I know it's boring. You can go forward with the video. It's just, I wanted to show real time how it is developing and I touch here and there, but as you can see, I'm not doing much. You can do much at that point. You can do little changes. I don't know. If you had lots of water where the salt is, the salt button world disappeared, but then it will affect other places too, because that water will make a huge bloom. So it's kind of risky. It's exactly what's happening for me on the tie area. It just I added water and like huge very light orange bloom developing that. I don't mind. And I can change a little bit on the end after it's dry and everything. But not now. You can do much and the paint painting is covered by salt. You really can't. Now the sod button is very strong. So if you put lot of salt in one sport, it will be just one big blooms. So because those little blooms go together, if you, him to decide very rare, then it will be a lot of small spots, very spotty. So for example, you can see on the bottom of my cat, just above the, there, there are these three big sot spot where it's more like three bigger blue Mondrian and many other places it just hundreds or thousands of stymie spots where I hinted the salt very rare. Like so it's not net forming clumps. Just like I'm salting bread. Like just butter bread or something. You just start tried to him the salt very evenly rare. I'm adding those second feet. You stick an ad if it's still that where wherever it's wet a little bit, you can still add a little salt if you want. But I think it's easy to overdo the salts or I'm not suggesting it. Very overt painting like I do it in the salt pattern will disappear. Like I did a little bit, just a little bit on the, on this on the web detail attached. Still adding saw Tina and there when it's the paint surface is dry. Like you touch it, then it's not staining your hand than the salt one. Do anything on those area. So as I mentioned, salt works best on semi dry paint. Not very wet, not too dry. Semi dry paint. So I'm kinda preparing to stop and just completely let it dry. Now it's it's not maybe maybe it's reached a point now then it cannot overflow. So I don't need to worry about overflowing and it's just better to put aside. If you use, if you put it away from your desk, for example, make sure you put papers under it or something under it because the vet watercolor paper really can pick up the pattern, anything below. So if I would put down on my laminated floor, it would pick up the laminated pattern or so. Just make sure you leave something under it so it cannot pick up the pattern. If you remove from your desk, it will stay that for many, many hours, maybe 1020 hours because of the salt. So as I said, I waited overnight and it still had a wet spot on it. So the solid really holding the water so it's dry, very, very slow because of the salt. So when you feel it's ready, place, placed aside and just read for a day or something like that. You will see like this big orange area around the leg. I still can change that a lot after drying, so don't worry about those things. You it's not where to do it now because the salt is everywhere and it will be just messy. So you can still change a lot on a painting tomorrow or after it's dry, so don't worry. And I finished for now and see you after it's dry, entirely dry. 8. Removing masking fluid and retouching: So as I mentioned, after overnight, there is still a wet spot. It's a small, very, very small areas, so I don't I don't mind I dried up with a paper this just about like a coin size. But when you do this very careful because you need to remove this old Assad and Assad really sticking to the paper in a band and it's almost like a rock rock surface. You have to like remove the solid like loosen it up and remove it. And if it's wet and you do this movement with your hand UK, you can really push paint on a white area. So check sometimes your hand maybe. And only continue if your hand is cleaned. Steaks claim. Because any wet sport wet paint spot can mess things. And I think you now you see what I was talking about that I overdid the sod and Assad is very power four. It's hard to imagine a few don't have experienced what it can do. It's really crazy. I would be happier with a slightly less salt salt effect. I would say. Also I am removing the masking fluid. As you can see, I'm using my finger to remove the masking fluid everywhere. So it will take a wire, makes sure all the salt and all the masking fluid is gone. And just hold up your water colored paper and make sure everything falling off and nothing stay on the surface. No masking fluid, no salt left. So I'm still trying to like fighting that wet spot there. So I'm reading around the eye, but not the eye itself. That's what I did because I will add darker paint just around the eye. To pop out a little bit more. I'm using a very small brush. You can use bigger branch because good watercolor brushes all have points, but it's easier if you have choices. If you have a thin brush around you, it's, it's useful now for this when you do details like this. So I make the eye a little bit smaller and I'm using, and also like, I want those dark lines and also a little bit darker. Because I want the I Pope just a little bit more obvious with more wisdom bar. Also, I don't like to keep any invite like bright white paper right where the masking fluid were before. So I always torn down those sharp lines, white lines because it's just so unnatural. Trying to be very realistic with the eye shape. So I'm really looking at the photo and I adding little black dot there, just the pattern of the fur. And I'm toning than the beginning of the whiskers, so I don't want to slis big thick white lines start right away, so I just tone it down a paint like dirty gray color over it. If it's too dark, just use paper towel to lighten up a little bit. Same with the ear. So where those very bright white lines, I just use the photo and check. How it is, and I don't in that. And that means in later greenest scholars to, to make some shadowing, shading on the eyeball. And I'm toning down those very bright white made by the masking fluid everywhere. Just either over paint with the lighter gray color or if it has a code or just use the photo as a reference and just try to mimic that colored. So trying to change a little bit the silhouette of the affairs. Unfortunately, I had to cut this video.So to two parts, but the next part will be the end. So it's finishing up now, but I didn't stop here. Does the video is cut. 9. Finishing up: So what I'm doing is I'm adding a light lightly, it'll blue here. I also vetting a large area because I will turn down that big orange Tang and also I tone down a little bit some sort button too. So I'm using light blue here. But it's more like light blue and plus just water for wetting. Like for example there where that big orange bloom is, which I would like to change. I just wet it with water. And I'm painting almost as the first layer was. So like it's a wetter red because I made the area kind of wet. If you don't have issue like me, if you don't have things you want to make disappear or stuff like that, don't, don't do anything with it. It just if you have similar problems, you can see how I do it, how I I tone it down. I make pretty wet everything in there and I just paint a new layer of cat fur in on those wet area. If you need to, you can add salt on the end again. If you have this kind of bigger area repented, you can add salt again to that layered too if you want. So I go back now to finish the eye area because those shading I add and the wet areas I worked on before, dry now so I can use my ten brush and make details like the black line around the eye and the pupil. Because it's not spreading anymore into the eyeball yellow area because it's dry. So I suggest this for you too. If it's dry, you can work on the darker parts of the eye. And it's, at least on my painting, it's make the eye pope better. So I like it. It's trying to work on that. Too big to yellow Bloom. And I add some second layer to heat and to darken things. Also, if I add a second, those of salt on those areas. When the site push the paint away, the orange or whatever color was below will come out. So for viscous then staff, I am using my Fiber artist, Piet ban signature. Maybe you can use it for PW PL or around. It's just easier. And drawing the Vickery where the area is white so the masking fluid vite not visible like on the other side. Whiskers. I use those. I use that pen there. Its size small. And I'm adding this second layer of salt, which I just mentioned. So but it's just very little, very few area. I just wonder what the new layers blend in to the rest. So just feel very few sunspots would help. Also, I use the span for like just where you really want a sharp line, like edge of the year for example, if you wanted black, of course. Although I think you can't buy this in many colors and it's really good. I really love it. It just I only bought the black. I'm getting close to the end. So now I'm just looking here and that for few details what to change on the eye or wherever you think. You don't like. I'm really just adding fuel little details. And I already feel I overdid with the solid so trying to trying to stop myself to do big changes or kids stuff. It just dark and with very small spots of black eye does dark and diarrhea around a little bit. It's still just helping die to me more distinct and demanding those new, new paint strokes to little brush just to make it more blending. So I hope you liked this tutorial and you will try it. If you do it, please upload it to to scare share side because I would like to see the result. If you have question or comment or critique, you can do it again in the comment section. And I hope you do it. So again, just wait anti dry, removed the extra salt. And its Dan. Thank you for choosing my tutorial and working with me today. I hope you liked it. I also hope to see you in the next tutorial. Bye.