Watercolor - Let's Paint A Cat: Vol. 1!

1. Watercolor - Let's Paint a Cat Vol. 1: In this Skillshare class, we will explore the fundamentals needed to create an 8 by 10 whimsical watercolor painting of a tabby Persian cat. This class is a great starting point for those wanting to explore the world of painting cats using both the wet on wet and wet on dry techniques. I'll walk you through each step so you'll feel confident painting your very own cat. We're gonna go through supplies used. We're going to paint the background and shadows, the eyes and nose. We're going to paint the ears. Then we'll go to the leg and body plus the head. Then we'll come to the chest and for we'll finish with the chin and details. And then I'll show you how to complete the shelf and book. So if you have the right cata 2D, you'll do possum. Let's get started right now. 2. Supplies Used: Okay, I want to quickly go over our supplies for this class. We are going to need an 8 by 10 piece of watercolor paper. You can choose cold press, hot press, 140 pounds or 300 pound. That's up to you in this class, I will be using a 300 pound cold press, Sanders Waterford paper. And then I've got my outline. I've got my piece of graphite paper here to do that. They just have a little piece of tape to keep the paper onto your watercolor paper as you transfer, I am going to use a ballpoint pen. I just like using red simply because I can see the pen marks after I've transferred. We are going to use a white signal abroad pin. There's an art and fly you can use as well for this. We're going to use this for some highlighting and some whiskers. We've got three brushes for this class, two of which are Master's Touch and those are found at Hobby Lobby. I've got a number 12 and a number eight. They both got really great fine points on them. One can hold more water renews us for the larger areas, this one we use for a little more detail. And then I did go ahead and pull a Simply Simmons round two. These are all round allele. And just a really nice fine point brush. Just so you can get those nice details. In our painting. I've got some paper towels set aside here. I've got a water container off to the side. I've got my palette I'll pulled and ready to go. And here's a picture with my supplies that we're using for this class. And one hand print it out. Little quick guide. You can find that in the downloads area. And I think we are ready to jump into our painting. So let's go. 3. Background and Shadows: Now that we've got our tech all transfer, appeal this up and all. You feel like some of your lines are too dark. Feel free to take an eraser and gently go across this. A kneaded eraser is a great idea if you feel like your lines are a little too dark or you're just not sure, feel free to attack it with an eraser. All right, we're going to jump right into this painting with the background first. Simply because our cat is a bit darker than the surrounding area that it's against. I want to go ahead and fill that in so that we can take those nice brush strokes on top of our background instead of doing the background at the end and having potential bleed from the darker pigments. Hopefully that makes sense deals. Okay, we're going to start backgrounds and shadows with the wet on wet technique. I'm going to cover this particular area. I'm gonna stop at the book here, cover that. And then I'm going to just do a gentle wash on that. And I'm gonna do that with each section as we go. You do have the choice of doing the words on the book at the end or you can just leave it blank. It doesn't have to have words on it. I just thought was kind of a cute idea to put curiosities of cats just because the book didn't really have a title. And yeah, so now the most exciting moment you've all been waiting for, watching me put water on paper. Q speedup. Ok. Once you've decided that it's nice and saturated, go ahead and get a little bit of water. I'm going to use a neutral tent. Feel free to pick whatever tone you feel good about a background. It can be really any color. It doesn't have to be it doesn't have to be black. It doesn't have to be any particular shade. If you weren't, do like a teal shading in the background, go for it. Q and yellow. Totally up to you. I just kind of pick something neutral, so I wouldn't have to really make that decision. But with this, we're just kind of filling in areas where there's things closest to the wall. I can do is pull that color if we don't want to just sit there. And the nice thing about this particular paper is this is just kinda doing its thing. You can take this as far or as little as you want, as far as that goes. And I'm just taking the tip of my brush here and just kind of pulling the wet into the fur areas. You don't want just like a block of FRD was kind of sticking outward. The little tips are. So I'm just kind of pulling instance. Again. We're gonna go with a little bit of a darker pigment for the cat. I want to make sure that I'm blending at least a little bit in the cat. We are giving me. Again, feel free to decide how deep you want the shadows to go. If you want to let the paint do its thing, you can always tip the paint. Show you a little bit of that. Pull there. Can just have a little bit of fun with it. And you can go from the corners. A little more of an enclosed feel. You can add water along their tip, your paper. Let it, let you know gravity takes over. And always remember you can tap your brush off to get some of the moisture off and you can pick up some of that water and pigment from, directly from your paper. Now if you want a little bit more of a blend, can always, like I said, take the water, go across one, a little bit more of a gradient then this kind of like, you know, edging around the cat here. So you could do salt technique, you could do water blooms. And you have a background class you can look at for some ideas on this as far as just kinda creating something cool and funky looking and unique to your style. All right, while that is drying, we're going to go along the bottom here and do the same thing. Wet on wet. And I am just going to start with underneath this ledge and not actually going to. Let's go the whole shelf. I'm going to do that separate. Like I said, if you feel like your line is to start, just take an eraser to it. It's new Being deal. And once you feel like you've got it nice and saturated and a nice sheen on top of your people. Are ready for your pigment. Now since this is corral on the ledge, I'm going to take this a little deeper to start with. And I'm just kinda following the reference picture as far as where the shadow from the Paul kind of falls. Can always pull that pigment down with your brush. Again, there's kinda matching the tone of what I did up high. And then just kinda come in here and just adding a little bit more depth. We are going to wait for this to dry before we paint the middle section, but we are going to go ahead and put our shadow here and here. Since we've got them mixed up, I'm pretty happy with the way that's kind of diffusing out. So I'm just going to let it sit. But I can go ahead and come in here. And this is just going to be wet on dry. I'm not doing wet on wet. And this is the part where you hope you have a steady hand to get that nice street. You can always touch things up at the end. And if you've taken any of my classes before, you do know that I like watercolor pencils. So you could always pull some of those out and work on some details that way. So always a great go-to just to touch a outline, do different things like that. So again, I'm kind of taking the same approach that I did at the top, where I'm bringing some of that pigment with the tip of my brush into the subject. Just to have a cohesive look. Basically. So there's no blocks of for just kinda sticking out willy nilly. Yes, I said willy nilly. Okay. So I'm just going along the edge. Those kinda deepening, right where those items are sitting. Which you decide on how deep you want all of those things to go. And depending on what color you chose, It's going to be up to you. Okay, I'm pretty happy with that. I'm gonna take I'm gonna take this brush. I was thinking about maybe using the small one. If you're used to a smaller brush, please feel free to use a smaller brush. This one just hold a little bit more water. So I'm gonna go ahead. I know this is still damp. Hear me go ahead and just run a layer of some of this pigment. We still have a little bit left on my brush, so it's kind of a almost the faintest gray color. And then I'm just going to take some of this and run it right along the edge here. So you can see everything I'm doing is I'm not constantly reaching over my paper. I do put my palette on my right. When I'm working on my own on commissions, I put my palette in my paper towels, in my water on the left. That way I have something that I can rest my hand on. I can rest it here really close so that I've got a nice steady hand. And even if you need to take your other hand, kind of hold yourself so you have a little bit of a guide. Go for it. Same thing here. You can do it that way. Just something to have your hand on. You don't know that I've ever mentioned that, but that that is the reason why this is here. This is not how I work. My workflow is not. It's actually flip-flopped. So as you wanted to add a little bit of that depth there. And then we could go ahead and put a where I added like a little bit of an edging on this book. Just take a little bit here. And a little bit here. That top part might still be damped. So be mindful of that depending on your paper, you could end up with some bleeding into. That. Seems pretty good for now. And I think I think I'm going to leave this pretty much solid. It might go back in with detail, but I'll do that once both areas have dried, sum, we're going to let those dry. And then we're going to come back in to this section. So there is a little bit of a ledge here. Just going to put a little bit here. And then I'm gonna go ahead and fill in that shadow. And if I want that to kind of feather out, I just get my brush damp, tap it on my paper towel, go back in. You just gently swipe your brush kind of with a, with this side angle here instead of directly up top, we're going at an angle just to kinda pull that pigment out and so that we don't have a solid line. Same thing. I'm just tapping it off on the paper towel coming back in. Just a feather out that shadow. If you want to go darker with it, go darker with it. I don't know that there's any rules about what's what as long as it's there. I just thought it would be kind of a fun thing to add since it was in the reference photo. Something a little different for us to work on. So we had that little ledge, little edge there. Again, you can kind of feather out these things just a little bit. You can come back in with a pencil and sharpen up those edges, which I probably will at the end, just so that we have a nice crisp edge to our shelf. Okay, let's move on. 4. Eyes and Nose: Okay, We're going to jump into our eyes. Now. I'm going to use a wet on dry to outline the eyes. You should know that peach black, really any black that you've got, even if it's squash, I do like using black wash. But there wasn't a lot of really deep tones in this cat. So I just decided to go with that peach black. It's just a nice rich tone. So we're just going to start, I'm going to start kind of here in the corner of the eye and just bring that line out. Again. Go with what's comfortable for you as far as brush size, style, shape, what works for you? The more you can kind of experiment with, the more you'll know what works for you. And everybody, their hands are a little different. Everybody's work flows a little different. So it might look different for you. Okay. I'm just going to continue filling in these areas, getting the iris outlined. Basically anywhere where there's like a really defined WACC. You wanna go ahead and fill in. All right, now on the few bowls didn't make them. I think I made them a little bit bigger in the sketch than they are in the reference photo. So again, that's all going to depend on the lighting. As far as what kind of light was going in on the subject at the time the photo was taken. So that's something to keep in mind when you're painting. Can always make little adjustments. That's the fun. That's the fun part of painting. There's not really any rules about what you can and can't do. And if people tell you there are rules, then you just keep doing what you're doing. Don't have time for that. All right. So again, I'm just looking at my reference as I go here, finding those little dark areas. And I'm going to go swing over to the other eye here. Taper or the eyelid is at some really fabulous eyeliner going on here. I love about cats. I got the coolest, coolest eyes. Really do mean I loved all guys. Don't get me wrong. But I think cats are some, some really neat coloring. Again, just kinda feel in my way through here on where I feel like things on the go and the pupil and I left these little areas here for the highlights. But you can feel free to color them all the way in and then go back in with that white pen. Or if you have white like an opaque paint and I'm going to be working with the titanium white opaque today as well. So that is fun. Okay, just gonna go ahead and put a few little wispy lines underneath here. And just a few underneath here just to kind of give me some basis while these little edges are drying. And a great thing to do with weighting with waiting. So I'm trying to say is you can go ahead and outline the nose with some of this black since this cat does have the really deep set outline news. When go ahead and just paint that in. So now the outline on that is going to be just like a little curve and then angle out and up. And then I'm going to go ahead and just kind of winging a little bit across the top here. And then over to the side. And and that's a pretty short little distance between where the rest of the mouth goes and the nose. And you just fill that in. So let in. Can probably level analysis a little bit of opaque white and I got a little carried away with noses. If you've got the outline into a little bit damp, sometimes it does. Who us to go ahead and fill it in. So I'm just gonna take a little bit of the PG king and some of that lucky penny, and then mix the two x. We're really nice color. We're just going to go ahead and put that in there. We kind of want to go ahead and blend toned in just a little bit. Like saying take a little bit of that white and you take lube and apricots, kinda straighten out that nostril and I got a little. Carried away with, it happens sometimes that just kinda mixing until you get that color that you want. There's not really a robust process to it. You just want to take I just like those colors mixed together and probably I'll let this dry and then go back over. It was a little bit more peachy color. Peach key. And get is. Okay. So I did that. I can go back into the eyes. And what I want to do is start with the green gold tone. And you can go right around the outer edge here. So that's how I want to approach this outer edge of the iris. Wipe my brush off, and then can get some of that perylene green. And then I'm just going to kind of go close to the pupil. And what will happen is when it touches the rest of it, it's gonna kinda spread out a little bit. Cool effect if my paper towel and soak up the water really quickly, which kinda did on that sign. But you just want the two to kind of meld together and then take a little bit of that and kinda go up towards the top. Iris is at or the eyelid, not the iris. Sweeping around the eyeliner there. And then we can take some of that opaque white, drop it back in a little bit. Along the outside edges here. Just to almost get like a little bit of a starburst effect. And if you feel like depending on the cat, whether it be this counter, if you've chosen a cat similar to it and the eyes are a little bit different. Just kinda drop in little tones of the color as you go along. Now this one I'm seeing a little bit of brown kind of on the outer rims of the iris. So just gonna take a little bit of the sepia and I'm actually going to mix some of that lucky penny in with it, see if I can't get over like a warps. Going on the iris here. Just like laughed. Yeah, you really have lots of options as far as tone. The way the colors kind of pull out, you could put salt in the irises as well to create a little bit of star bursting effect. Just put a few, a couple of like small damp spots on there just to see if it would push out some of that paint. Some papers is a little easier than others. And this can take some of that opaque white. And that will burst here and there. While the highlights anyway and the one here and then on the opposite side, they're made you as well make some of those green gold. Was saw that peachy keen and a little bit of that white. And kind of go along the edges here. As long as your paper is damp, you still have that. You can still work with those color tones a little bit on what you feel is a good, a good base. And then we can go back in with the highlights and soften and really give the eyes a nice shiny look like in the nose. Real quick while we're on the eyes. See if I can get that peach color back in here. I'm just going to dry my brush off just a little bit so I can pull the colors around. Some of that lucky penny and just kinda tap around what I just did. A nice little soft fuzz there. Now I'm just going to fill in this cup. I'm noticing that this actually fill in my reference. Same thing here. And we can always go back in and create a nice waterline. Little bit of white that you see right above the eyeliner on the eyes on the waterline just creates a little extra extra depth. And you can take some at CPM, actually take a little bit of perylene, green as well, can show experimenting just to go up here. Or the eye, the eye is kinda go back in. So create a little bit of that. Shading, some depth. And these are definitely easy to overwork. So just be mindful of that. Go ahead and I'm going to lay in a little bit of some titanium buff right along the edge here of our eyes. Can what we can do is just kind of feather out some of that. So when you're ready to blend it together, once we get to the face, it'll be ready for us. So some sepia, peach, but probably more of the sepia could get away with. Depending on your brand and paper. Using Git, you can kind of get the paint to fade out. So it isn't quite fittingly. I wanted to, but that's okay. No big deal. Or is on a little bit of weight back in there and then run along the inside edge there. Okay. I was talking about for the water line. Basically when when I'm painting, I'm kind of just I'm observing different areas as I go along. So if I feel like, oh, that one's looking really dry, I will go long and just kind of do that next part. So a little bit more. The titanium buff just around that. I can kinda just pushing those out. And since it's a light tone or we're going to be putting a darker tone on it. It's not a big deal to just go ahead and put that tone down. Yeah. And the more damp the paper is, the more this paint will spread. So something to keep in mind. And you just kind of fan that out as a little bit. The node at the top of the nose is pretty dark up through the top of the crown of the head is pretty dark, but I think for the most part I'm pretty pleased that I'm gonna go over the nose. Just one more little pass here with some peach black in the middle, particularly tablet rush off and a little bit too much, too much paint. And then back up and over top there and fill in all nostrils. Carrot nose is it really comes down almost like an upside-down triangle. That's usually how I remember to paint them. Okay. We will touch up the eyes with some highlights at the end with our details and things. But let's go ahead and move on to the ears. 5. Ears: For our next section, we're going to work on in the ears. And I am going to jump into a wet into wet technique. So I'm just gonna go ahead and get each year what? Because I want to put in a pinky, peachy tone and then go around the edges and add a little depth to those. So I'm just kinda not being super precise since I'm focusing on the middle areas, I'm going to go over here and get some of that apricots or like a pale pink tone drop that in the centers. Just like so. And then I'm actually going to come over here and grab some sepia. And then I'm just gonna kinda run that along the edges. What I like to do with watercolor is play with the paints until I kind of just get the look that I want in general. And usually have some time to play, especially if you're doing wet into wet when the paper is damp. So you've got a little a little wiggle room. I'm going to go back in and add some P-gp, P-gp tone around the edges of the ear as well. Because those little wispy, these are going to stick out. So we're just going to add those in here in just a bit. You can do kind of that similar thing around, tap my brush off, come over here and you can just kind of pull some of those little pieces again, if you don't want it to be such a stark flat line, you can just pull some of that in. And if you feel like you've got a spot that might be too wet and just dab your brush off, come over here and pick up some of that. Now if you feel like you need a little depth, you can mix either little sepia or some little lucky penny with a pale pink just to get a darker tone. A sepia or kind of a neutral brown with that pink tone will get you there. So again, I'm gonna kinda coming here. I'm just going to tap, tap, tap. And I'm gonna do the same on this side, tap, tap, tap. And around the edge here. And this cat has little dark, little for tips on that tops of the ears so we can add those once this is dry. And then of course, the white fur pieces that are going to stick, stick up and out from the ears. That part we will work on as well. Once you feel like you've got the value deep enough with the color tones. You can let that dry. And then we're going to come back and do a little bit on the outside in there. We're going to add the white coming out of the ears. Real quick, glancing from reference to hear machine out a little bit more sepia towards the base here and up. And the base here and up. Okay. Okay, Now that our ear inside our try, we can go ahead and start adding a little bit of those outside. Little for pieces. So I'm going to get some CBM and really nice light wash. And I'm just going to take a little, little first stroke. So this would be wet on dry. And I'm just going to edge the ear. This is the part where you might want to bring in some edging from this top, just a ham, tie it together. Again, not to make it look like a completely separate piece. Nice sweeping motions. Same thing over here. Just kinda bringing little bit of the dark around the edge of the ear here and then kind of pulling in some of those little wisps. Brush, brush, brush, and then up little, little taper there at the top. We're gonna kinda continue now. A lot of that's going to be covered with the white that sticks out. Again, just kinda of wanting to tie this together. Add some white wisps if you feel like it's too dark to scrap a little water and dilute your solution of pigment and water in achieve some great range while doing that. Because the pieces that are kind of realm edge here and be pretty, pretty light. You can just create some nice wisps with a really, really faint dilution. And again, I'm just kind of bringing this in so it's tied in with the ear. So while I have the pigments that I want, I'm just going to go ahead and pull those together. Okay? I'm gonna do the same on the other side. So I kinda edge that area native. Bring some little strokes down. Remember this is something you can take at your own pace. You can definitely pause and focus on what works best for you as far as your workflow and how quickly you work. Because this is your painting and you get to decide how long you spend on each section. And again, just have and I'm gently like barely tapping the brush and let it come down to create that really fuzzy top part of the head that connects into the ears. A little bit. Same thing here. And it's really just because I've got the the mixture I want right now. Just kinda bring that in. I get a little more cohesive. Alright, now I'm going to try my titanium white opaque for these little wisps in the ears. But if I feel like it's not quite white enough, I might grab the gel pen and that can always be toned down a little bit with a brush after you've put the lines down. It's something that you can use. It is achievable. But I think I really do like this white opaque paint really well. It's, it's a very, very concentrated mixture, hence the title opaque. And with some of these and get a good mixture of it. But sometimes the flow on the brush just doesn't quite cooperate with me. So I'm going to dilute it just a little bit. Even though I want a nice opaque mixture, it's got to be smooth enough that it can come off the brush. As I want. I want a nice big space, big fluffy ears here. So just taking in, brushing and brushing out, usually start in, work my way out, create those nice tapered pieces. And again, kinda out here as well. That's happened that year. There's a little bit of shorter pieces, so I'm just kinda, kinda take and just tap, tap, tap, and then go back to those big strokes and just kind of finding that balance because when it's really diluted and it starts to dry, the piece is really, they, they started to disappear. A bit rich really. You're like who is looking so good? And then about five minutes later on and actually dries, you're like, oh, where did my lines go? So be mindful of that. That is a thing that happens depending on your paint. So if you want to dilute a white quash, that's a really great option as well. And I don't need these Superbowl just enough to create some texture. And again, I see on the picture and just a little bit of a rim on the edge there of the ear. So I'm just going to kind of tap, tap, tap, tap. Okay. And I'm going to do the same on the other. Now, when I'm working on the right ear, I tend to push down and pull out. So when it comes to the left ear, it's a little more awkward of a hand motion. So what you can do to remedy that is just to kinda turn the paper a little bit and then work depending on how you feel comfortable working, you can pull from the outside in I just find that there's a little bit better results pulling out. So you could even do a little flip and pull from the center out. That way I can get a little bit of a curve on those, those little pieces of fur. Just kind of pull out towards the outside of the paper. Sometimes you can get a little creative. When it comes to your control. Sometimes it's just, it's just a little easier depending on how well you work with different mediums. Indirection. And I'm already kind of peeking at this year, seeing how tone down this is once it's dry. So that kinda gives me a little indication on what's going to happen on this other ear, apart from putting some bolder strokes onto this year. So it really can go either way. It can go really thin. You can do a little bit thicker. And you always can grab the pin. If you do have that gel pen, you can add those as well. Now create a nice texture. Always go back in detail those areas as well. Add a little more depth. To say little tips of the ears. Hearing got a little bit of this CPO and just kind of brush up. And those will tapers aren't aren't super tall or anything like that. Just kind of finishing that little area there. Okay. Yeah. I think that will work. And like I said once once that's completely dry, you can assess it and decide if you want to add the white gel pen on top of that to create a little bit brighter highlight. But with that said, we are going to move on to the next section. 6. Leg, Body, and Head: For this next section, we're going to focus on the foot. So kind of underneath or this wispy area is this lower chest because the foot is actually tucked up underneath here and then this section here. So we're kinda working on areas that don't necessarily touch each other. And then we're going to swing up and get our base put on the head. Okay. We are going to start with the foot. It's going to be a wet on wet. We are going to use a little bit of sepia, the peach black and the lunar black. The lunar black has some granulating properties. So it's going to do some really cool, funky texture. So I'm excited about that. Right now. I'm just going to put water where water remember, water has skin so the patient can't go past where your water has been put. And there are whiskeys that stick out on the foot here. So we can pull those out as we go as long as you've got a brush with a nice sharp tip, you should be golden. Alright, I'm gonna take a little bit of the sepia. Now startup here in the top, just kinda pushing it up in to like as if it's underneath that wispy for now, I'm going to take a little bit around the edge. And I am going to add that lack on top of it just to create the tone that I want out of a gray. I'm a gray brown color. Take a little bit of peach black. Come up underneath here. This is going to fade as it blends and dries. So I'm not too concerned about that. It's really almost like a like a dapple effect here with the black and the brown just kind of randomly placing the darker area here, but randomly placing the brown just so it's not all completely solid. And this is the part we're going to start taking out some of those wisps. I'm just going to gently pull the pigment out here, just a little, little spots that just came over sticking out. You can always add these after it dries. You feel comfortable doing it that way. There's not really a right or wrong way to do this. This is just kind of the whole bit of a faster version. They think I'm gonna go ahead and bring some of this up under here as well. So I'm noticing where again, kind of as if this for is ln. Ln on tops of the little paws sticking out. You've got you've got part of the dark body here. We go. Well, tall triangle and then it starts to fade in right there. Now, show you a fun thing I like to do with, with this lunar black. I'm going to take little pieces here. And just dot-dot, dot-dot is cat has a little bit of striping across the foot. And this is one of my favorite paints to use with animals that have little bit of draping. Not really sure why you really can use any dark tone you want. I just have gotten into the habit of using the layer black. I like the way it granulate to create some nice texture. A little bit of separation and the Paul here, because we're going to go back over this with some of that opaque white and create a little bit of the wisps that cat fur has with that really, really light top coat. It's like they've got the coloring, but then there's that, that fine here on top. So we're going to add that back in. And you can always just continue to if you feel like the color isn't quite deep, intense, just go in and add a little bit more. Just tap, tap, tap. Again. I'm kind of keeping the sign darker kinda on both sides to create that curve that you want within the within the Paul. And the why I have this on here, I'm just gonna go ahead and add that there. Go ahead and bring this into the dark areas chest. Being mindful of where that for kind of wisps up. Again, this triangle I'm envisioning won't triangles here going up and down. And I grab a little more of that lunar just to create a little variance here. And then for really does come all the way down. Just a touch of dark right along the edge there. And then we'll add some of the peach black into that is sweeping it up. I'm gonna go ahead and get some wet into wet over here. There's a little bit of a warmer feel on the back part here. So we're going to use a little bit of buff titanium to create that. Grab some of that. Just sweep it along. Okay, I'm going to grab some sepia kind of up here towards the top. And then I'm going to grab some of that peach black. Follow along the edge. Again. The idea being that the fur is laying on top of the body like the main, I guess, is what I'm trying to say. So you want the illusion. That's what's happening. And depending on what you wanna do, I wanna see this order. This might be an option for some people. You get your brush damp if this is the right consistency, actually can take your brush and sweep very damp brush across your paint. And you can achieve some nice little fur marks because it's like pushing the pigment the way. I was just kinda wondering if that would even work. It's working a little bit. Not quite as much as I was thinking it might. I had a little bit more sepia over there along the edge. And again, you can kinda just sweep the paint into the areas that are going to have that kind of long wispy hair. Just to create some, some cohesion. And the whole piece. Again kinda go through here. And some papers you can really blend areas very well. Some papers are not as adaptable. Think that's the right word. Genius, kinda brush all that in there. Now this might be, might be suitable to see that. Okay. So I'm gonna go back over it with some white opaque paint, but I thought I would just see that when do you create it? A little bit down here. But see how the lunar really has this link. What variegated, but it's got a really unique texture to it that just creates an extra little. Well for your paintings when it comes to cat with a lot of different colors, a lot of different variations. It's great as well for bundling on dog portraits that have withdrawn has a lot of bundling. Okay. So we got the foot, we've got underneath here, the back of the body. So let's continue with that method. This is, for the most part connected to the face just a little bit of some of its actually underneath. So like all of that's not necessarily connected here. But we can go ahead and use how that same principle go about doing the head will leave the jaw while that is drying. And then we can come under here and add. The main part is going to be when we go in and add detail at the end, it's really when everything is going to come together. So for the head, we are going to get some buff titanium. And I'm gonna kinda mark off where I know those little section they're going to be so like I know that there's a dark line in the middle. So I'm gonna come over here. Well brow area here, off to the side there like that and then inside. So sweep, sweep, middle, middle outside, outside. And then we can just do wet into wet. And that's really it's just me making kind of like a mental note to where I'm going with this. You can certainly do it a little bit of a different way. It's not anything that's super secret. Okay, once you've got that nice sheen, and I'm trying to show you that sheen and G got that achieved. You can move on. So I'm going to start with my CB. I know on top of the nose is pretty dark and it goes up. You may want to experiment with your paints to see, to see how far they spread. Some paint to really take off. Some paints don't, and it depends on the saturation of your paper as well as to what the paints are gonna do. So just bear that in mind as you go on. Yes. Sweeping up underneath. Hi. It's pretty papers pretty damped, so see how it's going to spread out that way. I want some at the corners of the eyes here. And I am ready. Go ahead and take some that Lunar Black. Start the crown here. Work my way down just barely touching the tip of my brush to the paper with this lunar black. And I'm going to take this out here. Counts more here and some more down in the middle. Just kind of following where I added those little, little variation lines here. And so you can even take your brush, just barely add some of those little wisps. I got a lot of pigment on my brush here. So anyway, just to give you the idea of the direction of the fur that sweeps down that way. Just a little bit, not truly darkest up here at the top of the crown. Okay. And here I'm going to add a little bit of depth. Long there and there we do have an area that's bright. So you can always take a little piece of your paper towel and you can dab up any areas that you feel like. You like me, just forgot that were bright color. K. Now we've got a little bit of this peach black little bit of sepia to create that kind of brown, brown gray that we're after. Just underneath here and the eyes. We're going to want to grab some more buff titanium, kinda warm that backup. Put it in between those little fur marks there. As well as going to mix a little bit of the peachy keen into the sepia to get a warmer brown. Kinda want that around the snout area. Because there is some bright, some bright blonde tones that are still preserved. They're just kind of wanting to keep that mimi a little bit of the white. And I'll put back into there. So we can have that going on. And then dot, dot, dot, dot, dot, dot and anywhere where you want to push paint around and just dab at it. Same thing up here. I'm going to have to warm that back up. It's like a nice blonde tones you could do with the white. Just mix the mirror, buff, titanium. And even this, you can kind of just take your brush and run back and forth across the top. Creates a nice variation. Okay, Well, more depths here with some of that black. And we do have those dark whisker pieces as well, which I can use the lunar going to experiment with this peach by UCL. It, if it reacts, it probably does not spread very far at all. Okay. So well again, it depends on how damp your paper is. So that's something to think about. Because this may just kinda spread out and then look like big blobs. That's always a possibility. So just make a note to yourself that that could happen. We're here, I actually wanna kinda start pulling some of that black down and out, creating that texture and direction for direction. While everything is still damp. I'm just kind of barely sweep in and out. Are still trying to get all those tones down in here. So I'm just going to tap. So sepia here on the edge. Around the eye there. Again trying to just create that shape we want. And the depth. You can't forget about the depth. And you can always sweep in little areas where you feel like there needs to be those like wisps. We're going to go back in once this dries and just create a little bit of that. So same thing with that titanium in Prague and add a little bit of effort to create a nice blonde tone. I'm just going to stick that here. And up here and peer. And a little bit down here towards the base. And again, a time where you see where your your coat, your water is drying with your pigment. You just sweep out. Just pull out with your brush there. Just like that. I'm going to go ahead and use some buff titanium here on the edges and create a little bit of that wiseness. Same thing here. I'm just going to kind of bring in wet on dry just to pull those in together. So we want to preserve, preserve the little cheeks and want to do anything too crazy here. Again, just kind of marketing myself for shape. As far as all that goes. There are two little lines in between. These have like some sepia tone going on there. So I'm just going to run that. The top paper here is pretty damp and it's actually got a big a bend where the heads up. But you can see here with the with the shininess, how much water that hasn't asked why I'm able to kind of manipulate where things are at the moment. Again, kind of outside of there were the cheeks would be and then it kind of goes in here. So I'm going to deepen this just a little bit. You just want to follow along with where. If something is going further back, you want to add a little bit of a darker tone. If it's to the front, kinda of like the nose, it's going to be a little bit more highlighted. And we're going to go in and add little fur marks here and there. Once the whole head is dry and I'm just going to tap my brush off and kind of see if I can I just I'm gonna see if I can unify. It. Could just notice there's like almost a solid line across there. So I'm just gently sweeping this up and into the ear so that it's, it's a little more blended. It's not just a solid line. Same thing here. I'm just going to go up above just so it looks a little more cohesive. And just bring out those marks. Because there's kind of an abrupt, so willing to stop here and underneath here. But we do want to wait for this to dry as far as going into too terribly, too much. So I'm looking at my reference, just kinda of noting there's a little dark patch here is a little dark here. Here. I'm gonna go out here and add a little depth. A little depth there. Just where you see that there might be kinda of those lines was like fuzzy lines because we can go back in and add the details, but just kind of getting that base started is, is a good point. Okay. We will wait for that to dry and then we're going to work on the chest and the chin. 7. Chest And Fur: Okay, We're going to continue on our journey of this cat here with finishing in the fluffy chest area, I am going to go ahead and just take my number 12 brush for this. I'm going to do wet on wet. So I'm just going to fill in all those lovely area here. I'm gonna go under the chin. We're going to do the chin separate. So be mindful. We're going to kind of use that same technique of pulling a little for wisps out of this, like we did with the other areas. I'm going to grab some buff titanium. Just drop that along the edges here. Just to kinda give us a base coloring, I'm going to drop some of that sepia down into this as well. Kind of follow where my little lines are at. And of course, underneath the chin is going to be a little darker. You can always take in taper little wisps into the chin area if you feel so inclined to kind of give that not such a harsh line right there. Again, just taking little areas where I know it's a bit darker, kind of creating that shading effect. Because we're going to sharpen it all up. Once it's dry, we can go in with a wet on dry technique for that. Just bringing up little bits and pieces. Again, be mindful of your paper. All papers act a little differently. Some papers stay a bit more damp, longer, see a little more time to kind of manipulate the colors and where things go. Some like to suck water up real quick and dry. And then by the time you get to the other side, you're like, Well what do I do now? So just really saturate your paper. It should be okay. Don't panic. That's a big thing with watercolors. Don't panic usually can be, usually can be remedied. Going, we're going to use the word fixed because I don't really like to use that type of phrase or type of wording when it comes to watercolor, because it's really, it's not really about fixing anything is just working until you get the results that you want. At the end. Kind of dig in where we're going with this nice lucky action, knowing I'm gonna go ahead and fill in that little area, some of these wisps with the darker, we're going to use the opaque white. So I'm not too worried about that. Yeah, we can kind of pull out some of these little little wisps here. Go down to my number eight. So I can get a little more detail here. You can go in between your buff titanium and your CBF one. Just if you feel like the color tones not quite where you want it, but maybe almost. Yes, it's kinda a little bit of a sharper edge. So if I take a darker pigment here and kind of follower or more, I made lines, that tends to get me where I want to go here. I'm going to have to go up into the face area here shortly just to have a cohesive look about this because right now it's a little disjointed as far as the kind of the main area to face. So just kinda bring up some nice light strokes up into the face area. So if you look at like around like the snout you've got like this little edging kinda separates the edge of the mouth there because again, it curves down. So you've got a little bit of a darker area where this area is sticking forward and then the rest is recessed back. So you want to be mindful of that when you're adding in your shadows. And we won't get too far involved in that just yet. Still working. This area here. You can just kind of add those little, little areas. This is almost dry. You can still see a little bit of dampness, but not that sheen that we've talked about before. So that's something to just kinda keep in mind if you need to check where the dampness level is, just kinda pick a paper up, take a look at it, see where you're at, and then kinda continue forward. Because at this point, as I'm adding this tone. It's just, it's going to diffuse a little bit. It's gonna just kinda of melt out into the rest of my paper at the moment. Again, we'll just kinda get into those details. Once this is dry. But as I'm looking at the picture, I'm seeing where there's little bit of curvature underneath the chin or the fur is kind of sitting and turning. And I like I like to use a a very curvy method when I'm doing for no matter whether it be in the face or longer for I just like things to be like have a curve. I did talk about that in mind. I believe it was a golden retriever class where we go into depth a little more on how the strokes look. And so something to bear in mind as far as how maybe you hold the brush, how the sweep of the nature of what you're doing, it all adds up and the end. And a lot of practice comes into this too. So after you've done a few 100 pet portraits, but just DZ, after you've done quite a few of them, you're gonna get that rhythm, that flow of what's going on with the portrait. Okay, I'm going to let that just set up. I can go ahead and start working into the face a little bit. I'm going to go and start under the eyes just a bit. So I'm going to take some of that peach black and actually wanting to soften that a little bit. So I'm going to take a little bit of sepia and just mix, gonna kinda create only know one. Just got a little bit of the white in there. Just really isn't like why is that? So it almost gives it like a like a frosted look. Anytime you start adding white into pigments, you get a bit of a frosted look to things. Now, bear in mind this brush has a very sharp tip. So I'm using this one for some little bit of detail work. Feel free to use a finer brush. Whatever brush you have available, whatever you're comfortable with. That's what you're going to want to go with. Now if I feel like I've got too much pigment on my brush for what I'm doing. I'm just going to tap it off on the paper towel and continue on my way. And again, I'm using a similar approach that I did on the ears, where I'm putting the brush down and pulling straight out to the side and be mindful where your hand is. That's why I kinda just lift it up because I'm fine. I just was trying to keep in mind where my hand position was at. So again, you don't want to just do hair in a straight line. Here does not go in an exact straight line when it comes to animals. So you're wanting to just kind of play with placement, kind of currying those lines out just a little bit here and there. And again, we're gonna, we are gonna go back over this with some white to really, really pumped up. So any areas where I feel like it's a little darker, I don't have to do individual hairs. I can just kind of glide over it. So it's just a little bit of a deeper, deeper tone. Because again, when we go back over it with the white is really going to pull it out. So around, I noticed were around the eye here. And I'm going to go up and over with sepia right along here and then pull little streams from that. And again, this part does take practice as far as not having a big blob of paint come off your brush to be patient with yourself. And I'm just kinda of sweeping, sweep, sweep with that brush. And I want to do onto those little markings there. Again, I'll area that was a little bit more of a mark in a row almost type deal, but you can always just kind of brush back over. What was the paper's damp? You have a lot of wiggle room to manipulate your paint and decide where you're going to go from there. Same thing here. If I want to darken up a line, Let's go back over what I did and it'll just kind of fuzz out a little bit. Come up here. Again. I'm just kind of following where I'm seeing those darker lines in the portrait. Pulling, pulling, pulling. And I will go back over some of those dark black lines as well. Again, we're just kind of refining. What we were working on here, so pull out smooth little lines. But let's definitely come along. And then if you want to just kinda pull little edges out, so it meets into the area that we just worked on. Continuing with some of the deeper sepia contango in here and add a few details here. And over here. And the forehead, the, the shape of the fur as far as the top of the nose kind of goes out. So it has like a little bit of a nice effect. So you can always come in here and just kinda give direction to the fur and then goes up. So kinda out in up with that motion of the hand is what I'm trying to say. Sometimes I'm not sure when I'm trying to say pulled for I'm a little bit of that black just a little bit. And noticing It's a little deeper around the edge of the eye, is there? Pull smoother. And I'm going to go and go up into this line here again, kind of following that same trajectory. I think that's the right word. I'm gonna go up, up, up. And just kind of generally in, again, if you feel like you've got too much in your brush, just dab that off on your paper towel and continue forward. Because sometimes it gets a little bit overwhelming with pigment and using it ruined it, either dab your brush off or if you've already gotten it too much onto your portrait, just take a paper towel and dab it off. It's like my model and life. Just, just dab. Okay, We're going to go back over that a little bit here in just a minute. So again, with this longer for we're just trying to create little, little wisps here in there. Just to kind of bring everything together. We've got that dark line sitting underneath each of those. I's goes down a little bit like as far as where the snout starts. So again, we can kinda of just mimic. I like to go back and forth and mimic if I'm thinking about it, the, the direction of the fur. And then if I feel like the pigments too dark, just get a little water and dilute your solution there. And then continue on. And like so what they did or what I did on that psi where I had a little bit of a darker section. You just kinda mimic that there. Could We are gonna go back over or we've got the deep, deep lines. And then if you want to, some of that end just to make it cohesive and then bring some of these cries out. And you can always go darker with things. That's the cool thing about watercolor. You can do a little bit and you're like, Okay, it's not quite dark enough. Dry. Go back in, we call that glazing or we just go back in with a tone back over where we were at. Super proficient in glazing just yet I like the idea. I know a lot of people that do, lots players do you think is really cool? There's more of a, let's kinda see how much we can get done in one One Pass. Can't paint her. How I like to approach things. Right? There's a little bit of orange around the edge of the nose. I'm just going to mix a little bit of the apricots and the sepia and the method void. That's not enough. My team grabs in that lucky penny. Quite, quite the tone I want, but I think it will serve the purpose. So if you have a little bit of an orange tone. You can just kinda use that around. Again. So cool thing about these classes. It doesn't have to have the exact colors. You just kinda use what you got. Totally messed up paint here. Feel like you've got your paint money. Just take a wet brush and go over the top there. You can get the tone that I'm actually going to see that the apricots actually has a little bit of white in it, so it's going to come across a little more opaque. Then the other pigments, because they're going to be transparent because they don't have any of the white pigment in it. So that is something to keep in mind. And I'm just kind of fading that tone out. Okay, back to CBN. Again, I think this is pretty much dry so we can either start to pull little pieces of fur kind of following where I originally had my line work. Just kinda sweeping back and forth, going in lovely different directions there. A little bit of a deeper pigment when I went back and brushed over that. Again when it comes to the longer for I tend to have the bottoms of little for toughs to be darker. Again, as if the curve was coming out in tucked under your, you're thinking of the shape and you want the top to be a little darker and you're wanting the bottom to be a little darker because you're indicating that there's that curve there. So kinda keeping that midsection nice and light. So that's just from my observations. You have a different way you wanna do it. Go for it. Very much. An experimental painter and we find what we like and what works. And then that gives us the competence in the Sunni ambition, but like the drive to paint because we're excited about the process. So that's something to think about is fear of what process you enjoy most. So again, kinda underneath the chin, we're going a little bit darker. Just falling where I'm seeing the toughs stick out and go out. And just following some of my line work. It's a little bit more of a guideline. It's not any kind of exact science or anything. And over here I'm going to, I'm going to definitely take the bottom part a little bit darker. And again, just kind of swishing. Just again, just having a nice gentle motion to the firm, not necessarily having straight lines. Kind of always trying to curve things and get them going where I want them to go. Now as far as over here, you could leave it when it comes to Pet Portraits, a lot of times if it's in the background, I like to leave him alone just to create a bokeh effect, but because this cat does have longer for I'm okay that going in with a little bit of this over here like we did and just creating some wisps. Again, not, not going in with straight lines, just kinda creating a little bit of varying strokes. Finish out those areas that got missed. Think about water. You're doing brushstrokes. Water doesn't have straight lines, it flows. So again, it comes with practice. Just kind of gently working those strokes over. And yes, I did grab a darker pigment there at the end. Go even a little darker as I get up here towards the body. Just kind of giving a nice curvy motion to that. And like I say, with most of the portraits that I teach, you can take this as far as you want. If you want to spend whatever time needed for you to get the results, spend the time. I just like to kinda show the approach that I think is fairly compact and that way it can be enjoyable and not overwhelming. Okay, over here, I'm just kind of bringing up. Some tones to kind of unify the little foot area here. And then make that a little more straight. There are some little sprigs that stick out of this. Paul just kinda like here. So not going to spend too much time focusing on that. So pretty trivial little item because when it comes pet portraits, the focus of course, is the face. So again, just kind of touching up a few areas that I feel need it. And we can kind of do that same approach. Radio tap, tap, tap. You'll get into a rhythm. The more you do these, the more you're going to find a rhythm of how to hold your hand, how to place the pigment on the paper, and then the amount of water to pigment on your palette to know what it's gonna do. And again, just kind of gently bringing some of those strokes in, filling in if I felt like there was any areas that I got missed. And then kind of pulling out some nice longer wisps as well. Very, very fuzzy Guinea here. We want to create the illusion of the flows. Okay? And I'm gonna go back over that. Like I keep saying is we're going to go back over with some opaque white. It's kind of the final step. But for now, just, again, I'm just observing area to area compared to the picture and where tones need to go. So if I feel like over here with the eye isn't quite dark enough, I just need to add a little bit more there and up above the eye, in over. And then as far as above the ears. We can go a little further with that, with the PFAS or the fluff as we run away from calling intake and dilute that just a little bit. And again, if you feel like maybe you put too much, just take a little piece of your paper towels. In Tampa on the paper. A little getting a little carried away here. My strokes give me all the fluff. So over here or the ear sticks, I'm just gonna kinda bring some of that outward little bit. I think I lost a little bit in that only did the background. So again, just kind of bringing it out. Now again, my paper, I can scrub a little bit and it will really do a nice job blending into the pigment next to it. It all depends on the paper that you use. So keep that in mind. So I can kind of go through here and really scrub and get those to blend. Which is really nice. Okay. I think I feel pretty good about the depth. You can always take pieces a little deeper. Again, if you want to spend some time on it, you can go deeper. But we're going to come back to the chin and then we're gonna do some of those highlights and kind of fine tune the rest of this painting. 8. Catclass 08 chin and details: Okay. We're going to finish up here with the chin. I'm just going to do wet on wet. You'll know that's my favorite thing to do. Grab some of this mixture of just this gray sepia tone. And we're just going to dab right there. The top of the mouth part. Let it do its thing. K. Just going to, again, let it do its thing. This Chen is a bit lighter than the rest of the fur, so I'm not gonna go too dark with it. If you feel like it isn't spreading quite enough, you can always pull down with the kinda of a semi damp brush and just let that part come down. And a little bit more depth going to notice is going to lighten up as it tries source. You're gonna go there. Okay, now, for some of the tweaking of the face with some highlights and things. So we are going to take opaque white. I'm just going to get a nation mixture, but over here. And if you ever feel like there's color in my way, what do I do? Well, just take a paper towel, get a little bit of water on it, and just make yourself a new area. This is what I love about porcelain plates. I think they're great for this. So that way I can bring out that white as much as a need to and go from there. Okay. So I am going to start over here on this main area and just bring those strokes up, up and over, giving it a little bit of a curve as we go. Just trying again, you can just tap that brush off if you feel like it's a little too much. And I am just barely sweeping the brush on top of my paper. So keep that in mind. That's how you're going to achieve a really thin line. If I push harder, I'm going to end up with a thicker line. Which in some areas is perfectly fine. There's nothing wrong with that. And like I spoke with the IRS, the more diluted this is, the more transparent it's going to dry. You could certainly use a wash, a white wash, and dilute it to create some brighter highlights. But I thought we'd keep it soft for this class. So that's kinda why I chose to go that route. But again, you observe things differently. So keep in mind and make that choice based on what suits you and your painting skills. So again, I'm seeing where there's kind of a brighter area up in around the snout area. Kinda come up, up, up. Can you give some definition to be mindful of the the damp chin area? Just pulling some of those highlights. We can always go back in with our pin. If we feel like the whites aren't showing up quite as bright as we like. Same thing here if I want the top of the nose to kinda stand out and just go in here and tap some of the white pool that nose out. Yeah, as you can see, this color is actually really fading lot more than I thought it would. So just hear a little more of a thicker mixture. I'm going to go around here because it kinda missed kind of filled in or it was supposed to be a little bit brighter. And it just kinda swing that over there. Again, just kinda curving those lines as we go. Can certainly create a more stylistic approach. Using the highlights. Again, just be mindful as to how much they dry, how clear they dry. Ink. I've got a a decent mixture here now. And I can always pull from my little areas there as well if I need to. And I'm just pulling down in a watercolor pencil as well is a nice idea. If you've got a darker pigment watercolor and you want to add back in some highlights. A white watercolor pencil is really fine to utilize just to yet some of the details back in here. And I feel like I kind of blob those little areas. That's why I'm kind of pulling pulling them out just a little bit over here and it's more just kind of filling in the direction that I feel like the paint is going. I am deciding to use some white quash. This these pieces are not coming out the way I want it, so I'm just going to dilute some fresh white quash. This one is the Holbein Artists brand. It's, it reconstitutes with water, which is what I love about it. So should I just made that decision to begin with? Because I think we're going to see a little bit of better results. And again, if a bigger brush intimidates you, feel free to go to a smaller brush. Use what you feel good about trying to bring out some of those highlights where the fur curves. So it's kinda some of my favorite stuff is adding the top area. Just kind of sweeping areas as we go. This is pretty much dry now. So I actually could go in and create a little bit of those little short stubby hears here at the bottom. Just kinda tap, tap, tapping the brush as I go along. And probably have to go back in and add a few darker areas as well. And you'll see that this is even fading pretty well because they got diluted quite a bit before I went in with the white wash. And the nice thing about backwash sometimes one day, like flowers. A little painting depicts small. I'll do the wash and then I'll go back over the white with a color just to kind of tone the paint. Just a thought. Okay, I'm gonna kinda go in between where the little black dots are at just to create that shape of the curve and little, little whisker area. And we can always go back in and darken those areas too if we need to. Again, just kind of taking little wisps up into this area here. And now we're gonna go back over this top area here. Some nice bright white goulash. Should definitely Brighton. Brighton those areas up a bit. I'm gonna come over here. Just kinda bring down the whites so we're tying it together. Create a soft feel. Just kind of focusing on this edge here. Why edge of the book? Through here. And then if you want to take some wisps. And the bottom here. And the way I view art as well as we do have the artistic license. And I do, while I do like getting to a pretty realistic version of what I'm painting. It's still arch. If you wanted it photo-realistic. Can certainly there's options to have a print made on Canvas. But I like the idea that there are some differences when it comes to a painting or any, anything like that. It's, it's your own style is your own version of, again, whatever subject it might be. And just again, just having fun with this, just seeing where things need to go, where highlights need to be made. Things kind of stick out here. Okay, I'm gonna go on top of the foot noun, add some little wisps here. Intros kinda of trying to keep a flow. And the cool thing about quash as EB feel like you maybe put some, maybe too much or not enough that you can always dilute that with a damp brush, especially if you think maybe you did too much or maybe the lines are too bright, maybe you've got a good, a good ratio of paint on there. And you're like Woolworths way brighter than I thought. So just take a damp brush and go back on top of it. It's not a big deal. Yeah. Like right under here, under the chin that white and not really hold too well. So that's the only thing about the quash. Once you get it kinda think it's a little more difficult to get a nice fine line down on the painting. So again, just kind of pushing the pigment down and letting it taper. Machining go along the top of the nose here with some of that light. Okay. I'm on dig in. I'm doing and where we're going with this here. This is turning out the full ie Kitty. We're gonna take a little bit of this squash and just kind of diffuse the top edge here. And where there's light coming from this side across. Just going to take a few strokes here. Again. Now that I've got that, I'm going to just kind of wash my brush off a little bit here and see if I can't kinda, kinda melt that in. Kind of like so, just so it's not so hey, how you doing? That's the thing I like to say. What? We don't want our paintings to unnecessarily yell at us because it had that little white quash. I'm going to use a loop. And in this PG key, I'm going to go right on top of that, just to kind of tone that down. And then now that we've got pretty much everything we got going on, I'm going to take our handy-dandy gel pen. I want these highlights on the eyes to be a bit brighter. So I'm just gonna take this, go here. Now, if you feel like the edge of the eyes need a little bit of assistance, you can always dot, dot, dot. And then you can take a brush and kind of blend this out a little bit. Dot-dot-dot. Just to kind of get back where you want. Or you can take now you've got a bright white area. You can take a pigment and put that back on top. That's also an idea to do. Okay, I'm gonna kinda do the same thing with the nose. Just add a few little highlights there. I'm still wanting a little bit of separation between this top area and the bottom. So what I'm gonna do is just kind of change this and take it. Kinda define the edge there as well as underneath the chin or the bottom of the chin, not really underneath it. Underneath it with the link down here, over here. And I am going to take a brush and I'm gonna show you all how I'm going to use that because the whiskers are really going to be kind of the highlight here on her face. So I'm not too concerned about here, but I do want to show you all how I put pigment back on top of the white. It's kinda fun. And then same thing here, fill like this as much not quite point where I want it. And you were were you feel like you need a bold line. You just go for it. Same thing here. If you feel like the edges need a little bit of brightness, just go for it. And again, you can always take this as light or as dark as you want. There's just kind of makes things stand out a bit. So I'm gonna take my small brush, I'm gonna move to two global PGP. So on. Titanium, buff titanium. And just going to gently go on top of those lines. And usually gently sweep over because it doesn't take much to kind of blend them back in. So just kinda like a little bit of a stroke across to get them not so bright white. If we want to add back in a little bit of those deep little whisker whisker set. You just can take your brush and just gently go back in there with some of these little, little DOCTYPE. But I like, like slanted lines. But like slanted line dots. Because that makes sense. And I say you can certainly work on this as much time as it takes, or as little time as it takes to get those details down in there. This is definitely a piece I could, I could spend quite a while, but my goal is to just show you the basic process of this so that you can take it, experiment and then figure out what works best for you. And again, you can just kinda take a damp brush. That word is damp as in waste. And just kinda go over the edges there. Like so if you feel like the lines are like Hey, how you doing? Just take, take the brush and go crops it. Not a big deal. Okay. Whisker time. Now, make sure where you went into fused that wine work. If you go back over it with a pin still really damp, you're going to end up with kind of some interesting lines. So I think my paper's pretty absorbent, so I feel pretty confident. Nosing. This cat does have some white in dark whiskers. So I'm gonna take the pen and work that version and I'm going to show you this pencil that I have them use. For the second part, you can use a small brush, perfectly fine. There's nothing wrong with that. So I'm just kind of looking at my picture, looking down and finding my reference. Again, kinda like with the brush. My pen is not if you ever need to append to get going, just have a little piece paper off to the side. I like to take I'd like to go in. I don't necessarily like to pull out. Not really sure if it's just like a control thing. I haven't really figured that part out yet. So depending on where the whiskers, how they're curving now, I can, on this side pull down instead of up again because I've got the palette kind of off to the side. But I can certainly move that out of the way. And then I've got room to kind of curve those pieces in. And just again, kind of observing where the whiskers are coming out of squares the little. And some of them go out and some of them go in. So I'm gonna go really out, like here and here. And then you do have some cats, have the whiskers that go up eyebrows. So if you don't want a really bright pin, you can use a wash mix or the white. I'm gonna see if I can't. Just a nice little. And then I might turn that down just a little bit. I'm going to go over the edge. There's a little bit of that yellow. Kinda want to add back in here. Just to kind of give a little more definition. And we can't take a little bit of that. Washington just realizing with that water line, we can take a little bit of white quash and just kind of add a couples need gentle little lines there. And if you feel like your lines, maybe something happened to them. You can always take an add back in. So-called thing that I want to go a lot of versatility, a lot of water range on what you can do. As far as tone. And the third whiskers and just take a pencil and make a mixture sharp, and then just add a couple of those whiskers. Now, we're going to finish up the details on the book in the shelf in a real quick little video. And then we complete. 9. Catclass 09 book: Okay, We're just going to finish this up with one of my favorite pencils as the graphite awkward L from fabric crystal. It is an 8 B. So it's going to really dark, but we're going to darken it up with a damp brush. So what I wanna do is just take this one at across the bottom here. My handy dandy reward, you get a nice straight line. You could certainly do like little, little hash marks here. If you wanted to add a little bit of depth, you could do it with your ruler as well. You could just take a line and then move it in a line. That's also a very handy way to do this mindful your paper. You can also outline things. And I am going to go ahead and do this on the top. We're going to do a reverse pull on this. And then I'm going to go in the book. These are really fun to experiment with, as far as the capabilities and shading and things like that. The harder you push, the darker, you're going to get your results. Nice, deep mine. Okay. That's looking pretty good already. So I'm just going to take my number eight. And I'm actually going to flip this a little bit to see you can kinda see if I like to pull, I like to use this, so it pulls towards me. In kind of see that line gets really dark. And you just are going to gently run your brush over the edge of it. And I'll actually just kind of pull in a little bit. Here. I could do the other way, but it tends to funds in the opposite direction I want to go. And you can always take a pencil at the end, like just a plain pencil and fill in. If you feel like you've got it too far out. And same thing here. Oh, now I'm just barely touching the edge. And then you can keep bringing out that pigment as you go. And as long as it's pulling that direction, you'll have a nice edge. And same thing here. Pull down. It's going to act a little differently with different papers as well. So that's something to keep in mind. You can get really kinda cool it down. You get the saturation down enough. Okay, And then the last step really, it's up to you view Warner on the words onto the book. You don't have to. There's lots of options. You can do it with a brush, you could do it with a pencil. You can do it with humans on gold leafing if you really wanted to get kind of out there with it. Noticing I've got some fuzzing here on the edge. So nice. You can go ahead and just kind of let it come across the edge there. But he didn't really like the way it worked. So I'm just gonna kinda do that. But with this, we could do it with, I think I could do with this brush. So when it comes to painting letters, I do like to paint them at like no. If we write. And I think what I'll do is I'll use this paralleling green. And I'm just going to do them in the green. And you can mix it with a little bit your gold green to really make it pop mic. Look at emerald color. See how my lettering skills fair. Doesn't have to be perfect. You can always go back over this with your white pen if you feel like the letters to inquiry cannot really want them to. A ruler is a really nice thing to have when you're doing letters. Let's just time-lapse this part. We have the title, curiosities of cats. And you're going to let that dry and feel free to tweak and play with anything that you want. But congratulations. 10. Catclass 10 outro: You have finished your cat painting. I would love to see them. Make sure to upload this on Skillshare. You did it. Congratulations. Awesome work. Give yourself a pat on the back. You deserve it. Works.