Watercolor - Let's Paint a Dog! Basset Hound Edition

1. Paint a Basset Hound - 01 - Intro: everyone. And welcome back to another skill share class. I am super excited to have you here. If this is your first time. Welcome. You might want to check out a couple of videos prior to this one where we paint the dog knows and the dog eyes. This video is dedicated to finishing the body, all the coloring. We're gonna use some fund tools to accomplish that. This is Cooper. He is adorable. I've painted him on multiple occasions and he has his own book, The Adventures of Cooper, which you can find on Amazon. So if you like, check that out. That would be really exciting. This class I you are offered an outline of Cooper here. However, feel free. Teoh, outline your own dog and give that a try. You can apply a lot of the same principles from this type of a painting into another dog. Especially if you have a basset hound. How exciting would that be to give it a try? You're gonna go over some colors theory? Probably going to ramble. I'm sure at some occasions, um but we're gonna walk through this together, and I'm just really thrilled to have you guys here and again. Happy painting. Let's go 2. 02 - Supplies: All right. I want to go over supplies quickly. On what we're gonna use to finish up Mr Cooper, the basset hound. We're going to need a few more paints than we needed for the eyes. And I'm going to have a list of these up as well as a picture. So with these paints, in addition to you're gonna need a few paintbrushes. Now, I've just picked out three that I plan to use for this class. Two of them are Grumbach er's and they're actually both number 61 is considered around. The other one is considered a liner. So one, they're gonna have a little bit of a finer point to it. The other one's a short round, and then I've got a bigger number 12. Simply Simmons. Believe all these can be found at Michael's. This one is going to be used for the big areas of the body, like the ears and the chest and the top of the head. Okay, I am going to use it. The very end. A few of my favorite watercolor pencils. I've got a gold fabric aqua, and this one is a to 83 most like a burnt Sienna tone. I have a black 1 99 Same brand have a one, a one a white. And this one's a little bit different. Brand it is a Koran. The it is a 3888 and it's more of like a chestnut color. So that one turns out really well on a really dark part of the body. Okay. Got my water container. I have paper towels. And last but not least, for whiskers. I'm going to use this Martin fly archival, White Open, and I'm gonna run through some colors. I'm gonna run through how they look on paper, just the colored ones. Not necessarily the white or the buff Titanium. Although I may mix a few them just to show you some texture. And I'm gonna do that with a one inch just cause it helps me keep my lines together. With that, let's jump into this color demo. So I'm just gonna put a little bit of water down into these wells. That one is a French grey, similarly too concerned about that. This is a black. This is a black that I'm using its carbon black. It's by core, and it does a lot of really nice spreading, so I'm gonna want that. Go ahead and make a line. I'll show you what what that one is capable of doing. All right, see how I just likes toe to start to go off to the side. This is part of what I love about this particular paint has a mind of its own. This is our pains, Bray. I didn't get a wash Really love Payne's gray. It's just a pretty color and believe or not different. Payne's gray from different brands look a little different, So this one's an American journey. Payne's gray. The core one is a little bit more of a Navy color. Well, sometimes doing this will help you gauge what type of colors you need. Sometimes I go back and forth on what colors I want to use for Brown is concerned or or Humber versus Raw umber like those two would have to kind of decide what I want. I do love this color because it is a burnt number, but he's got a really rich color. It's a really nice brown tone, hard to come across really pretty Brown's, especially when it comes to pet portrait it's and this other one I want to show you. It's gonna be our raw Sienna. That's where the really nice golden tones and part of why I'm doing this as well. Security get prepped for adding those colors onto the ears. Okay, that's got a nice spread to it. Okay, those are the main ones I wanted to show You gets really pretty tones here. I love the way how dark they can go, like they can go a lot of versatility. And with that, let's dive into the first step of our painting. 3. 03 - Paint The Ears Part 1: Okay. I think we are ready to dive into the ear section. I'm gonna start over here with the left side and the best way I know to start with pet portrait. This is my way. Everybody is different. You can have your own approach, but I am going to start with. Went on. What? Taking So now? Because I have a little bit of a break here. I must start with a small section. I'm gonna work with the following section, kill open water, tap me brush just a little bit. Because I know, I know this is just a small section. Well, but more water. Okay, Now I'm just are a little bit of this brown. Drop it on top. Following that shape, you tend to usually start on the outsides. Don't typically just drop paint in the middle. I feel like it creates more depth that way. Okay. There was a little tiny line there with a little fold. His ears are big and floppy, so there's lots of wrinkles and curves. Okay, so just following outside, going to drop. Just a little bit of this raw sienna on top of that. And it's this brush is a little too bulky. If it feels too bulky in your hand, feel free to go down a size or use whatever brushes you have. You can certainly accomplish the same thing with a smaller brush. I think I'm just rinsing my brush off when I come over here and have a little bit of this buff titanium. I saw a little bit of that brown in life brush, but I just want to drop a little bit of I love big textures. When it comes to pet portrait, it's I'm gonna let that sit for just a minute. I'm going to go ahead and start on this little flap here on the inner ear. I still have that brown on my brush. You can certainly either clean your brush out completely or not. I'm not too worried about it. Since we're about to put brown on there, I'm gonna follow this inside with a little bit of a darker wash again letting the paints do most of the work. I'm gonna drop some of that Rossi and I in there. Look how pretty those colors are. Now. I'm noticing with this bigger brushes tending to pull up my water on the paper quite a bit . So just be mindful as to how your brushes are behaving as to whether that's comfortable for you to use or not Now, because this inside edge folds under. I'm gonna go in and grab just a little bit of this carbon black. I don't see how much that is. Just dab your brush off if you feel like it's a little too much because this section right here is gonna be a really deep, deep brown with a little bit of that black. So I'm just gonna go ahead, add to that sheen when we come back in and just add a little bit more brown right here at the top. Okay, Now, the way I like to work, these two sections have been painted. Now I'm going to avoid doing this right away simply because I don't want thes two pieces to just blend into each other. If you do, that's perfectly fine. You go ahead and just pin it. I'm gonna go ahead and come to the other side and start working on this next part of the year. I am gonna drop in a little bit of the buff titanium since I did that here. Just for a little bit of highlight. An immediate right along the edge of the of the ear. It might have been a little too much. It just adds a little bit more texture. Okay, Now I'm gonna stick with the liner brush this number six, and I'm gonna come right over here and start working on my drop in. Did you wet on wet my tent to paint, Sometimes a little messy. I don't quite stay in all the lines. I tend to go back in with detail at the very end with those pencils I mentioned earlier. So something I think about just is your learning your process. Drop in that dark ground burn number and again, these colors you can either use some more colors. You don't have to use the same ones. You can use something different if you're painting your own dog. You off picked colors? No, Sam basset hounds, Air blonde. So that might be a difference as far as a color dropping some of that raw sienna. I'm gonna go along the edge here, and sometimes you actually can mix a little bit of that burnt number with some of this black to get a deeper brown. Do you want a little bit of a darker brown here and down here and again, I'm gonna run just a little bit of that buff titanium on the edge. That's kind of where the highlight is hitting. I like the way the color transition looks. I think that's really need now, with most pet portrait, it's I tend to hop around quite a bit Onley because this part is still drying. And I don't really want to approach this until this is just a little bit damp, I guess not necessarily wet right now. It's got a little bit of a shine to it. Still see if I can show you that. See that right up there? You can't quite see it, Alright, right in here. So if I were to go and put the water here, it would start to trickle in, and that again, it's not a bad thing. It's just not quite the way I work. So I'm going to jump to work on this little lip area right here. Fill this first section in again. I like working one on wet. I think creates really pretty textures. Well, I'm just a little tiny line underneath that. That little line right there. Yeah. This is what I'm going to start mixing up a little bit of this wash the black wash here, Black Wash does not spread as far as the regular black, so they put just a little dot on there. I have a little more control. I'd like to start out with a light wash and work my way towards a darker wash. You can always go darker. It's really hard to pick that the shade tone back up from watercolor without just, you know, putting white on top of it. Grab some of that carpet black and again, this this whole time I am looking at my reference photo in front of me, just kind of navigating where I want those dark tones to be just kind of bringing that black down just a little bit. Outline that wrinkling lip area. There's a little bit of a highlight here. It's not quite as bright as that, so I will cover over that with a little bit of French grey here in just a moment. Just be mindful of the blacks and the Paynes Grey they'll stay on your brush a little bit longer than most paints, Will Carrie. And if you feel like you've gone too far with paint, sometimes you can just take a little piece of paper towel and just run it up the signs here I feel like I was getting a little well to overzealous with the black there. Now I want this to meet even deeper select area underneath that little section right there to me deep. I'm just tap tap, tapping in the color underneath that lip, the lip or the like edging of that top top flaps. It's dog lingo, I don't know. I just make up stuff. Sometimes you don't know how to describe something. Just make it up. So a little bit of that French Gracie, how that's nice, but it's going to blend and really well as that's trying. Okay, I think I'm good to go on this part of the ears from a switch back over to my big brush. And if your water gets to be too tinted as you go along, feel free to switch that water out any time. You don't need Teoh. Deal to Messi of water, but like I said, because we're doing the brown not too concerned about the water being clear. Completely clear. It can be tented. It's not gonna affect anything. Really, Because we're just gonna add some darks back onto this here anyway. Okay, Somebody call here. It's a May Bert number and his ears go from this nice, pretty orangey tone all the way down toe like a deep, deep brown or almost black at the bottom. So I'm gonna start from top and work my way down and feel free to mix your colors. Come over here. Just makes a little bit of that raw sienna with the burnt number. Drag it down just a little bit. There's not really any right or wrong way to do this. Come over here, get some of that burnt umber, mix it with some of the carbon. Black had a really deep brown chemise that spreads. So this is my favorite part about watercolor. I was watching the reaction of the paint's. You can pull that paint up a swell just to kind of control it a little bit. I know people. I think with watercolor, you don't have a lot of control. You surprisingly have quite a bit of control. It just takes practice to know what to do and when to do it. It's all about timing. Drop some dark right at the tip, and hopefully it'll kind of just fan its way up. Just like that. I don't have quite enough water to do. A technique my dad would typically do with controlling where watercolor goes, especially like in a sky, is if the ears really, really damp, you could tip your artwork up and let the paint run down towards the opposite side. Create some really nice textures because there's a bit of a highlight. On the top of this year, I'm going to drop in a little bit of the buff titanium most, which brushes something a little more control. The pain is the top of here is a lot lighter. Come down here and again. You could tip your artwork just a little bit. It's a slow process, but you could tip it so that the water color starts to move moves across again. Just a little controlled tip. Of course, if you want, you know, texture. You could put salt on there. That's one way to do it. when you add wet on top of it will kind of push the pigments out of the way. Okay. I probably will go over that with a little highlight towards the end. 4. 04 - Paint The Ears Part 2: jump back over here. We're ready for this year now, so I'm gonna start here and I'll work into the center. I'll switch brushes again. Here, grab some of that burn number. I like to let the paint kind of do its thing. You just tap your brush off to kind of get the water off the controller that Brown's willing. Okay, we've got a little bit of a dark edge here. That darkness there. Just a little bit of that buff titanium just to create a little bit of highlighting. All right, Now, the thing is, this is really wet. That's dry. But I don't really want that to travel too far into the ear. I want this to connect a little bit. So I was gonna hold off just a little bit before I paint that. So I think what will be safe tackling is let's go ahead and go to this part of the snout all dark. He's got a little dark patch. Now. I am actually going to grab a little tiny the tiniest bit of Payne's gray because I want more of a blue tone. I'm just gonna come over here and get this whole little piece. Wit. No, I'm gonna grab, but of the carbon black brown. Make sure this is gonna go quite quite a ways because I have a bit of water on here. Someone pull ups in that water, grab some that black wash doesn't travel us far. And see how we've created a really nice shape with that snout need. Same thing. Could be accomplished on this side. What, That try up just a little bit in between are going to have a little bit more of that carbon black. I'm actually gonna grab a little bit of the brown. Mixed those two together. All right, Get a little bit that quash coming here in the middle. So those two don't just bleed into each other, okay? And brush is picking up all that water. Have a little bit more like wash. Now again, if you feel like some of the blacks getting a little too carried away, just get a little piece of paper towel and just damn it off. Sometimes I like what the pain does. It just creates a really neat texture. So fine with that. Okay, this is ready for continuation. All. I just remembered that So be very careful when you're coming right here. Don't with those to touch, I think I just let them touch mm. And do that with the regular pieces as well commissioned pieces. It just happens. Sometimes I get a little excited or overs Ellison. Just continue painting and forget where things are and you know that's okay. There's nothing really wrong with it. I don't want to turn the snout brown or anything. It would be my only hang ups. I'm actually gonna take a piece of paper towel, make a barrier because that part right there is actually pretty dark. We're gonna be dropping in some really dark brown, so it takes over brown mix up. It's in the black. Follow along the edge. There can just happen that color drop. It's more. Got quite a bit of that brown. Wow. A little over enthusiastic about that, which is still okay. Can delicious. It's my brush off Can pull the color up. I can do with it as I please. Okay, that top part money's more that raw sienna. Now that top part I didn't dampen before I put the color down, so that's ah wet on dry technique technically, so nothing to be to overly cautious about. It's just something that be mindful of how you want to approach different parts of your painting. I love his big old floppy years were so awesome. Basset hounds were cool like that. All right, Now, if you want a smaller brush to kind of go in and some of these highlights, I would probably recommend I got carried away right there. I don't mind a lot of big texture, either. Okay? I think that is going to do it for our ears, and then we're gonna hop over to our next section. I'm gonna let these dry. 5. 05 - Paint The Head: continuing with the head. I'm actually going. Teoh used the liner brush for this part. No, at this point, we water is fairly dirty. But I'm not too concerned Just because of the coloring of Cooper. He is very much so. The chestnut color show you a picture of him here. As you can see, lots of nice chestnut colors here. His nose is dirty, but I'm not going to worry about that at the moment. So you can see where we've accomplished really deep, dark colors. What I want to dio is I'm going to just lay down some water. I'm gonna get pretty close to the eyes here because I was actually need to be more of a brown chestnut tone in such a dark great. Oh, and if you remember, I talked about this section being really dark. So I'm gonna go ahead and just get some of that black brown I made earlier. Be mindful not to put your hand in the ear. Do that quite often with paintings. Grab some of our raw sienna. There's following the shape and with animal pet portrait's. When it comes to the head because the water gets soaked into the paper, depending on your paper fairly quickly. I like to work on half and then moved to the other half. That's kind of how I guide myself to making sure I'm not running out of time on one side and being able to focus on the details. So again, same idea. I like the paint to just do its thing. So any any areas where he's got a wrinkle, I like to put down a darker tone. I'm using that liner brush. It just really kind of get those details in there details without being too overly detailed . If that makes sense, I don't want to go too crazy right now because you can always go back in and add those for marks those little for intentions at the end. All right, now we're just laying that base, actually, kind of blend these two together. Now you've got that will eyebrow. He's got a little bit of the dark for that comes down underneath. I can just be mined for your hand Is going all right looking like Mr Cooper, Can you So cute. A little bit more of that, Uh, Rossi and her graham a little bit of the buff titanium and bring it right along that little dark spot Mint for a highlight. All right, move on to the other side. So I'm gonna wait to connect those two till the end. No, this is the exciting part. Almost. It's almost as exciting as watching paint dry. Okay, Now, go ahead and connect these two. We are adding some of that nice raw sienna down, and if it's too damp, just come over, tap your brush off and pick up some of that water because that's how you're going to get some of those nice details with the wrinkles is to not not have a ton of water in each section. I'm gonna have to go back over some of these with some of that dark brown mixture. Make sure my brush isn't too wet. Just follow following lines, and I could do a little bit of that as well at the end. So it's not. It's not too big of a deal. We don't stress on it too much. It will be that nice. Rossi and I go in okay, A little bit of depth here because that here shadow continuing up paying those darks where those darks go. You know, sometimes just falling along with someone painting this type of, ah subject to me very encouraging can help you figure out the process a little bit. And this if you take the tip of your brush, you can actually make little tiny for marks. If you want up, add a little bit to the snout. There were that for changes from the white into the brown. Save yourself a couple of steps there. By doing that, I'm gonna do that along the line here and right here where I'm painting, I'm gonna go ahead at a little bit of a dark ground. Since that is a deeper shaded area I didn't bring some. Those little speaks over was taking on some shape 11 that hopefully this will give you a sense of how easy, how easy is the right word. But it doesn't don't have to be complicated. This doesn't have to be. Don't stress about it. It's just having the tools, the knowledge and knowing kind of how to approach something all the difference in the world , sometimes with dogs, if you give them It's interesting depending on how you look at the portrait for you in just a little tiny, dark area. Most like they're smiling Can really change the aesthetic of the dog. Okay, I think we're just about there. I'm gonna have drop in just a little bit of that buff titanium on top of the head, and we make sure and brush isn't gonna drop too much. I'm just gonna go here. Here. There's actually a little lidded area that I want bring some attention to. Oh, right. And I can always go back in here once this is try and really amp up those details. All right. And next we're gonna move on to the chest area. These air just about drives are just keep on going. 6. 06 - Paint The Chest: wait. We're ready to move on to the chest area. I'm gonna go ahead, fill in these two little lip flaps. That way they could be drying and will tackle these two sections here, which are the chestnut color to same colors. His head. So that kind of move around from area area and switch over to this round brush number six round. Now, I'm gonna approach this the same way I did this. Now, here, how? Just a little bit of water and I'm gonna let the black brown mixture just kind of do its thing. And then I'll grab a little bit of that wash. I just added along the edge there just go until you feel good about it. Now, just a little tiny bit here. Noticed into me a little more punch of darkness because actually gonna translate down into the dark. He's got a little piece of dark for here and then back to that chestnut color. So go ahead. Just fill that in with a great wash, because it's essentially gonna be black. Anyway, I'm gonna grab the quash for that because he don't want it to blend into the next color. Too much So if you want a lot of spidery feigning effect, I would grab the carbon black if you don't, I would grab the Quash, grab a little bit of that brown tryingto differentiate here, and I'm actually gonna do just tiny little little strokes here with the side of my brush. Joe start kind of blend the two and then that little parts gonna turn into a chestnut color because that's just part of Cooper's markings. Again, another cool thing about, you know, baskets. I just find them quite quite interesting overall. Okay, this part right here is a really deep shadow. So if you want to take some of that French gray French gray makes for a good shade color and if you need to go bit darker, just add in a little bit of the carbon black or the Paynes Grey Payne's gray turned out to be blue, and you knew it that way. It's flexible. All right, This part I'm gonna let this dry, and I'm actually gonna go back in, and we're gonna wet the white area and then drop in the color because it creates a really nice soft for effect. So we're gonna kind of what that be? Pick up some of that color because we'll go back in. We're gonna tackle this little area here. ST Ideas, the ears. Maybe this whole section wet. It goes from like a dark black to the lighter brown color so you can fill that in. She filled it with a little bit of wash from the white or brown. You help the ear doesn't bleed down into it again. I like to do things fairly quickly. I'm not super patient when it comes to spending, you know, hours and hours and hours on paintings. I like to be quick and efficient. So that's just something I've learned about myself in the last few years. Suter's pace yourself now, sometimes you're probably going she doing? Um, I did. Went on what? Here And then if you do want a little bit of a boulder color tone, you just do wet on dry if you want just a really stark contrast, which I am okay with right now because we're gonna hopefully that Brown is gonna drop down in there and this brush is actually a little stiffer, so you can blend a little bit easier versus just dropping the coloring. Okay, so I'm gonna drop that black, going to let it do its thing. I'm gonna come here and get liner brush. Poor little for markings with this, just as if it were, you know, in going into the white for same with rosti. Anna. A little bit of brown. This is a little bit of, ah, Stark brown in comparison to what we had up above. Okay, I really like a bold water color texture, too. All right, keep on tone down. Now. I'm gonna swing over to the other side here. What on what again? Just adding those little for marks here and there and dropped more in the CNN right soon. I think that's good. Okay, so we've got a dark section up here, just like on the other. Sighing but the shadow from the ear just gonna work that around. Keep coming down down right down. Okay. Add some blacks more black. If you really need it to give it some punches, bring some of that black wash that's gonna dry really dark. The carbon black tends to dry a little bit lighter than what it's looking like at the time you drop it down. Okay. Mr. Cooper is looking wonderful. The stage. I'm gonna drop a little bit of a dark brown on this side here to kind of give the illusion of a little bit of more like a muscle definition. More shading Now for this chest area. I could have done something all different. We started. I could have done the really light grey wash first let it dry and have done everything around it. But it's that I waited till the end. So kind of how we created this is how we're gonna create the chest. So I'm gonna let this dry so that the colors don't just completely wrapped themselves together, and we will finish Mr Cooper up. So now the papers, not Buckley. Where flat? We're good to go. Went and got some clean water. I would recommend fresh water for this part since we are working with gray tones. Just gonna get this whole section went One had sped that up free. All just so you didn't have to watch me paint water on a picture. Okay, I'm gonna grab a little bit of this French grey. I'm gonna go right along here. Ones edges have a little bit of the carbon, and he does have a little bit of a market here. You got ears. Wanna be mindful of shadows? Okay, keep going. One more great out here, right here. Believe or not with when it comes to white for, um, not you don't think I was just Walter White spot. We were actually quite a few shapes and shading, And, um, there's quite a bit of variance in tone when it comes to wait for. All right, I got that nice and dry and ready to paint on again. I mean, take pop up there a little bit, take my liner brush, and I mixed a little bit of a darker gray wash. I'm just I want to take, like, little little line work and just go along and finish out. Where have the original pencil marks Just adding a little bit of detail here and there. It gives more of the idea of the for, and that translate over there haven't pick up just a little bit around the years around here. I was following the direction of the for And what motion? What motion? It's going through this part here kind of curves around. So I want to kind of follow that his best We can. And I do take some liberties here in there as far as where for goes and all the texture keep on going here, adding those little details. Okay, as we continue on, can I just can't give me any idea of where the for goes direction it goes that you've done a few of the usual kind of get the hang of it, the flow of chest. A little bit of these on top of news. He's got some markings up there. Mark over here again, just following along Photo where I'm seeing the shadows The shadow whose anybody remember that show again, Just kind of just doing my thing blending where I think Okay, I think that looks pretty good. 7. 07 - Final Details: All right. Now what I want to walk you through here is finishing up the details. I do want to take this brown watercolor pencil, and I'm just gonna go around the edge, gonna do a little bit of detail ing on face and along the edge of the body here. And then I'm gonna take that other watercolor pencil and use something very similar, all right? Just being mindful of, you know, the watercolor pencil. And if you know, if you pressed hard breaks as you're drawing, that's always That's always a good time. Good time to be had. I tend to I use mine in a little bit of a harder way. As far as strokes and marks and things. I like to add those little those little for marks. And the cool thing about these is really don't know why. You know, maybe being a message opera. You don't feel confident in a spot that you did. You could just take a damp brush and go right over it and soften it, which is the really cool part. So I'm just gonna follow along the head here, follow along some of these lines for hiss, wrinkles and for around the eyebrows Give a little more expression. - Que me more. Until here. Just kind of making those softness pop a little bit. Listen, detail, really? The goal. Swing around here, Wind that part. I'm gonna take the black. Go long line here. Okay? You should take a little bit of black markings here on the line. Most flabby gel area Pure. I kind of got a little, well, overzealous. And I went into the eye their bit. Take this other color here. But a few more details, and then I'll take the highlight. Just my favorite part. This year he was Body will outline. Like I said, I'm gonna take a wet brush. Kind of spruce that up just a bit. Well, that's one saving me. Mindful about your pencil markings, your hand can get in the way sometimes. So Okay, now, take this. This is what I think some of these paintings relation life for us. Roseanne's as it were. She really accomplish the really cool things with this type of approach to painting as far as the details and a lot of different options to create texture. And like I said, you go in and soften all this with a wet brush. So if you feel like you went a little too too out there, um, you know, I don't think you can. I guess you can. I said, I'll soften that with a brush. Take a little bit here from a shiny coat, you know, And you can take this as far as you want. As faras, you know, detail goes. Take that wire brush now, Don't got white. All of my over my work here. Just create nice soft edges. You have control over what happens here. All right, let's finish up with some whiskers. It's got a lot of cute little whiskers going on. Just like to give the illusion that there's just a little peeps of whiskers too often do a lot of whiskers. We're going to do a background on this. So that's you worried about the extra pieces. So hopefully you've learned some things today. Got some good tips. You can apply to your own painting 8. 08 - Share Your Project: Okay, here's our finished Cooper painting. Thank you so much for joining along. And I really I do want to see your project, so please be sure to post those in the project gallery. I will be on a look out for those I feel for you. Comment? If you any questions, anything you'd like to discuss, Please do so. And happy painting. Thanks, everyone.