Watercolor - Let's Paint a Dog: Yorkie Edition!

1. Watercolor - Let's Paint a Dog: Yorkie Edition!: welcome back to another skill share class. My name is Mary Evelyn. And in today's class, I'm going to teach you how to paint a Yorkie. I've had a few students ask about how to achieve this particular length of hair. So we're going to talk about all of these lovely details here. We've got a Yorkie with one ear bent. I wanted to show the curvature and how the for worked in different ways. I'm gonna walk you through each step. We're gonna break this sweet little dog into several sections so that you can take it in bite size with manageable pieces for you to work on as you want as you go along. So for those of you wanting to tak a little bit of longer hair dog slash animal, this is the class for you. I'm hoping to make it easy to follow. We're gonna talk about highlights and shadows, and I've got some different things we're going to work on through this class. I'm even going to go over how to use masking fluid for this particular portrait. So without any other lovely random things that I like to say, let's jump right on in. And I am gonna let you in on a little secret. You could do this, so let's go 2. Supplies: Let's talk about the supplies we're gonna be using during this class have gone ahead and picked out some brushes that I feel that I'm going to use during this class. I mean, I walk you through those first when we have is a number four round master's touch. If you've watched any of my previous classes know that this is my favorite go to I've got a bigger master's touch. Round number 12 for those big sections of wet on wet actually have two different liner brush is I couldn't decide which one I wanted to go between. This is actually a number four from Windsor Newton Cotman, and this is a number one liner from the Masters Touch brand. I've got just a detail brush so I can get into the eyes and little details of 00 Grumbach er and it is around, all right. And I wanna introduce you to another brush, just one that can be tossed after we're done using it. I'm gonna use it in combination with this misc it or masking fluid for the areas we're gonna be putting it on. So just keep in mind a brush that can be thrown away. Or if you'd like to really scrub in Washington Once the fluid has dried, that's up to you. I've picked out four colors of watercolor pencils. I have three that are the fabric Castel Outbreak Duerr And then the other ones Just a gold fabbre aqua from Fabbre Castel. I like fabrica still when it comes to these pencils and I've just picked out some colors and I think you're gonna accident towards the end. Okay? I've got my colors here. I will put up a picture with the names of the paints on the screens. You can take a look at those if you need to pause and get stock of what paint. If you have some colors that are similar to it great, they do not have to be exactly the same. I have my water jar. I do have a pencil sharpener for the pencils. If if I need to have that available, have paper towels off to the side. I've gone ahead and printed out the little sheet for just kind of oh side reference your swing and glanced back and forth And this, I thought, might be helpful for everyone as faras light sores shadows. I gave you a grayscale version so you could pick up value. So print out one of those that should come in handy during this class and as well. I've printed out the outline and I've already got it transferred onto my £300 watercolor paper. I chose this paper simply because we don't have to take it down for this class. So I've already done that with a piece of graphite paper and ballpoint pen. And finally, a white art and fly pan. These are Bible. It's my favorite one to use. We're gonna use that probably just in the eyes and a few little highlights towards the end . So without further delis, jump into our class and please make sure to bring your sense of adventure. Let's go 3. Eyes and Nose: I want to begin this painting with the eyes and the nose. So we're gonna take this lesson. We're going to do both eyes and the nose, and then we're gonna move on from each section to section as we progress. If you just want to time manage this project, you've got little bite size lessons to help you complete. Does painting in a timely fashion from him going debate around the eyes? I'm gonna take a little bit of C p A. And actually mix it with some of my Payne's gray to begin with instead of just jumping straight into a black. I just want a little bit of ah, guideline, and this is gonna be wet on dry and just taking the paint on, dragging it a long I know a lot of people will tell you go light to dark when it comes to eyes and noses. For whatever reason, I've just decided that I enjoy going dark delight. I don't have an exact explanation for that. It's just something I'm comfortable with. I do like that. Getting the eyes and gives you an anchor point for your painting is again. I have said this, but I really important to me. And I want them to be important to those of you that are taking my class when it comes to pet portrait. So just be mindful, or I'm gonna go ahead and fill in the pupil. I'm gonna go ahead and grab a little bit of the black wash, and I'm just gonna fill in that small area. You could make this more rounded if you want. You do not have to follow the exact formula that I am doing. It just looks a little crazy right now because I have a feeling around the eye is gonna be just a little bit damp. So I'm gonna go ahead and just outlined me Other IRA quick Guan waiting for that to set up . The more of these that you do, the better and the more comfortable you will feel. Painting eyes does get better. The morning dew. You go over that black wash, fill in. People came rents that brush out that black off of there. All right, well, I wanted you is a little bit of a wet on wet variation here. I'm gonna I'm gonna fill in the iris was some water. I'm gonna go and grabs on my transparent oxide brown. It was a nice bright orange color. What I want to do is just follow along the edge here. I'm gonna go back in and grab some van Dyke brown. I'm just gonna dot it and just want a dot, dot dot cool thing with watercolor and eyes as you can create some really neat texture. Now, when it comes to the outside that I I like to be dark when it comes to the top and around the pupil I'd like the pigment to be a little bit darker. You can come along the pupil here and just add a little dark dirt spots of that van dyke brown and see how it's starting to spread. And we've got a nice I affect going on. I'm gonna keep that highlight there, okay? And we're gonna do the same thing over here, just going back and forth. Just letting each side set up retain the white of that highlight. Although I probably will go back over. It was some white wash. I'm that transparent works. The more water you have on your area, the quicker the spread of the paint will happen, So just be mindful of that. Okay? Go grab some. Might be Indyk Brown. I just want dot around the edge here to me. Bring up at highlight Just a little bit. You're looking pretty fancy so far. Just with some simple color drops and variations, it can achieve the depth we want for those eyes. Now, if you want a little bit of the yellow tone, grab some of the Naples yellow. I'm just gonna spread right along here to kind of give that golden effect as you will come along here. It's spread a little bit better on this one. Since it's more damp, you probably have noticed the one side is a little darker than the other. So I was gonna poor little more pigment onto the lid in the bottom. Okay, I think we're getting the right idea. I'm gonna go ahead and grab a little bit of white wash. I'm gonna take this highlight just a little further up. I had a water line down here. Take those highlights up. You may end up getting a little bit of orange onto the brush. Just rinse it off in your water. I don't know if you've heard me talk about this before. Like to blend out that white just a little bit. I like a soft look. If you feel like you need a little bit more off a highlight, just grab some more whitewash. Now, I am going to run just a little bit of the Van Dyke and that little bit of Payne's gray that I had sitting there just right above this lead cause what we have going on us thes are recessed. So we've got the hair that kind of falls forward. So we want a little bit of a shadow to happen toward that by looks like it's got a little bit more depth than what we had going on. Okay, My white is taking over a little bit and some of them that's OK. Nothing wrong with that. You can always blend this to where you want and where you feel comfortable and how it looks . There's always that moment of that look, cross eyed, does it look off? Okay. I'm gonna swing over here to the nose quickly. I'm going to take my black wash if you have watched the nose tutorial and you know that I like to fill in the nostrils First, I like to kind of just outline the nose again. Once you've done these on many occasions, you will realize that they're pretty simple. Cain Filmon. And I'm just going to take an outline all the way around the nose, OK? And I don't wash my brush all the way out. I just want take some water. We got a little carried away right there. Can always take a little piece of your paper towel and pull the water off. Yeah, I got a little carried away right there. That's OK. We're going to drop some black back into the area. This is a variation of both Wet on dry and wet on wet. Not a true what I went because the water is not completely clear. I'm not laying down a complete layer of Clearwater for I add paint to it. Fill in that nostril real quick. I like this because it tends to blend a little bit nicer. I want to make this side of the nose just a tad darker because again, light source coming from here. Moving down. You know, with this you also congrats. A little bit of the buff titanium, and we can add it right along the shapes just to keep keep the shape going. Now, I want to add some brown into this nose, but I don't want like a I don't want, like an in your face brown. So I'm just going to tone it down with a little bit of the buff titanium, okay? And then add a little drop of white wash right on top of the nose here and right along the edge here. So we have the effect of a nice shiny nose. And I think every time I say that now, I'm going to remind you all feel free to take liberties if you've got some sparkle paint or Cem shimmer and it onto the nose. If you have a little bit of salt, you may feel free to add some salt to the knows. This is a pretty small nose, so I don't feel inclined to add salt to get some of that texture. Okay, so we've got our eyes and her nose complete. We're gonna move on to the next section 4. Masking Fluid: I mentioned using masking fluid, so I want to take the time now. To do that, you could have certainly masked off the like a little dotting I's little box in the nose. That's fine. I'm just going to take my brush here a little bit of that masking fluid. I'm going to just brush on some wisps. Go down gently first, because depending on what you're using, you could end up with a blob on your paper and nobody wants a blob in it. It starts to dry pretty quickly. Um, it's just kind of an interesting medium to use with your painting, but I think it's fun to use. It's easy to lay down, and what it's gonna do is we're gonna end up taking that off towards the end of the painting. They do make masking fluid pins. I have one, and I liked it pretty well when I got it. I'm gonna need to buy another one. I think when they're new, they're a little bit better. The one I have tends to get stuck in the a little bit of the texture of the paper. I'm not too happy about that, so I may just have to get another one. And I think that's by multi to I will add that on the screen case, you're interested in picking up one of those. And I'm just going where I feel like I want the paper to be left white. Once I'm done with the painting. I'm just kind of picking and choosing little areas, keeping in mind that this side is gonna be a little more highlighted in this backside here . And the cool thing about this is it just rubs off. You just get peace going and it just keeps on. Go in. It's a lot of fun. It's exciting. Once you're pinning is completely done. Take too much time. I think that's about all I'm going to do. Just going a couple more low spots there. Set that off to the side, Put this back, owns it doesn't dry out 5. Ears: All right, I am going to start with the left. Here are a little bent here. I'm going to use me. Number four brush. And what I want to do is a glaze on top of the ear first gonna let it dry and then go back in with a darker glazing tone. Make sure your brushes clean. Uh, notorious for that Now, feel free to do a wet on wet. If you want to add a tone to it. Feel free to do that would actually be a little bit more beneficial to get that mid toned down. Just gonna use a little bit of my buff titanium to do that. So we're just kind of laying a base for our here. I've let that dry. I'm gonna dive into the center parts of the years here adding that dark, darker base. So I want to take a little bit of my buff titanium and mix a little bit of that Van dyke brown Get the warm and the Paynes grey deep in it a little bit. Gives you more of an ashy tone. If you want to go more with the brown dark brown, go with CBS can you even darker base. OK? Do you get to decide your color tones? I just want to take where that dark it's going to go right here. Give myself a little bit of a guide. I'm just gonna take a little bit here. This is basically the idea of glazing in a way, if you've taken my class before, you'll have seen where I do this where I sweep out the little sections of paint that I have . Okay, just be mindful where your for is that's going to give you your guidelines as to, you know, the for. That fresh is up here at the top. You're not gonna want to add those dark lines, too. Same thing here. You know what, That just a little bit. So it spreads a little bit nicer. Yeah. The key is to give the illusion of for movement without it being overly complicated. Okay, If you want to add a little bit of a deeper tone, just follow along the edge here and let the paint to its thing. And I mixed a little bit of the pair lean violet with some buff titanium and just a tad bit of the transparent oxide just to make kind of a pink tones. I'm gonna drop some of that in here. I'd like to think the inside of the years or slightly pink, especially this one. We're gonna need that for the inside of that year. And you can just keep bringing that out just so it blends the cool thing about this paper. It's very great for blending set £300 Milan deroy. I think it's by cancer. And if I'm not mistaken, but it holds layers very well. Just the lightest touch and just sweeping along as I go here. If you want to add a little bit more of an orange texture to the outside, just take a little bit of transparent or the raw Sienna, the Rossi and actually might be a better option here. Just add a little bit of warps into those ears. And if you feel like you've gone maybe a little too far, just get your paper towel on damn up. Stab that paint. Every time I say that, I want to just start dancing. Yeah, just feel free to go to Goa. Sfar. Aziz, You want to go with this? I'm gonna take a little bit of the CBO. I had a little bit more depth to this base of the year because we're looking down into the year there. I do have a little bit of a darkness here. The top when you're gonna take a little wisps, follow the direction of the for same thing here. You could just kind of take a little wisps, depending on your overall achievement of color. You can take the Naples in the buff titanium toe warm up this original color we laid down. I know your keys typically have about a set color of tones, but we all know that each dog is unique. So take liberties to color how you feel you'd like to color. I just want to show you the techniques of how I accomplish this length of for I want this section to be just a little bit darker. So I'm gonna take, make this a little bit warmer and take a little bit of this tone and just add a few little markings here I can hear and maybe just a few. We're going to get into this section. We'll work on that later. But just keep in mind you've got the hair that lays up and over, and then we've got a dark section. The forehead here is dark, so just keeping in mind, the motion of all of the pieces of this painting will really help you with accomplishing the overall sense of what's happening. All right, then move on to this ear to do the middle part dark, and then I'm going to fan out the color. So I want to use I'm just gonna use a little of this. Brown. Here is a guideline. The for pieces that are on top here are brighter again. That light is hitting the top here. So be mindful that. And I want to be mindful of the hair that lays on top of that year and not bringing that here down too far. I'm gonna grab some steep Pia. I'm gonna run that around here. I'm gonna take that little bit of mixture that I may that pink Pete tone drop it here and then I actually want to run more of an orange on the outside of that. All right. And then I'm gonna just take my brush. You can go into that little bit of a darker Brown if you'd like just to bring it out. But I'm gonna these air more of just the little wisps of hair that stick off the actual ear . So feel free to take liberties there as to how you want to accomplish that. Tend to blend, blend where you feel like you should blend. Pull the hair out in a way where you feel like you should. Because this this if I was to do this again, it won't turn out the same way I almost getting to you. It'll be similar, but it won't be the same. Each one is unique. Part of what I love about art. She's gonna deep in this just a little bit, always referencing my photo that I'm going from just to see where I want those highlights and low lights to be actually see how we've got the orange here. I'm gonna add a tiny bit more of that tone over here only inside of that year. Give some warmth, e Think that is the basis for our ears. We're going to move on to the next section 6. Snout: Let's walk through the snout area. We're going to start on this section here and work our way through. I'm going to use a wet on wet technique, and I am going to start with a light wash very light wash of the buff titanium. So I want to get the whole section wet with the buff, and then I'm going to drop colors into this wet wash here. And I would say the only reason to not do your eyes and nose first would be if you're worried about this bleeding into your color, I'm typically never too worried about that, so it's kind of why I jump into it. However, if you are Phil free to wait till the end to do the news in the eyes. When I'm just using a number 12 for the bigger sections to get the wet on wet, I'm going to use a number four to drop in the darker colors, and I'm about to use Okay, so I'm gonna get some raw Sienna. If that seems a little too bright, just add some CBS or even a little bit of that Van Dyke brown, or have a feeling we're probably gonna need most of these tones and what I want to do is just adhere. And here we've got some dark around the nose. Okay? Take a little bit of that Van dyke in the CBO, or she could also take Payne's Gray and man Dik make for a nice and deep brown. Take a little bit of that and run it along the edge of the nose here at the tippy top of the nose. And if you can time it just right, your paper will start to absorb the water and you can make little lines with your pigment, and they kind of fuzz out as you go along and just take your brush running along your paper towel. Come back over and pick up that pigment where you don't particularly want it. And where the mouth is at, we can get a little bit darker. I'm not going to address that just yet. I want to just get thes bass tones down, grab a little bit of that raw Sienna taking it up above all right. And I'm gonna let that dry before we do our glazing. Now that I bled this section dry, we're gonna jump in with a little bit of glazing. I am going to take my liner brush this time. The number four works pretty well for the most part, so don't feel like you have to have a liner if you've got a nice sharp tip on your number four or any brush that you are really comfortable using. Feel free to do that. Um, I just want to see how this is gonna work a ground. I grabbed some raw sienna and I just And what ad? Little strokes here and there where you know, it's a little bit of a darker tone. And if you feel like that's not dark enough, go over to that mixture of the Payne's gray in the Van Dyke brown. That would probably be a good one now to address the area of the mouth. It's kind of that little bit of that line. I'm going to take a little bit of a darker color here in just a moment and add to the blank that there's a bottom lip. But right now it's the for that kind of comes and curls under is what I want to focus on, just taking little bits here and there, Miller, jump back over to that sienna color. And again, I'm just following the shape of the first strokes that I've made. And sometimes, if you feel like the ends of your strokes are quite pointing enough, you can go back over it with the brush first, a little shorter up here, towards the top of the nose. You just take your brush and make lines of again. If you feel like it's gone too far, just take your paper towel in. Just dab it off and start over. Don't feel pressured that you have to get it right the first time. Practice, practice, practice. Okay, again, I'm just kind of glancing at my reference as I go just deciding where I want to put those strokes. And if I feel like I've gone too far in one part, I'll just take my paper, tell and dab it off. We just want to get to give the illusion that the hair is there without having to paint every stroke. Same thing here. I'm just following those initial lines. I feel like I've gone a little too outside the box. I can just rein it back in okay. And again this technique applies to a lot of things. You can continue toe, layer and layer and layer. This does not have to be your finished result. You can keep taking layers of color, and it will give it a depth as you go along because we all know we can spend a lot of time on artwork, which is great. So when it comes to these classes, just know you can always take it further. I tend to just want to show you the beginning of a process and then kind of let you decide how you interpret that and then and then make it your own. Okay, All right. Now we're that little bottom lip. I'm gonna take a little bit more of that dark wash, just make little lines here and here, and I'm gonna take it just a little bit. Any time I want a dog to local but happy You just take that dark tone and just raise it versus having it tipped down. You raise it up just a little bit, give some more of ah, of unappealing happy face versus kind of a grumpy face. Okay. And then this is where I'm going to just kind of work off where I want that bottom lip to be. Come over here and get a little bit of Mike wash a little bit of Payne's gray. You're swinging on a cross, Be a little bit more Payne's gray here. I just wanted ever so subtle. You don't want it. Hey, in your face. How are you doing? And then when we go back over all show you had to add those little wisps as if they're above that little lip there and some highlights and things. Okay, I think this now is looking pretty good. Real cute. All right, we're gonna move on to the next section. 7. Forehead: Let's focus on the forehead. Next. That is gonna be our next step for this round of painting. I am actually going to do a well. What? Where I do a clear layer of water. All right, now I've got that water on there. See if I can show you how much I got. I got it a little heavy over here. I could just swing it on around. Any time you see pooling of the water on your paper, you know, you've got just a little too much on there. No, back to my number four. Okay, I'm gonna grab some of that buff titanium and come across the eyes here. Start marking off where I want the shadows to go, keeping the mind that this side is gonna be a little bit darker. All right, I'm gonna drop in some darker tone here. Start getting into that recessed area of the forehead around the eyes and right under here , we've got a little bit of a piece of hair that kind of sticks out over the eyebrow. I'm gonna take it even a little bit darker here, so it's gonna fade a bit as it dries. So that's why I did a little bit more of a punch of contrast Here. I'll take a little bit of that and go underneath and just pull those low areas out where necessary. Remember, I have just a little bit of that rosti and And just add the brightness that we need the warm tone along the edges here. If you want, you can bring a little bit of that down into the snow and let it dry. Let's begin to add those deeper tones here with our glazing effect in a grand that liner. Brush the number four again. Come over here and get a little bit of our titanium and a little bit of that mixture. Feel free to explore these color tones and values. Transparent oxide on a little bit of Payne's gray makes for a really pretty brown grey. It's always a good thing to have in your arsenal. I'm going to take a little sections here and bring them down cause we got to a pieces of hair that kind of just are hanging out, and actually, I'm going to switch brushes here. I'm really liking my number four. It's got like I said, a nice sharp tip to it. I can control it a little bit better because I wanted it down. And here in this section where you've got it, a light little for edge and then back into the ice, it was kind of marking off those areas. I'm gonna take some of that sienna go up over the eye here, give the first and direction it's on purpose. Okay. No other sign. Some of those wisps up, up and over. We can have a little bit of a warmer effect with the Sienna underneath this brow here. Okay, I'm just gonna kind of sweep a few pieces here no longer here here than over here. But of course, you can adjust that as needed. Or if you want to try your own Yorkie, that is perfectly fine. Hopefully, this will give you some idea of color placement and where things should be. Take a little bit of a darker value right along here, then just kind of following my reference. Just feeling out where I should go with these color tones, Gonna blend out ends of these just a little bit. I don't want him to be so harsh on my paper. over here to that buff titanium mix, and then bring that through here. Since this is where we have the most light, you don't want to overpower with color, I think with top here just to give ourselves a little edge. Okay, Same here. Following through we've got This is the point at which the hair, the longer hair sits on top of the head. So that's why I'm just kind of like fanning and out. Okay, then, as this is set up just a little bit, I feel like I need to go a little darker. So I'm just going to come over here and get some and, like, brown on a little pains and just come over here. Now I'm sure each Yorkie has a little bit of a difference. Color tone. What comes to their eyes as faras the depths? I'm sure some have a really recess I area, so it might be deeper in tone for you. You can still apply the same principles. I think so. You can always make decisions as you go along as to how sharp edges. Or if you would like it to fade out a little bit more. I'm liking the depth we have so far. Okay, I'm pretty happy with that. If you feel like your pencil marks are a little bold, you can always taken kneaded eraser and just erase off a little bit. Or just simply go over them with some wake wash or make them darker. I wouldn't go too dark, though, just because you don't wanna I feel like, uh, maybe it's overpowering again. Just trying to make sense of shape and flow as to where the the hair is moving. Okay, we're gonna move on to the next section. 8. Chest: Hopefully, by now you've realized the name of the game is wet on wet with our mixture of buff titanium . And then we'll wait for it to dry and then dive back in with our strokes. Feel free to take a completely went on. What approach with this, if you want to keep the water a little more clear on one side and then have a go darker on the other side relates, I went in a little a little too bold on that side, and that's OK. Should always be remedied. All right. I'm gonna go a little darker on the side, though. Okay? We're gonna take a little bit more. We go right now, while this is wet. I am going to go ahead and ass and Payne's gray into this because we've got a little bit more of, ah, charcoal, but a bit more of a cool tone on the body versus the head. The head has the more of the warm tones, so we just wanna grab some of that pains and just mix it on in there. You can bring some of that up and to the chin there courses is the party could have artistic license is faras the outside finish on how you want that toe look, because it can go lots of ways. Okay. All right, let's let that dry. Let's get ready to go in and tackle this chest with some brush strokes. I am going to go back to that number four liner brush the winter noon. I want to take some of the Paynes grey make a nice wash. That's what we're gonna go to. And the more you do this, you're going to gain a sense of how transparent you want a wash to be versus how much pigment. Okay, I'll start over here just in case it's a little too dark for me. No, it's not too dark at all. Definitely feel free to test out your colors on a piece of side paper. It's always a great idea. I forget about it sometimes. All right. I really want to kick up the blue in this for so what I am doing is I'm just trying to retain little bits of the lighter tone here without getting too over the top about it. Okay, take it even a little bit darker here now that those little sections are wet. It's all a matter of just taking and brushing in the direction of the for. At least that's about the best description I can think of is just follow. Followed the direction of the strokes of from the outline. Definitely make it your own kind of like here in the little stripes. We want a dark in the base, so any time you have for that's curling, you want the base to be darker and then have the highlight and then go back into the dark. And again. I'm kind of just taking liberties as far as around the neck area, just deciding where you want the for strokes to go again. If you feel like maybe you've gone too dark on something, you can always just take the paper towel and brush that off or just keep going after with your brush. That's going to dilute that pigment as well. Hey, swing back over here for just a minute. You can always take your brush to and start start thin and then just kind of pushing into the paper to create bigger strokes. Sometimes the right brushes all it takes to get the job done. Sometimes I like a little bit more arty. Look, anyway, you want something, toe look like the subject that you're painting without it being completely photo realistic . I think it's important to maintain the fun watercolor aspect of a painting, and this is still a little bit damp, so I'm just gonna drop in a little bit more Payne's gray. Just add a little bit more contrast. Okay? All right. I am digging the color so far. If you want to add a little bit of warmth along the chest here just to kind of tie it together, feel free just to run some of that really light wash of rosti and across the bottom here. Okay. I'm gonna love that. Dry in the world. Come back in with final details. 9. Final Details: wait. We've got into the exciting part. We get to take off the masking fluid and really, all I do is I just take one finger and I just start to rub. And once you get it kind of balled up, you can just continue on. - Now that we've rubbed all the masking fluid off, you can see we've got all these really cool highlights and it really just makes this Yorkie stand right off the page, so I don't have a lot to do. Is faras final details? You don't even have to do this step. This is just something that I do with a lot of my commissions. So if I feel like there's an area that needs a little more depth or a little more refinement, I'll just take my watercolor pencil here and I've got this little bit of a grey. Let's see, Warm gray three. Is this particular color and I will have that inthe e supply list. Make sure include those colors. Now, I'm only gonna take this tone on this side. Since our light source is coming this way, I'm just gonna add a few little details here and there. I'm really not gonna go too much into it. I just want to show you how I use these. Okay? I like to take this lighter, the ivory here. Then you probably can't even tell that I'm using it, so I won't go too much into it. But it's great for if you want just a little bit of an edge without having a crazy edge. And a lot of times I'll go around my pet portrait's with a light gray and actually got a darker gray here, a warm gray four. Be great to kind of punch up some of these wisps of here here, and then you can take a brush and wash over these little sections. Remember I said, the hair curls a little dark areas, then it goes light in them back dark. These are great if you need to. You just refine some edges. Just kind of punch it up a little bit from the ivory. Should show up you out. Should show up nice on the gray. If you feel like you need to take some hair wisps over that section makes for a nice little way to add some wisp. Same thing here. I can just take it and add those little wisps of hair across without having to go back to my gua. Sh too much. Okay, The knows I'm pretty happy with the nose. We can take this and add a few little marks here in here. Okay, Same thing with that bottom lip. Just take a fuel hairs. And if if you have a dog who's little hairs go over its nose, feel free to make some markings there, okay? And then this part, since there's little hairs that go on top of the ear, this is a great time to add those in sensing here. And I do turn to a white watercolor pencil. A lot of times I did not pull that for this class. I thought we would keep a softer look for this pup. And then I did pull my brown as well. It's a deep brown, and it's a 1 76 So, really, the only thing I was kind of thinking on this was just a few little areas where the there's a deep recess, I guess, really the best way to put it Just where there is that area deepness that and quite achieved with the paints again. You can achieve all of this with the paints is just something I've gotten into the habit of doing just to add a little bit of flair to your painting, If you feel like around the nose needs to be a little darker. Maybe around the mouth. Give this dog a little bit of a happy look. Okay. All right. And I'm gonna take this tall pin my favorite pen of all times. I was gonna go in here and make sure that highlight is nice and bright. And if you want, you could even take a little thought. Here, give a little bit of a sparkle to the I. You can swing it up and out to create some of those little wispy areas. Anytime there's a dark area, you can use it to just kind of whisper some hair. Ouch. And around. Same thing here with those little little wisps. Okay, It's not much. I just want to show you the general idea of how I used those. And then if you want to add some crazy, wispy hair to that area, go for it. All right. I think I've used all my tools. So that is our final Yorkie. So cute 10. Share: a lot. Right, everyone, You have just completed your Yorkie painting. I would love to see your accomplishments because they know their great accomplishments. Please. Posters of the project gallery. If you have any questions, feel free to comment. I will keep an eye out for those. That way I can make sure I get back with you in a timely fashion. And if you have any anything to add or just are stumped on something, maybe I can elaborate on what that ISS. So I hope everyone had fun. I hope you are a little more comfortable with painting this length of hair. That was my goal for this class and you happy painting and I'll see you next time.