Watercolor - Let's Paint Cat Noses! | Mary Evelyn Tucker | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.



    • 3.



    • 4.



    • 5.



    • 6.

      Final Details


    • 7.

      Share Your Projects


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About This Class

In this Skillshare class, we will explore the fundamentals needed, to create a whimsical watercolor paintings of cat noses. This class is a great starting point for those wanting to explore the world of painting felines.

I’ll walk you through each step, so you’ll feel confident painting three different cat noses. In this class, we will:

Explore painting the nose of a Persian cat
Explore painting the nose of a Siamese cat 
Explore painting the nose of a Tabby cat
Explore painting the Final Details

Materials are listed in the "Projects & Resources" area of the class. There are resource download links for the supply list, the line drawing, and the painting reference.

I think that you’ll be "feline" fine after painting these three noses.  If you have any questions, please comment in the discussions area. Once you completed the painting, be sure to share your painting in the projects area of the class!  

If you want to keep learning about painting cats, I also have a class on cat eyes that you might be interested in taking.  Happy painting!

All music was sourced from mixkit.co. Mixkit offers completely free, royalty free music.

Meet Your Teacher

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Mary Evelyn Tucker

Full Time Artist & Coffee Aficionado


My name is Mary Evelyn Tucker. I have been a full-time artist since 2015. Over the last eight years working on commissions for clients, I have painted hundreds of pet portraits. I love capturing the unique qualities of each individual pet.

In 2020, I illustrated three different children's books. I worked with author Susan Jones on "The Adventures of Cooper" and "The Adventures of Cooper: The Fire Breathing Machine." I also worked with author Tamara Menges (Light Filled Home) to illustrate her children's book "The Nativity Set," that was released that Christmas. The third Cooper project was published in the fall of 2021, "The Adventure of Cooper: The Flowerbed Fiasco." I also illustrated two Cooper coloring books. Currently, I am working on my fifth children's book... See full profile

Level: Beginner

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1. Introduction: Welcome back to another Skillshare class. My name is Mary Evelyn and in today's class I'm going to show you how to do cat noses. We are going to go over three of them. We've got a Persian, Siamese and a tabby cat. So I'm going to walk you through how to complete each one of these. It's going to be a lot of practice for first strokes, especially with this type of shortness on for, it's just a great lesson on the intricacies of these types of paintings. With this, this is going to segue into being able to paint a complete cat. Eventually I have a cat eyes class right now. You might want to check that one out before this one. If you haven't done it already, then step into this one. And then I know you will be confident enough to walk into a full cat from here. And remember, you've got this, give yourself grace, and let's get started. 2. Supplies: In this class I want to review our supplies for our nose snout paintings. We've got the downloadable outlines for your projects. You'll want to go find that, get that printed out. If you'd like to sketch directly from the outline, you don't have to, you can freehand, you can Sketch any cat knows that you would like. That's optional. So we've got that. We're gonna do a Persian, Siamese and a tabby. For the examples. I thought the coloring would be really cool to try. I'm going to be using a Fabriano artistic 0, 300 pound paper. It is cold press. It's got some nice rigidness to it. I really like that because they don't have to worry about taping it down. So it's just a simple paper that I like to use for painting such as the, we've got our colors over here, as well as just some samples over here. We've got apricots, lucky penny, titanium, white, opaque buff titanium, sepia and peach black. Feel free to use any variations of those colors. So basically a black, kind of a dark brown, dark cream color, white, a bit of like a rust. Read it for the nose area, you can combine maybe an orange and a little bit of a cream color with a little pink in it to get that same tone. And then apricots, which is just a really pretty peach tone. So we've got that. This is a Master's Touch, round, number 4. These are found at Hobby Lobby. This has a great water retention and it has a really sharp tip to it so we can do the complete project with this one brush. I've got a gel signal unit ball, broad white pen. I'm going to be using that for a few of the details. At the very end, I've got my plane gel pens. We can train it for our outlines to our paper. Some graphite paper to do that with my paper towels over here. I've got my water jar and a little bit of masking tape just to tape down the outline to the paper while we're sketching it down. And with that, bringing your sense of adventure, and let's jump right into this project. 3. Persian: Okay, We have our outline complete. We're ready to dive right into this painting. Let's go. We are going to start with our Persian cat first. I typically like to lay in colors, like a deeper colors first, just to give myself a bit of an outline. So what I want to do is go in to the edge of the nose and around the lip line. Before I go into my wet on wet technique, moves my water over here so I have it ready to you. And I'm just going to come over here, grab a little bit of the sepia. And I've always got my paper towel so I can wipe off any excess. Kind of keep the control of the paint going. It takes a bit of practice, but it can be achieved pretty easily over time. And it's going to take the tip of my brush and just outline the bottom of this nostril. Fill in a little bit of the nostril area and then go down the middle just a little bit with a very thin line and continue on the other side. So what I'm really just doing is giving myself a bit of a guideline. Just a little little edges to know where I want to put my paint. I'm going to go down around the edge here, just taking little sweeps. You don't want too many straight lines in a row. Kind of seems a little bit unnatural. Or like how blades of grass they're not all on a straight line for is not all in a straight line. So you're going to want to take just little strokes, give them some curve hearing there. Maybe even a little bit going against the direction you think it should go. But line, line and then sometimes we'll have us like a straight line. Now when I did the outline, I didn't follow every single line that I had. I just kind of did enough to give me a bit of a guideline. Okay. So I'm just going to take a little bit of the flat edge of my brush here and go under the edge of the lip to create a little bit of a shadow. Just a little bit at one. Okay? Now, what I want to do to kind of gain that peachy tone around the snout here. I'm going to do a little bit of a wet on wet and drop some color into it. So I'm going to just fill in this, be mindful of your pigment in your brush. So good thing, always be mindful of. Always be mindful and then come on the other side here. And the cool thing about this practice is what we're doing is really going after our values versus our tones. The tones, meaning you could use an orange color for this if you'd like, versus using the buff color that we're going to be using. And I tend to be a paint mixer. I like mixing my paints, but I'm going to try to not do that for right now, just for the sake of showing you this. So I want to just kinda go tip, tap, tap all the way around the edge here. Just tapping in some of that buff color. Tap, tap, tap. And it's going to feather out pretty nicely. Now if you've got good control on your paint and your water saturation, you could go ahead and do the middle part of this nose. But I would suggest probably just waiting if you want to just do one piece at a time, kinda build up confidence to going into a full cat. Ok, and now we're going to take some more of that buffer I'm going to mix. Do you want the buffed to be a little darker? Just bring in a little bit of the sepia tone to it. And then we're going to tap where those little whisker area markings where the fur color changes just a little bit. It's kind of a depth section here so she can tap, tap, tap. Okay. Just like that. We can go ahead and go to the bottom lip area. Just kinda curve that out. Take some of that buff. And again, we're just going to tap it across the bottom towards the lip area. Now we do want a little bit of pink around them, the lip, a little mouth area. So I'm gonna take a little bit of the Lucky Penny color and just kinda drag it a little bit. Tap my brush off. I'm just going to break it up into the middle there and then just let it do its thing kind of guiding it more. I would like the paint to be not letting the paint decide what it wants to do for me. Okay. Now, while we're waiting for these two to kind of get settled into the paper. We can go ahead and work on the nose area and I'm going to take some of the apricots. Color. Just get a nice mix of that. And I'm just going to do wet on dry. So the paper is dry and I'm putting wet pigment onto the paper. That's what I mean when I say that. So we're just kind of filling it in with color. And then I'm gonna take a little bit of the sepia. And I'm going to go along the edge here. And depending on the brand you use, some paints will spread, some paint won't. So this particular color I'm using doesn't spread a whole lot. So I'm just going to kind of feather it out with my brush and you can take your brush on the side, just kind of drag it out. If your brushes too dry, it's going to pick up your pigment on the paper. Again, depending in that also depends on paper you're using to. Some papers are a little more staining the others. I do like to work with 100% cotton papers. They take on a really pretty approach to the pigment. So I snagged a little bit of that lucky penny color. And I'm just going to dot a little bit here and there. Okay, I'm pretty happy with that. So and we're going to go along the bottom edge. And I'm going to take a little bit of buff and a little bit of the sepia. Just kinda mixing the two tones here on my plate to pull my plate forward a little bit, see if you can see that. And I'm going to go along the edge here and kind of fill in some of the outline. It's kind of a fun way to get some texture. Just going to add those little wisps. Again, kind of going one way and then swooping the other way. Really finding a rhythm with those strokes. And then you can take little strokes if you just want them to kind of feather out because this area is still damp so they're not going to be very dark. Markings are just gonna kinda going to fuzz out a little bit. And you can take right along where those markings that I made were. And if you want a few longer ones, just drive your brush and pull them through. Okay. Looks good. We're rock and enroll on here. All right. Now for the top of the nose, we can go ahead and just do a little bit of wet on wet so I understand. Fill in the top here, be mindful right up against the nose since it's so a little bit damp, just don't go too crazy and put water over the top of that and add some of that buff were cream or again, whatever color you choose to do, you can mix colors to kinda get that creamy color. Like that. It could be an orange. It just depends. I just picked this person that had more of the cream, pinky tones to it. So we've got a little bit of sepia here on the edge of the nose. Because again, we're going from this curb Section. And there were having like a, like a point up. So you've got a mind your shapes. So we can go up above here, a little bit along the nose. That's what we're going to do. You can either accomplish a lot, lot of texture, just the wet on wet here, or you can go back in and add those little, little bitty for lines to create that top, that fuzzy top of the nose, I think are just going to let that dry. And then we're going to go in and add some details. Okay, so let's jump back into this and start adding a little bit of detail work. Now, I'm kinda curious, it could mix a little bit of my sepia with some of this apricots to get a little bit of a different tone. Kind of my almost a tan color. But again, if you've got something that works, Go for it. So what I wanna do is just start dragging out some lines. And if I feel like that's a little too dark, I can always just come over to my plate and make a nice wash of it. And there's always going to be that balance of depth. How dark you want, those little firm arcs. I tend to blend a lot when it comes to where I'm putting things to like along the edge here. I might kind of blend that deeper sepia into the little markings that I just made just so that they kind of fade into the snout area. But this is more of like a fur technique here is just taking little bitty strokes and kind of just knowing to go back and forth to create that wispy Venus. And knowing the short, the short hair versus long here. And the harder you push down on the brush, you'll get thicker line. The lighter, the very tip of the brush, you'll get lighter strokes. So you just have to play around with it, practice and you'll find a happy medium to work with during this. Okay. I'm pretty happy. I don't want to go overboard with first strokes when it comes to pets. You like them to me, fairly subtle. So that's why you can have come around here and just kind of fuzz out the edges just a bit. And come back over here. Again a little bit of the buff. Maybe mix that in with that. Little bit tan we just made. And then come along the bottom here and see if we can't put some little nice little firm marks to add some depth to this. And depending on how bold your strokes are, you definitely will give a more stylistic feel to your painting. I tend to outline my dogs and cats when I'm painting them, it gives them a little bit of a pop. You get to decide what works best for you and your style. But just practicing some of these just little strokes back and forth. And you said finding a rhythm that works for you is going to be really beneficial in the long run. And then we're gonna take little strokes over here. I do want to mention while I'm doing this, when I'm holding my brush, I'm not necessarily above my paper. I typically always have my hand or wrist edge of edge of my wrist here resting on my paper. And then I'm allowing those little motions to make the shape. So I'm just taking little, little strokes, but I have my hand planted on the paper so as not to lose control over what I'm doing. I thought that might be a good thing to mention. And to remind yourself of every time you go to do a painting, find what works for you. I typically have water on the left side. Paint is usually on my left side as well, but I like to have it up here so you all can see me blend. Final setup works for you so that you're not reaching across something. So that you have got stabilization. It's something that's just, it's important. And, but everybody works differently. So if you found something that works, I went actually kinda love to hear about it. You can put that in our discussion in this class. That would be fantastic. So again, I'm just kind of picking where I want to lay down my little for Mark's work. Mark, mark. And you just have to decide. And then when I come over here to the nostril area, I'll kind of connect them as I go along. And hopefully you can see that I'm just going back and forth. I'm just sweeping up almost like a conductor. Just a little bit here. Just connecting, connecting. Get that pigment on my brush and just fan it out a little bit. All right. I want to deepen the nostrils areas so I'm gonna come over here to the sepia, grab a little bit of a darker tone. Just kinda outline that a little bit. Can do a lot of things with a single pigment as far as value goes. Okay? And again, just add some water to any of these colors to dilute them so that you can use just a tint of what the color is in its deepest form. And then just decide how far you want to take it. All right. I'm going to add a few little dark strokes around the snout area. Now those are going to be a little shorter and a little straighter because you've got such that the flat, flat snout is rounded, but It's so short the first so close to that little area above the nose that usually it'll tiny little tiny strokes. And again, you just kind of decide how far you want to take it. And just kinda go from there. And I'm gonna take a little bit of this color here. Put it down. I went, I like noses to be a little bit lighter on top and go darker down towards the bottom. So I'm taking a little bit of Africa in the middle here. Looks like a little little nose highlight. Okay, I think, I think that's gonna do it for our cat nose here. As you can see, we've got those little fur lines, little markings, little bitty short areas here, and just take the lightest of strokes here across the nose. And then of course they're gonna go out this way and out this way. Okay. Let's move on to the next news. 4. Siamese: Okay, We are moving on to our next cat, the Siamese. This one is black fur. So I want to start with, is some of our peach block. And this block is really pretty one. As far as if your particular about your blacks with the paint pigment, It's guide. You can go really, really deep. But as soul, it's still watercolor, It's not ink wash. I do use squash and a lot of my watercolor paintings, but this one is just a really cool pigment. So what I want to do is I want to start again, like we did with our Persian. And go along nostril where the little nose flares. Just kinda fill in that shape. You can either fill in that whole little piece or leave a little bit of that lip around there. And the brush I am using as a little softer on the tip. So kind of getting that sicker pigment on this paper's a little interesting. So again, just kind of following the shape squared edge here. I'm going to have to be perfect, can be really however you want it to be. What I want to do as well. On here was looking at the reference up around the top of the nose is very dark compared to the round cheeks. So I'm actually going to go ahead and just continue putting pigment down along the edge here. And all I'm doing is just kind of tapping the side of my brush down onto the paper. And then I'm gonna take my brush and kind of burning the pigment. So we're kind of going in this shape here and we're connecting the two. Now, I'm going to go back in and get a little bit more of the black and really just tap in the pigment so that it's very deep and rich. But leaving a little bit of the highlight towards the top center section. And of course you can finish off however you want on these little practice snouts. Okay, I'm going to let that settle for just a bit before I fill in the nose area. And I continue with my guide. Like I did on the first one where I've got just some lines, some little lines, lines. Little lines. And then of course, you know, the shape kinda just continue around. However you would like. It doesn't have to be perfect. It can be how you want it to be for you. Okay? We're just gonna go here, here, here, up above. And again, you can kinda just take the top of that however you like. A little bit of lip area here. Same concept. You've got the cheeks that are on top of this little lower lip here. So we're going to have a little bit of a shadow along the edge. Tend to kinda just work on a few things at once when I'm painting. So to jump around a little bit, kinda helps with the process of letting things dry. You wanna kinda just be patient with the painting. If you start to see that paints are blending together or pigments aren't quite working the way you want. You might want to just kind of hop around different aspects of the painting so that things can take their time and dry. All right, so again, I'm just putting down little strokes, little strokes here and there, kinda create the shape that I want. This area, I mean, really just kinda of the circle area here is going to be left a lighter color. Here. You just kinda come in here and fill it in. Fill in those little spots. You're going to lose a little bit of those marks that you made depending on how dark they are and what kind of paper you're using. It does make a difference. This paper is pretty forgiving. I can kinda move things around after I've added paint on it. So what I wanna do, I think what this is, go ahead and put a little layer of water down. I didn't completely clean out my brush and that's okay. But I actually want to take a little bit of the sepia and add it in here to this little chin area. Just to give it a little bit of dimension. Kind of clear out that middle middle section there. And when I did was tap my brush on my paper towel and then go back in to pick up the pigment. Okay, so I'm going to get some more black here. And I'm going to go, I'm just going to tap it. Or that little mouth for me, tap, tap, tap along the edge of the lip here. And then down here at the bottom, k, unclear rock and enrolling. All right. Now that this top area is fairly dry, I'm gonna go ahead and fill in the nose. Just got a little bit of that damp brush in. My brush was not completely clean. So that's why I've got kind of that gray going down on here. Grabbing some of that black tap, tap, tap. The thing with the noses. If you want a really deep black nose is to get it filled in. I can still see where my my line work is at. Now I'm not losing everything. Tap, tap, tap. And then you actually can take some of that white watercolor, create a little bit of highlight it across top of the nose. Oh wow, that to dry for just a little bit. Go ahead and swing over to the cheek areas. Now I'm going to approach these like I did the first one where I get a whole cheek area wet. Be mindful of your chin if you're going straight into it like I am. And be mindful of your nose because water has skin. And then soon as it touches the other little section, it'll kind of pool in just like that. It's a great example. And I'm okay with that. That's not any big deal. So I'm just going to take this Pate and tap it all around. And remember what I said about some paints, they feather out some paints, they kinda just stay put. This one has a little bit of a balance of both kinds of feathers out, kinda stays, stays put at the same time. And then just creating those little lines, little indentions we get with cat snouts. And really all I'm doing is just referencing value on my picture. That's kinda my goal is just to replicate the highlights and low lights. To be a great practice to do a black and white photo just so you can get the idea of where your values are going to be. Um, I'll let that settle into the paper. And I'm, I come over here and you get this Section went. Okay. Then you see where I touched that middle and it's just kind of some women, it's way over into that side. Totally okay with it. Not any big deal. Okay, kinda just mimicking best I can. The other side, if you want to just tap in a little bit deeper pigment, just tap, tap, tap. And I do see where so my water is creeping over into my nose area and just tap your brush off. You can pick up some of that pigment so it's not so invasive. Maybe. We're going to have to go back in and deepen a little nostril area once that's dry. Same thing here. I've got a little bit of it coming over here. Just pick that up. You've got some little bright white areas. You can either leave room, cover them up, you get to pick. So it's really just an experiment and in shape and getting your comfortable to get into a cat portrait. All right, Let's let that dry and then we'll add in the details. Okay, Let's go in and add some of our details. We're going to get a nice deep pigment so that I can go back in and get that nostril back. Just kinda really I'm just following along where I was because sometimes it does happen. You just have to kinda rework the area. What I want to do is I'm going to grab some of this white and go on the edge here. We're going to have some highlight. And I'm bringing it across. Well, I hope that dry while I work on some details around the edge here. Again, we're really just the same concept. This is just kind of reiterating the motions needed to achieve those for texture, you can kind of do wispy wispy pieces alone. And you do short stubby ones. I like to have a mixture of shape to these paintings. Yet interest depending on what your style is, if you'd like to go around and outline things, I would say do some darker outlines here around the edge. And then just thinking about the direction of the fur. That's the main thing. You can just kind of follow the direction you will be. Okay. There's note. How the fur area bends, how it's shaped, who I am and go in and see if I can add a little bit of detail along the edge of the lip here. Again, just kind of going back and forth with the shape. Not really having straight lines. So always, I mean, wispy wispy areas here. And you can always feather those out if they're too bold. Or you feel like you've got a little heavy handed with some of the areas. Can always just kind of take a brush and just sweep over the top of those. In my experience, I think when it comes to really deep valued for think we tend to work a little harder at it just because you're trying to get see highlights and the shadows all play nice with each other versus with a lighter color animal. I think it's just a lot easier because you don't have as much pigment you have to put down. Around the bottom here. Just kind of follow are the darkest areas. Show closest to the nose. You can just add a little bit of a deeper area whose back and forth making those little wispy areas. Once you've got all those nice little markings down, you can go in and add a little bit of the highlight with some of the white. If you like. If you retained a lot of the highlights through the paper. Great. If not, that's okay. I would like to add a little bit of the white opaque watercolor on top. Because with this, if you get it a little too bright, you can just take a damp brush across it and just soften. Which is always a wonderful option. I like having options where I can adjust as I go not be committed to something permanent. And I think you'll notice from one side to the other, however, your hand delays. He might have a little bit of a different approach. So again, maybe turning the paper to assist you in there would be a good idea because the angle is a little bit different from pulling this way To going up this way. So you might come and just mimic what you did on the other side. There's adding some highlights down here around on this chin area. And when it comes to darker fur, I like to add a little bit of a light highlight around the lip, the top lip area. And we will add final details in our last lesson. Okay, I think that's gonna do it for our Siamese cat. Let's move on to the tabby. 5. Tabby: And welcome. Our Tammy is going to be very similar to the Persian. I'm going to start by taking some deep sepia pigment here. And I'm going to go around the nose. Sugar. Should have asked you which direction you think we'd go first. Yeah. That's civically my go-to. I like to outline the noses when I jump into a portrait. Not really sure why. That's just something that I like to do. And if you find something you like to do and it works for you, just keep on doing it. All right. We got some CBM. I'm going to take it a little bit deeper. A little black into the edging along the top here. You don't have to be super smooth. I kinda wanted a little rough. Now I'm going to take a little bit of a lucky penny and probably mix a little of the apricots. Again, you're just going for like an orange like a creamy orange color. So I can put kinda this rust color on there and then take some apricots and tap in to the top of the news. Kinda create some cool texture. So I kinda like the way that turned out. Okay, we've got a little bit of a shadow on this lower lip area. So I'm just going to take a little of the CPU. Same thing here, just bringing those little wisps up. Always like to edge things with a little bit of a pulling those strokes down. Again. This lesson is great for just repetitive practice just to get down a feel for what you want to do. You can kind of feather out that shadow to it doesn't have to be. And that would be perfect at all. Okay. Take a little bit of a CPN just going to dot it along upper lip here. And if you want, like we've been doing, you can go along the engine here to kinda outline your shape. And my, my technique is usually kind of a smooth line and then we've got some jagged lines and then maybe another smooth line that's just kinda of my, the way I like to approach for I'm a line, then I'll add a few lines and a line. And again, you can just kinda decide how you want to finish that off. Sometimes it's kinda cool, take the side of your brush and like make really nice textures. Where you're getting are shaped down a lot. The nose, we've got some deep tones in between a CBN on black. So again, just kind of grabbing the tones and I know will work versus just the color. Kinda following along. Go ahead and fill in the gap with some clean water. Tapping off because I've got a little bit of excess water appear. Just filling in top of the nose. I take a little bit of that black tap into the edge here, and then take a little of the sepia and do the same thing. I'm just going to tamping long line. As you create some texture. We can add in a little bit of the above across the top bridge of the nose to give it a little creaminess. And if you want to get really wild, add a little bit of that white, like a white little bloom right there and just let it do its thing. It'll dry and it'll be really cool looking. Alright, so I'm going to take some clear water, fill in those cheeks. Hopefully you all are seeing a pattern now on how I like to create a little bit of that softness underneath the details. Kind of thing. Bokeh effect where the background is blurry. And then what's in focus is nice and sharp. Okay. I'm going to add some of the buff titanium along the edges here. Because again, those are the pieces that are curving down. So that's why you're going to get a little bit more of a shadow area and then I'm going to leave the middle cheek area a bit brighter. I'm just gonna do the same on the other side. And I'm already liking how this textures coming out on top of the nose. That's what I love about watercolor. Egn just kind of running that tan color around the edges. I typically would go ahead and do the dots on here, but I'm going to let this water settle into the paper since it is a thicker paper. I'm going to let it settle into the paper just a bit more. So I'm gonna go go ahead and come along here and fill it in and guess what? We're going to do some of that buffer and do that. And let that settle just a little bit more. I think I'm gonna go with the black on this one and follow those markings I made. Tap, tap, tap. They are going to feather out a bit to all in. If you feel like you've got too much in your brush, you can tap it on your paper tone and come back over and make all these little tiny taps so that you get texture in the fur. Now if you've got lunar black by chance, Lear black is a great one when it comes to cat snouts. And the for, especially if they are like little bit more of a bundle and that goes the same for dogs. If they have like a bundled texture. That lunar black is such a cool paint. Just a thought. Just food for thought. Okay. This is kinda reminded me of like a leopard news right now. Okay? And then I'm going to try to go on either side here and see how you're doing on dampness of the paper. And I can add a little bit more of the sepia around this top area. Just kinda finding some balance here. And if you want, you can start taking little strokes throughout. Start indicating that for as far as the direction it's going. And just kind of whispering those little pieces. An array. And the size so little damps, those little markings aren't quite as sharp. And maybe that's okay. You might find that you like working with a bit of a damp paper with the nice strokes can be kind of a cool thing. R, I'm just gonna take a little bit of this darker color and come along the bottom lip here. This paper is still pretty damp on the bottom here. So I can just take someone or dabs and sort of make little first strokes. Again where it's driest, it'll show up or it's not a won't. So we're not to let that dry. Our top section though is probably ready for some little, little small strokes here and there. And honestly might not even need a little strokes. Might want to just kind of Bolen them in a little bit. And what that texture speak for itself. And the kind of solidifying the shape here. Put little black in there actually, right here in the middle of the mouth goes back the most. And the fur on the chin is not really too long, so you're not going to worry about too many strokes, but you can always go back in and add them once this is dry. So I think that's going to do it for this. We're gonna go back through all of them in the final lesson and add our details like our whiskers to each of the snouts. 6. Final Details: Yeah, This is the part where we had to add some whiskers and some little bit of detail. So I'm gonna take my signal pin that I have here. We can go along and add a little bit of highlighting to the nose. You can add little dots, you can add marks to it just to kind of add some depth. What's cool about this pin as you can take a damp brush and feather out those, those bright spots of you feel like you got a little too carried away. You can go back in and kind of screen. So if you feel like these lines are too heavy, you can just start taking your pin and just making little lines on top of your watercolor. I love these pens. I don't know if I've said that enough, but I do. And they make great whiskers. I know our background is white. If you had a colored background, you could get these strokes on here and they would really pop. So that's something to think about. I do have a background color class. You can find in my classes and decide if you want to add practice a background on this. This might be a great way to do that without feeling pressured. From a big portrait. Everything is learned, everything takes practice. Little steps at a time. Same thing if you've got a little heavy with the pencil marking, you can take this and kind of adjust as you go. I just like to add those little details makes it just kinda come alive a little bit. Extra, extra details. Yeah, you just want to take and just kinda either go from here or from here in a typically go here out is my typical method. And then let's see, we've got this little guy. He's got some dots right around here. We'll do the same thing with a little here and here. Sri across the top. And feel like it too bright on this, just add some marks. Take a damp brush and go over the top. It's not too, too invasive that way. In this one they scan to show up really good with whiskers. And just watching your picture and seeing where those whiskers are coming from. But if you feel like they're getting a little too too heavy handed, just take your brush. Go in here. This is the cool thing about this particular pen is just the water soluble illness. You understand what I mean? It's just able to be blended. Again, especially when you're working with dark animals. If you don't want those little whisker points to be like, Hey, how you doing? And I'll know I like to say that. Then just take that brush and just kind of feather, feather out that bright white that's kinda look in, looking at you in the face. And you can always go back in and adjust nostrils with a really deep tone on these as well. So if you wanted to go back and just to kind of make a nice curve of it and then add that little, little line that animal noses have, kind of that signature divider. And actually I wonder, I found out on dogs the on their nose is called knows leather. I never knew this until just recently. And I'm wondering if cats are considered the same, that bumpy textures considered those leather. Well, now you know something new today. Okay. In on this little guy, I'm going to take a little bit of that paint though, the white paint and go right across the nose. And then just kind of feather that out a little bit. Just because I want a little bit of a broader highlight. Sitting on the no, that kind of brings it forward, makes it look a little more 3D. Here. Think of you here. Brush and always take that brush. This is a cool thing about this pin to go along the lip line can really get that idea of the depth. Especially if your paint lines came out maybe a little less desirable than you anticipated. That does happen sometimes it really does. Lots of practice. This is a great, great step for just practicing those little fur marks. And these are all fairly short hair as well. So just keep that in mind when you're going and looking at for painting techniques. So I'm just kind of adding a little bit here and there. I will soften these. Once I get all the highlights and I'm going to add a little bit of a highlight there. So that's where it seems to be playing up with the lighting. A little bit here on the chin. Okay. And then of course the whiskers. So just kind of take whiskers where we see them guessing that kinda come and scoops as, as, as a probe like more of a profile picture taken where we want. Like I said, you can just take a little take a brush here and soften those markings and much or as little as you want. If you want to go in and just double-check that nostril area. Those kind of following along. And just making sure those values are where they're supposed to me. Okay, we did it. We got through the 33 different tones of cat noses. We've got the cat eye class now we've got the nose. No way you'll be feeling confident enough to tackle a complete cat, which is just adding a little bit of different for between the eyes and the news so you can do it. I know you can. I'm sure you did a fantastic job on this one. And I love to see your projects. 7. Share Your Projects: Congratulations. You just finished the three cat noses. Congratulations. Pat yourself on the back. Supplement. You did a great job. I'm sure I want to see your projects in the project gallery. Please be sure to post those so that I can review them. Give you some feedback. If you want to have any questions, feel free to ask me. And with this, you'll be ready to jump into another Skillshare class. So please feel free to follow so that you get an email and you'll be the first to know when I drop a new class here on Skillshare, Happy painting.