Watercolor Techniques Marathon: Everything Cats

1. Everything cats! Let's start!: Hey, my name is Yana. I'm a professional watercolor artist and instructor. I find great joy in showing and explaining what a colored techniques to people, no matter their age or background. I have been hosting watercolor workshops in Thailand, Vietnam, which gave me the ability to connect with students and find ways to help them understand watercolor as a medium. Even those who didn't believe they could paint found inspiration to try. And now they love watercolor. I think this happened because watercolor is not only about rules and strict techniques, but also about fun and letting go. This is what I want to show you in this course on watercolor basics and everything in cats. So if you want to start painting with watercolor, but not sure how, if you feel overwhelmed with all the techniques and not sure you can do the same. If you want to spend some quality time with your kids painting super-simple yet fun cats. Just relax and paint without thinking. Or if you've seen PE, love cats like I do. This course is made for you. Instead of doing boring exercises, coloring tiny squares with watercolor in your sketchbook, you will learn each watercolor technique one-by-one, apply it in practice right away, and cats are perfect for it. Every cat in this class will be devoted to a specific watercolor technique. So you can get familiar with it and have fun painting the furry pet. We will create a stream ginger cats using dry on dry technique. A whimsical cat mastering wet on wet technique. Explore negative space technique while creating dreamy kitten in a starry night. We will paint an infection and Sphinx applying wet on dry and layering techniques. And to consolidate the knowledge learned today, we will finish our marathon with a final project using all this techniques, all in one painting. With this cat marathon, you will learn every major watercolor technique, one by one, sealing the skills for the final magical cat painting. And you either need to have any experience to take this course. If anything, you will gain experience by following my guidance and playing with cats. See you inside the course. 2. Art supplies to paint cats: To bend our cats, we will need just a few tools. So here I have quite a selection of brushes, but doesn't mean that all of them, it really depends on the size of paper that you will be using. So if you paint on a big piece of paper, you into the big brush like this one. I use nature on brush, but you can use synthetic if you prefer. Like this one. This one is synthetic, also smaller and with the pointy end, which is really nice to work on. Smaller pieces and details. Iam for the, one of the techniques, the handwriting dry technique, we're going to use a brush like this one. If you use on a smaller piece of paper, you might need a tiny brush like this for smaller elements. Again, this is not necessary. You might be justified with brush like this, just one. At some point we'll do a few sketches with the pencil. So I suggest you use a hard pencil like this one. Have an eraser handy just nearby. When we will work with what techniques you will want to attach your paper with the tape to the table or the tablet. For special tricks, we're going to use a spray. If you don't have one, it's fine. You can achieve the same result with just a brush. And you want some regular salt from the kitchen for some special magical effects that we're going to do. Or the paints we're going to use few different colors for all the cats. Keep it very simple. I have them ready on my part. But technically you will need neutral black, green, maybe brown, maybe not. Orange. If you don't have orange, you can mix it by yourself using yellow and red, pink and blue. I like to use ultramarine blue and Indian trend blue. The difference is that ultimately is a granulating pigment which creates a very interesting texture on paper. But it's not always useful for specific types of artworks. And intron blue is a bit darker, deeper tone and it doesn't granulate. So whichever you have in your palette, we'll be fine. It doesn't really matter. What matters is that the technique that we're going to discover. And of course, before we go paper and I'm using cellulose paper, Kansan multiply. It's very good quality, 300 GSM paper, which means it's pretty thick, It's pretty durable. Cold press, which means it has some texture. And it will be visible through the layers of paint. And you can use any paper you prefer, cellulose or cotton for our exercises and painting. So they really need cousin, so it's fine if you go with cellulose paper like this one. Okay, Now we get started. 3. How to draw cats?: All right guys. So before we jump into what a gallery, first, I would like to discuss how we can paint cats. All the different types and shapes and forms on those cats. Let's dive into it. So first, let's discuss the difference between shape and form. Shape. Shape is something that is two-dimensional, like a circle, triangle, square, and forum, on the other hand, something that has volume. It's three-dimensional, like a cube or a pyramid. So when we are talking about shapes of the cat, here we only discuss literally simple shapes we're going to use to show a CAPM so it's recognizable, right? So if you look at any of these little sketches, you can see that to draw a cat, you really only need just a few ovals and circles. So a big oval to show a body of the cat. Smaller circle for the head, little triangles for ears and legs. Well, of course, circles, triangles. So if you look at different position of the cat, you will see that we will use different shapes. So for example, if a cat is walking, the main body here will be not an opal anymore, but more rectangular. If a cat is moving or I don't know. Well, here, when the cat has a very good plasticity. So sometimes the body will be more curved. But if it's more straight, like walking or sitting, the main shape of the body will be rectangular. Then, depending on the position of the cat, we will use different shapes. So if the gut is stretching its more different ovals, if we say a cat sitting from the back, It's one big circle in the head. Also, there's importance of understanding the perspective. So for example, if we see a cat from the back, like turning, turning his head and looking at us. We will see, for example, a big tail, the back feet, but legs a and then the body will be super short. It will be very contracted because of the perspective. So the cat will be a bit deformed in terms of shapes. So it won't be a perfect circle or oval. So we need to decompress the body to make it look realistic in terms of perspective so that the cat is looking at us. Tony, turning in space to us. Or for example, look at this guy. This one. We look at it from the top, right, like this. So it's like 90 degree angle. And we can see a cat looking up at us. Meaning that answers a view where we perceive this cat. Is it just a two massive circles ahead and the body? Well, and of course there is a tail. So here you can see different positions and postures of cats that we can portray in watercolor. We will, I don't know which one yet, but we will decide different position of the cat that we're going to paint with watercolor. I just wanted to give you a heads up so you can see how we can portray a posture and position and roll angle of a cat in different ways using different shapes. I'm not talking about forms, yeah, because to be able to show the three-dimensionality of the card, we need to work on shadows and values, which is a little bit more advanced way of painting. Here today we're just going to have fun and mostly use forums and paint. More of a nice colorful wash is instead of three-dimensional paintings. So let's dive into it. 4. Street ginger cat: dry on dry technique: The first technique we're going to explore is dry on dry. This means that we're going to have pretty much dry brush and dry pigment directly painting on dry paper. So we have minimum water in the brush will almost not paint, almost not release any paint and water. And we will achieve very sharp dry and yet interesting lecture of fluff for the cat layer. So I want to start with a very simple shape of a cat. So let's say a cat that's just frontal like this one or this one, the one that's just sitting and looking at us. And how about we do it with orange color, gender gap, right? So to get orange color, you can use a directory from the lake over here. I have it already. Ready from the tube or fan. So manufactured. Or you can mix your own. You can mix your own by taking yellow and some red. Find the right proportion of those two colors. And here we go, you have your orange mix. So what I want you to do is I want you to take a flat brush like this one. Mixture or orange color or take an already existing orange from your, from your watercolor set. Had a very nice and thick layer prepared here on your palette. And maybe if you're a brush, carries do much water, you can literally brings it over the tissue so that the brush gives excessive water into the tissue. Well, we're not painting yet. Actually, I would like to mark simply where the eyes of a cat will be. So we'll think about the composition of the gut will be somewhere in the middle, right? So we don't want to end up half of the body of the cat disappear is somewhere out of the frame. So let's say the two eyes will be here. I'll just mark them as circles. Just do simple shapes, one and another one so that I remember where the eyes are. Maybe I'll also mark and nose. Nose will be here. Some hint on the mouth. And that's an everything else I'm just going to do straight directly with what guard. Okay. So there is thick paint on my brush, no water, and we're going in with dry on dry. With sharp moves like this. I am literally is crashing my paper with the brush. You see that? Because it's very dry. I'm going I'm leaving very dry marks on paper. Like so, so almost doesn't paint. So I BEG more pigment from my palette that I mixed over there. I go all the way close to the eyes of the gut. I paint around them, around the circles trying to keep them nice and clean and white. And also I will leave my nose white so that we can cover in later on. And if you ran out of your mix, feel free to add more paint. Maybe even add a bit of brown color into it so that your color varieties, it's not just flat one orange tone can get a bit darker or lighter. We're having fun here. So when you get more fresh pigment, you will see that your strokes will become a little more soft. Softer. That's all right. As you move with your brush and doing those sharp strokes, you'll see that your brush will eventually get less and less water, less humid. And this will give you this funky texture of the very fluffy cat. And again, I'll get some more pigment. Remember the toothbrush, give us this feeling of Sharpen yet kept scratching my paper. Now the back, the back body of my cancel, the feet, back legs. I want them to be a bit darker, so I again mix orange color, but I will also add a bit of brown. For example, here, I'll add burnt sienna and just mix more of this color. So I don't have to renew it. Two of them. Again, I rinse it over here so it doesn't bring too much water to my paper. And also, you can see that I'm not holding my brush very close to the tip. Actually, it's somewhere in the middle, so it's easier for me to do this. Very rapid moves am changed the direction of my strokes. Here. I will add a tiny bit of black just to make the overall tone. For example, goes to the legs. And also the one in the middle, just to show that those are two. The dryer brush is thinner and more unexpected strokes you'll get. So if your brush carriers do much water, you'll notice that your strokes thicker. And software as well. And now we can just add the eyes and nose. And our first very fluffy cat is ready. I'll take a smaller brush, get some blue color in it. And carefully paint inside of the circles that we left white. We save them for the eyes of the cat. Some highlight the signature. Here we go. Our first dry on dry technique is used today. Painting the severity funky fluffy cat that has been hanging out on the streets quite a lot. And you have the chance to practice painting with a completely dry brush on completely dry paper. 5. Whimsical cat: wet on wet technique: The next technique we will explore is wet. On wet. This means that first we need to apply clean water or water vapor and then introduce pigment into that place. So how about for this technique, we paint a cat that is lying down, like for example, this one on, land down on his back so we can see him from the top, from above. That would give us more space to play with them. What layer? So again, I will just show where will be the eyes of the council and don't forget, they will be very small and everything else will be the body. Okay? So as I said first, we need to paint with water literally just take your brush, get lots of water on it in paint with them. However, I'm afraid you won't see what I do on the camera on the video. So that's why instead of painting with clean water, I will paint with a little bit tinted water, so with a tiny drop of blue. Just so you can see what I'm doing where I place my water and you can go ahead and paint with water. So here we have his body and the tail. Make sure you have loss of water. And now I will introduce a very thick big man. So I take lots of payment into my brushes, the brush and drop it. And you can see the magic happening. Just because we have so much water on the background. This allows the pigment to move around, but it only goes as far as the area of the water. It's not going to go out. We kind of created like our nitro frame for for the paint. The water is guiding the paint and we can move the papers were to move it into different directions if you want to. I'm using ultramarine blue, which is a pigment that granulate. So that's why you can see all this beautiful texture. More different blue colors. And of course, we forgot to carefully painting around the eyes. Now with the smaller brush, I can sort of direct some of the details. So take a blue and a bit of black to it so it's darker. And I will just clarify some of the details like ears. Also, I can change the shape of the eyes with the smaller brush to make it more careful. So the shape is nice. And this two little buttons. And I forgot to reserve some space for the nodes that we were supposed to paint with pink. So I'm going to lift the pigment and because it's the layer is still wet, we can do it. At the same time. I would like to lift some of the big melt Here in there to show the flow of the body. And maybe somewhere here as well, just by pressing the tissue. You can also see a very interesting texture that we are getting here. Also, what I would like to do is two and the sum of the water here. And here, actually we can even sprinkle somehow it. So by spraying some water, I am pushing the pigment into different directions like this. It'll allow us to achieve this soft fluffiness of the cat. And if you'll like how the paint behaves, where it goes, you can always pick it with the tissue. Picking the pigment will only work if you add some water to it, like here. For example, first I add water with a clean brush and only then I can actually lift it with the tissue. If you don't have a spray. Little worried, what you can do is you can take your brush and just touch the edge with water. And you will reactivate the paint if it got dry. And move out by creating this feeling of fluffiness of the cat, the cat. And again the edges, we can just pick them up with the tissue. So we have this fluffy, furry cat that you can see that it's a bit darker on this side and a bit lighter on this side. And did it on purpose. Just to have some interesting variety in our painting. Here, I'll add some fluff as well by softening the edge and allowing the paint to move. Maybe add a little bit more paint here to correct the shape. With the darker tone. A little bit of black into my blue. I would like to go ahead and add some of those details that I was trying to do. And it's a good opportunity right now to create the legs of the count by also lifting the pigment with the watery brush. This is actually one of the very common WaterGuard techniques as well. Lifting technique. This way you get out the pigment and make the paper from the bottom shine. Here's the second one will be somewhere here. If you have like a little pond of pigment of paint here, for example, you can either lifted with the dry brush, so you let the brush soak the pigment in. Or you can do the same with the brush, but be very careful because if you touch too much, you actually take the big one out as well. And the bottom T here of the bottom feet as well, by adding water, just like we did before. I just play some accents. Maybe even do some splashes. And when the face will get dry, I will finish with the eyes and the nose. You can use a hairdryer to speed up the process and dry the baby. We had to wait for the paper to dry completely. And only then we can continue. I'm painting our fluffy cat and basically finishing the parts that are missing the eyes. And maybe I would soften the edges on layers over here and maybe make this edge a bit softer too. So how about first, we paint the eyes. But let's make them green. So I take a small brush and green pigment and paint inside that looks more like a ninja with pink. In order to correct or remove those sharp edges, we need to take a wet brush and carefully go over that edge. It might so happen that doing so you will also lift the big month and then the whiteness of paper will reveal itself. So it really depends on the type of paper you're using. If this happens, you can just add a bit more of a blue, same blue-collar used to mask the whiteness of the paper that you just uncovered. Then I switched the brush to a little bit bigger size and it's pretty wet. So the tip of the brush and I'm softening the edge here. And I'll add a bit more of blue. Maybe a few areas as well, pigment and few places as well. To show that it's nice and soft. Exactly in the place where it's in between the foot onto the belly. If the brush doesn't come out. The pigment, you can help yourself with the tissue and just press it against the paper and lift the big month off. Now I'll make my cut smiley. Maybe add a few whiskers. And what? We have our fluffy cat painted in wet-on-wet technique using one color a and also additionally using some of the lifting technique. Picking up some of the pigment where we wanted to make out paper shine with its whiteness. Again. 6. Dreamy cat: negative space technique: This painting, we will use negative space technique. This is a very interesting technique that artists mostly used to paint white, white subjects. So for example, if we paint a kitten that, let's say this one that sits with its back turned to us so we don't see the face, just a silhouette of a white kitten. The best way to show the whiteness of the kitten is to paint around it. So by creating the background, we will make this ketone pop even more. And then we can also work on the edges to make them the edges of the cat Fluffy to show that the firm. But mostly, mostly artists use negative space technique to outline something that is every light without painting inside of it. So this way you will avoid sharp lines. Alright? To do negative space technique, we will also use wet technique. So the basics would be to apply clean water, but only around the subject. So if the kitten is somewhere here in the middle, we will cover it, covers the water everywhere around the cat's, but not inside the gut. So go all the way close to it. Alright, so let's go for it. I specifically attached my paper to the tablet, the plastic tablet to make sure that the papers to stay straight. Because when there's a lot of water, paper tends to deform a little bit and changes shape, become wavy. I am attaching it to the surface like a table or tablet is going to really help us keep the paper straight, stretched. So clean water, generously applying it on paper. As you can see, I didn't really sketch the kitten. I really just imagine that it's sitting here in the middle. And I didn't draw it with pencil on purpose because I didn't want to have any line in between and the cat in the background so that the connection is very soft and smooth. So if you look a little bit on the side, you will see where the water is. If you look at the angle, you'll see the shiny areas of the paper. And that means it's what is water. After applying lots of water on the paper surface, we can leave it to soak into the layers of the paper. Meanwhile, mix the color that we will paint for the background. And how about we do some sort of mix of blue and green, so it's more exciting. So I take alternating blue. It's a nice granulating color. And I'll add some green to it. I mix a lot right away. Okay, So we have a nice pond of blue with green color. And we can start as we paint, we can add different towns. More blue here, more green there. And remember that we are going all the way close to the cat, but not really going inside. We keep it white. Might be a little challenging to see because the water is transparent so you don't really see where the cat starts, where the cat's outline supposed to start. But if you tilt your head a little bit and the angle, you'll see where the paper is very shiny. That's the area that is still wet. This is where the water is. To make this background a little bit more interesting, we can add some splashes. Remember, if we drop just clean water, it will push the pigment in two different directions. So it will look like a starry night, for example. Another cool trick that you can use is, what do we do with the cat? It looks rather sharp edges, right? So what we did in the previous lesson, we're gonna do this again and carefully go around the edge, the edge to make it bleed. But this time it's going to bleed inside, inside our subject. Always. Here. We can even push a little bit to make it look like there's a tip of the nose. We can also correct the shape of our doing this. Meanwhile, we can observe old as beautiful snowflakes around because of the salt. I feel like the shape is a little bit or light bulbs. So I'm using the same technique and lifting it. While this is drying out. And a few more lectures to the background. Maybe a bit more sold this to dry or use a hairdryer to speed up the process so that we can finish up the painting. We can just leave it white. We're going to do a few shadows and draw the ears. The ears. Add a tail in hand. That will be it. While paper is drying out in the beautiful textures that we are getting here because of the salt. Our special trick today. Just water that bourgeoisie, the pigment. And also beautiful quality of ultramarine blue that granulate and creates this interesting sugary kind of texture where you see those little spots on paper. Now that the paper is fully dry, you can see that it became straight again. It's stretched again because we taped it. So that's a very convenient. And now we can paint inside the kitten. This time, I'll use blue, but indent trend blue. This type of loop doesn't granulate, so it does have this specific texture with small grains in it, like we observe here in the background. Because in a kitten, I would prefer to not have any of those type of vector. I add a tiny bit of black just to make it darker. Make sure that there's still more blue than black in your mix. And before we go, I would like to apply clean water in the middle in the body of the cat. But I'm not going all the way to the borders, so I'm not touching the edges of the cut, I'm just applying water in the middle. Like so. And now I'm just dropping some of the paint. Here, it's sharp, so I'm going to smooth it out with the brush. The brush here are the same. So by having water, I'm achieving this very soft edges on my paper. And here the edge is sharp because I didn't have water there. I was afraid that I'm going to go too close to the border here. Didn't have enough water. But it's not a problem. We can smooth it out with the brush. Keep going. Somewhere here it will be the ears of our cat. So I'm adding a bit more pigment into this place. And also a kinda forgot to paint the tail of the cat. So what I'm going to do, I will take when it's wet, I am marking the area for the tail and I'll make the tail black. Now because here everything was wet. It's bleeding inside and I think it looks pretty cool. I'm going to keep it this way. And maybe smooth out this section over here. And I'll add a bit darker color, the same we used before. And I'll get rid of this sharp edge. With the wet brush. The brush is semi wet, so it's not Greek and water because if it was two but it would actually push the layers like happened here. But because it's semi wet, it's only removing the hard edge, sharp edge. I will drop a few spots here, add a bit of pigment and the bottom to just make that tail darker. The ears will be somewhere here, but I'll finish them and bit later when the layer will be drive with semi wet brush carrying a little bit of black pigment. I just want to show some texture on our kitten. Now we need to get a drawing is finished. You probably noticed that what a color when drives becomes much, much lighter when it is wet. So you can see that, for example, the black tail doesn't look so dark and vibrant anymore, as well as the shadows that were pretty concentrated in the beginning when there were wet. Now as they're dry, they're much lighter. So keep that in mind when you paint with watercolor, that whatever layer you put after it dries out is going to look much lighter than while it's wet. Just put the nose over here. I will finish the ears and add a few whiskers with a very sharp strokes with a very dry brush. Dry and dry. Remember? And wallah, we finished our painting it with negative space technique, which means that we literally outlined the cat without painting. It first. 7. Affectionate cat: wet on dry & layering technique: The next technique I want to show you is called wet on dry. And I will combine it with another technique called layering. So the whole idea of watercolor, the main feature of watercolor is that it is a very transparent medium, which means that when you apply first layer of watercolor, leave it to dry and then apply the second layer of watercolor. The first one will shine through the second one because of the transparency of the medium. This is a very beautiful feature, which is not really typical for any other medium. So that's why it's very important to know how to use this transparency in art. For this next cat will want to probably sketch it. Since we are going to work in a bit more precise and realistic manner. And I think I'll go for a sitting posture, maybe like this one or this one, so that the cat is sitting and looking at us very quickly, I'll just catch the main features they had in the shape of the drop. Big ears. Let's do Sphinx. We did folder fluffy ones. Now let's do a cat without. For. Then. Here will be one leg. Second leg, curved back, that is typical to cats. Back foot. The other one is hiding somewhere defined, and of course here. So we'll do the eyes, nice big eyes, nose, mouth. And this will be very quick outline for our sphinx cat so that we know where we're going to lay down the page. So you probably guessed that wet-on-dry technique means that your pressure will be wet, it will carry but paint and we will put it down on paper while the paper is drying. So this way we'll have much more control over what we do. So first things, I'll go for a pink color. I have a nice coral in my side, so I'll mix coral with mother read. And I'll have this kind of mix of those two. So very calm and nice color. My brushes wet, the paper is dry and all start from the ears. Paint first year. Then I'll go down to the face, paint around the eyes, and covering the face of our cat. 0 and second year right away. Maybe I drew the sketch a bit too large. The ears too long, so I make it shorter right now while working with watercolor. And right away, I will add a bit of black into my mix. Just a little bit. And I'll make this other internal side, the left side of the face a bit darker. Because the cat tilted. It's had a bit to the right, to the left. My left. And that's why this left side is a little bit shadow. The inner part of the ear is also with the shadow, so I drop it right away just to show the tongue and I can continue. So you can see that my brush is carrying quite a lot of water, but because the paper is dry, nothing happens. It doesn't flow everywhere uncontrollably like it was with. But the lead technique. And yeah, you've heard a lot of control in your hands. You can direct the pigment or whatever, wherever you want. You can change the shapes of what you paint. And if you add more water, you have more transparent wash, meaning layer of paint on paper. So it is very easy to navigate. Indeed. He'll be, the tail will make it gray. That's why I left it without pink color right now. The other leg is going to be a bit darker because it's on the other side, is hiding. So it's a little bit darker because of the shadow. Then there will be more shadow here on the back. Majorly because they have is dropping the shadow on the cat and the cats body. And when you add this, you need to make sure that your brush doesn't carry water in it or too much water. Because again, we're going to have the same thing we did in negative space technique where too much water pushed the pigment away. So now we just need to wait for the first layer to dry and then we can apply the next layer, which will be the best way to use glazing the cake or layering technique. So the paper is absolutely dry. You can see that my pink color got even lighter than it was, which is cool. I am now I just want to remove pencil lines that I don't need anymore. Carefully going around my cat where I see pencil line, I remove it. And there's some pencil line inside that that is shining through watercolor layer over here. This one, I can't move anymore because it's underwater color and it's just going to stay there. But it doesn't really matter because we're going to continue adding new layers and the pencil line will most probably just disappear and not be noticeable at all. You can see that in the area where I added a darker tone, it actually pushed a little bit the pigment away and then dried out with this kind of coleus flower effort with sharp edges over here. And I told you this might happen because the brush was carrying water. Well, technically, I really like this effect. It looks pretty cool to me, so I'm gonna keep it this way. Here, the brush head less water in it. That's why it didn't create a sharp outline. But all in all, I really like the first layer that we've got here. So now we can add the next one and into the process. So for what I'm gonna do now, I will take black and I will dilute it with water. So it's very light and very, very, very transparent. Am my brush and some water too. So you can see that my black pigment is very transparent. And I will apply and layer here. We're here. Just to show you that because watercolor is transparent, you can see how color is still shining through. I'll add a little bit of this black transparent layer on the back of the cat. Dilute the sharp outline so that you can see that my pink pigment, my pink layer, the first one, is still shining through the black one. Of course, this happens because black pigment is very light. I'm on purpose diluted with water quite a lot so that it doesn't completely covered the pink one. Like for example, right now the layer is very dark, so there's less chances, but pink one will shine through with the semicolon brush diluted and a little bit to separate the leg from the body. Another thing we can do is we can take when working with and a little bit of darker and maybe try to paint the wrinkles. I don't want it to be. So it should. Rather. By applying those strokes on top of already dried layer, we create depth. And we achieve slightly darker tones on our cat or any other subject with your painting. And this is the best use of layering technique or glazing technique. And in a bit more wrinkles. Notice that my lines are not very sharp and not dry. And at the same time, not very dark. So I'm not using like super black color, for example, pink that we've already used to paint the base of the cat with a little bit of black to make it not so bright, not so vibrant. Let's paint the tail. I take our diluted black at the tail carefully. And then I take more concentrated black from the tube and add a little bit on the edge of the tail. So we have a bit of transparency, black, so kind of a gray tone and a bit of very dark concentrated pigment of black paint. And the difference between light and dark is to notice though, you can. Smooth it out with semi wet brush. Now you can also add some elements to sharp. So I'm gonna delete this line with the semi wet brush just like we did before. And with our negative space. The clinic when they're softening the edges of the cat. So I'm softening the edge here as well. Being the eyes. I kind of like cats with green eyes. So let's, let's make them green. Like an alien. I'd like to leave highlights spot on the eye to make it stand out. And now I need to dry my brush against the tissue so it's very dry like when we painted. Dry and dry and carefully. Work the eyes. Just to outline them. And don't forget the Irish. Oh, painting on top of being a bit weird. So I guess I'm gonna have to make those black mark. And also with the rationale smooth those strokes. So they're not very sharp on this side. And maybe add a few wrinkles on the face because it's kinda weird to have body with wrinkles, but we can also add another color. All right, well, now our Sphinx is ready. And we just used wet on dry technique and layering technique. We applied what pigment on dry paper. And then we waited for our layers to dry before we apply the next layers to create nice translucency, to create this shiny effect of one layer coming through the other one. And also great in depth. 8. Magical cat: mixed techniques: So with this last project, I would like us to combine the techniques that we've just learned today into creating one masterpiece. So think of the techniques that we used to pay in different cats and tried to think how you can combine them into one painting. So very quickly, I will outline with the pencil, the last cat, the last sketch of the cat. And now we can start painting. So first, I would like to apply wet on wet technique on the body of the cat without the tail first. And work on detail later. So we'll just clean water. I'm painting the body of the cat. And now I will apply first layer. So since I already have some of the orange mix on, just reactivate it. And the orange. So big man just wants to go. As you can see, I'm not covering everything. So the area of that I made orange. Orange creates this nice feeling, sparkling on the firm. And of course, carefully I'm painting around the eyes. Right away. I can maybe show some of the texture. Can intensify the color little orange. Pushing the pigment into different directions by adding water. This is what I wanna do. Here. Just lifting technique to some of the pigment to make the paper and the whiteness of the paper shine again. Separate the bottom. I can work on. So right now I'm going to touch on is going to already what I have in mind. Not yet. So now I'm going to introduce orange first. Actually, I want to cover even more space with clean water. So forgive me that I didn't do it right away. So the size of the tail is like this, but I cover more space with water and you'll see why in a second. Okay. Hello, The chicken. So the reason why I'm wanted to apply more water larger than the actual Tales was because now we have a very, very nice and soft transition over here. We don't have any sharp edges like for example, we've got here. Because here the water was applied until this place, until this edge. And then the paint went also until here. And that's why both water and paint stopped here at the edge and created sharp outline with the paint. But here because water went further away than the pigment, the pigment ended up being very soft and the edge. So this is a trick that you can use if you want to create the edges that are very, very, very delicate and soft and fluffy. You can as well add some salt if you want. My layer almost contrived already saw it might not work. But if your paint is still, but it can work in now, just leave it to dry. So as we drive the painting, you can see that black tail turned into rather gray, gray color. So we need to intensify that color by adding a new layer, which means we're going to use layering technique here. So take some lag, go to the edge of our tale. The edge so we don't have sharp corners. And some of the orange. I want to make sure that the edges are those sharp edges. Nice opportunity to add some texture to the tail. We can do the same here. Our cat, making this part a little bit darker, orange color. Then finally, we can use Drawing Guide technique. Some pigment on a dry brush, just like we did with our first. And here we go. We painted a cat using wet-in-wet technique, layering technique, lifting technique. I would be very excited to see what painting you choose to do and please do share your results. 9. Your furry class project: Thank you for watching their friends. Hope you enjoyed plane with watercolor and learning techniques along the way. Your class project would be to choose a technique that you like the most and pays a cute cat. Don't forget to share it with me here or in my Instagram, y'know, travel art. I'm happy to offer an advice if you need it. And also if you're excited to continue your cat painting journey, I invite you to try another course of mine were we paint a realistic ginger cats in watercolor. You already know the basics, and this project will be just a piece of cake.