Watercolour Animal Painting: Chimpanzee Wildlife

1. INTRODUCTION: Hello, and welcome. Today, we're going to be painting this charming little chimpanzee in watercolor, focusing on expression, texture, and tonal depth. We'll work step by step, beginning with the skin tones and then building layers of fur and detail. You'll learn how to mix believable skin colors, paint expressive eyes, and use loose painty brushwork to suggest hair and fur, all without overworking the painting. And by the end of the class, you'll have a set of techniques that you can apply to other wildlife and animal paintings. It's suitable for all levels, including beginners because I'm going to be guiding you every step of the way. And I'll be sharing all the techniques, tips, and tricks that I use in my own professional work. I've included a copy of the drawing in the project resources section so that you can download it and trace it, and then not worry about the drawing because this is a painting class. I am a professional artist, author, and tutor, and over the years, I've sold a lot of work across the world and helped hundreds of people to learn more about watercolor. You can see examples of my work on my website. My style leans towards impressionistic and contemporary rather than photorealistic. I like to explore loose approaches that bring out the colour, light, and essence of my subjects. I've tried to replicate this across all the many other videos that I have on Skillshare. I'd love to see your own finished painting, which you can upload through the project and resources tab. I'll give you some personal feedback on it, and you'll be able to see the artwork of other students and get their support. At the end of the class, you'll have your own beautiful artwork to be very proud of. So let's swizzle our brushes and get on with the painting. 2. Materials, Drawing. Paint Skin tones wet-on-dry & wet-on-wet. Blend & soften. Tonal values.: We'll be painting a variety of textures from the soft facial features, expressive eyes, and wiry fur. For this class, these are the colors and materials that I'm using, but do feel free to use any that you already have. For information on brushes and paper, et cetera, do check out the basic materials document that I've added to the project resources section. As you can see, I've taken a few liberties with the reference photograph, and that's the great thing about creating art. You paint with your memories, senses, and imagination, as well as what your eyes literally see. I've included a copy of the drawing in the project resources section so that you can download it and trace it, and then not worry about the drawing because this is a painting class. Mixing skin tones in watercolor is more about layering transparent colors than trying to mix a perfect color in one go. So I'm using three transparent colors, quinacridone gold, permanent rose, and cobot blue. I've got a very watery mix about the consistency of tea for the lightest tone. Thickened it up a little bit with extra paint for the medium tone, and then an even thicker mix for the dark tone with a little bit more cobalt blue added. For each of those mixers, start off with your quinacridone gold or another yellow, and then add some pink, not too much, just touch some in to see how that mixes, and a small touch, a little tiny bit of cobalt blue just to dull that color down a bit. And then test it out on a bit of scrap paper before you start applying it to the actual painting. And you can mix three separate pools of light, medium, dark, or you could mix a big pool as I have done in my palette that you can see on the right, where the more watery consistency is over on the right hand side, the dark tone is over on the left hand side with more pigment and thicker paint less water. And in the middle, you've got the medium tone. I've just painted his ears with the lightest tone, and I've painted wet on dry wet paint on dry paper because they're only small shapes, and I'm going to go back to them later to add the shading. However, this section that I'm now painting, the top part of his face is a bigger shape, and I'm going to add a couple of different tones. So in order to have those colors blending softly together and avoiding hard edges, I have pre wet the whole of this top part of his face with clean water. This is known as the wet on wet technique, where you get much less control, but you do get softer blends. And while that light tone is still wet, I'm now going into my mid tone flesh color and adding a little bit of that down that left hand side of his face. And that will help to give a three D rounded effect. Because the mid tone paint is a little bit thicker than the light tone, you can see that it's blended nicely together with the light tone, but it hasn't spread right across that area. I'm doing the same thing on this right hand side of his face. I pre wet it with clean water, and now I'm dropping in some of that light tone, just going around the eye very carefully. I am painting his eyelids, but I'm not going anywhere inside the eye. Now, the area just above his forehead is actually quite sparse of hair, so I'm adding a little bit of this flesh color up into the head from the brow bone. And I've just used the light colored tone for that. The brow bones themselves are quite prominent, and because they stick out over the eye, they will catch the light more. So they need to be very light tone or even unpainted. While that light tone is still wet, I'm adding in a little bit of my medium tone just as I did before this time down the right hand side of his face to give that rounded appearance. And I'm also using it to add a little bit of darker colour in the eye sockets. I'm going to leave that area sit for a while and see how the paint settles and go on to do the lower part of his face. Now, whereas the eye sockets are receding, this part of his face is coming forward. The nose and mouth area and chin are a little bit of a large egg shape. You can use that same process to achieve that three D roundedness here. Again, I've pre wet the area before adding the paint, and putting the dark and medium tones on the left and right sides of the shape first. I've got a little pool of very watery quin gold mixed in my palette, and I'm using that now to paint the top part just above his mouth. And that's softening and blending nicely into the darker tones at left and right side. The skin of chimps is a slightly mottled texture. And so I'm using the quin gold as a base, and then I'm going to drop in some little touches here and there of my light and medium skin colors. And I think you can see that that's given me that mottled appearance that I wanted to achieve. But I've kept it quite subtle touching the colors together with the tip of my brush because I don't want it to look like he's got chicken pox or measles. And then for the lower part of this area, I am using my medium and dark tones, particularly over on the right hand side, which is more in shadow. And notice that by swishing this just below his lower lip, I'm not actually painting the lip, but because there's a shadow now beneath it, the viewer's eye automatically recognizes that there's a lip there. And then for the top part of this area, I'm going to take a little bit of my medium toned skin color and add a little bit more cobalt blue into it. So it's quite gray. It's more gray, but it's still quite watery. I don't want to dark gray here, a very light, pale gray color, just going over the top above his nose. Just the same way that the top of an neg recedes backwards as it curves around, then hopefully this gray color is going to help the top of his muzzle nose area also to recede backwards towards the eyes. What we're trying to do here is to use the different tones and different colors to kind of sculpt the paint so that what is a two D flat piece of paper appears to be three D and rounded. I've just added a little bit more of my darker skin color over the top of his lip, so that's helped to curve that area downwards into the mouth. Watercolor does tend to dry about 20 to 30% lighter than when you first put it on. So as the paint is starting to dry and it's going a bit too light, I'm adding little bits of darker color touching in here and there where needed. Along with a tiny stroke of watery pink just below his bottom lip. Now, if you remember, I painted the ears wet on dry, wet paint on dry paper, and whilst we've been painting his face, those ears have started to dry because there hasn't been as much water on them. So I can go back into the ear now and add some more shading to separate out the different parts. The chimps ears are similar to humans, but one big difference is that unlike our ears, which have a very fleshy lobe, their lobes are actually quite flat. I've used my medium and art tones to add some paint to the areas in between the bony structures. I'd already mixed a black with some ultramarine burnt umber and a touch of Mars black. And I've got a separate pull just to burnt umber on its own. And while this second wash of color is still wet, I've touched in first sunburnt umber in the areas that need to be darkened and then added in my black color over the top. So it's given me a little bit of a transition between the brown and the black. Now, importantly, the black mix is a little bit thicker than the skin flesh tones, so it shouldn't spread right across the areas that I've just painted. You still want some of those skin colors, the flesh colors to be visible. If it does start to spread too far, you can just use the thirsty brush to lift off any of the black color that's spread too far. And if it hadn't spread far enough, again, you can use a wet brush to kind of teeth two colors together. And then I'm just going to paint a little bit of the permanent rose in the top part of his ear because the ears are protruding out, so the light will be kind of coming through them and giving them this more rosy appearance. And now I'm repeating the same process on the ear at the right hand side. Chimps are one of the few animals with self awareness. In mirror tests, they'll inspect the faces or even check out spots of paint on the bodies showing that they understand the reflection is actually them. If you've ever watched chimps playing, you'll see how much they actually laugh when they're tickled or playing, pount when they're upset, and even comfort each other with hugs or pats. Their emotional range really does feel strikingly human. They're also incredibly good at using tools from fishing termites with sticks to using leaves as sponges for drinking water. They are natural problem solvers. Family and friendship are really vital to chimp communities. The grooming sessions aren't just for hygiene, but also for building trust and social connection. And just like our youngsters, they play pretend. You'll often see young chimps treat sticks like dolls, carrying them around like human children with toys. They have a lot of imagination and a real nurturing instinct. I'm pretty happy now with how the second layer of color has worked on the ears. I don't need to go into any more detail because they're not the main focus. I'm not going to put a second layer of colour on the face yet because I want to get the hair and the dark fur on so that I can make a better judgment of where the contrast should be. So I think I'll call the ears done now and move on to the next section, which will be the dark hair and fur. 3. Hair & Fur. Mix a rich black to paint the hair & fur with expressive brushstrokes.: I've topped up my black mix of painting my palette with more umber, ultramarine, a little bit of mas black, and also added some indigo. I need a nice big pull because I'm going to be painting a lot of black. I'm hoping to avoid running out and having to mix some more while I'm painting. And to the right of that black mix, you can see that I've got a much more watery watered down black color with a little bit more indigo added. And that's because just as we needed some tonal variation in the skin, we also need some tonal variation in the hair and the fur. We don't want it all to be one big flat black color. If you look at your own hair in the mirror, you'll see that there are light areas, medium, and dark areas in that, too. Now, black can be a rather uninteresting flat color. So to start with, I've pre wet the central area of the head and dropped some cobalt blue in it. I've also added a few little touches of the cobalt blue around the left and right sides of the head, where his hair is. And then I'm using my water down black. It's a bluey, indigo gray color and painting around the left side of his head with that. Notice how I'm using the brush strokes and following the contours of his head and bringing my brushstrokes down in the direction that the hair is growing. And there's a little line of hair growing across the nose area from one side of the head to the other. Although I'm using a large brush, it's got quite a good tip, so I'm able to do larger and smaller areas with this brush. If you have your brush is more rounded, you might need to change to a smaller brush where you're just going over that area above his nose. And even here, I'm varying the amount of paint that I put on in some places, leaving tiny little gaps in others, trying to get some variation of tone, even in this first layer. I put a small amount of black just below his chin, but I don't want that to dry to a hard line. So before it does, I've got a wet brush, and I'm just softening and blending that edge, taking it down into the body. And then I can go back to finish off the rest of his head, just taking the hair line down above the brow bones. Again, I'm using directional brushstrokes, thinking about which way the hairs are growing and following the contours accordingly. And importantly, I'm leaving that little tiny sort of triangular area of flesh color just above his browbne. I'm leaving that not painted with the dark color. So we've got some flesh showing through the hairs on this top head section. Before this gray black color dries, I'm adding in some more blue. This time I'm using some ultramarine. I think it needs a little bit of a stronger blue to liven it up. I think I'll add a little bit of purple as well, just to give it that extra boost of color. I'm working quite quickly because I want to add some of my stronger black onto this layer before it dries. If you're not such a fast worker and you want to take it a bit slower, what you could do would be to work one side of the head at a time. And that will give you more time to work into this first wet layer before it dries. I've switched to a smaller brush because I don't want to obliterate all the light color that I've just put on. I want now a variety of shades, a variety of tones. So I've got some really dark black going in just behind the ear where it'll be in shadow. But I'm also hitting and missing into these areas with my small brush, again, just flicking out that color in the direction that the hair is growing. It's a repetitive process, so I'm going to let you watch the video along now, and you'll see how I build up the hair around his head with this darker colour. But I'll pop back on if there's anything else that I need to explain. The M The 4. Skin - 2nd Layer & Facial Features; paint wrinkles in skin; paint the eyes, nose and mouth: To paint the eyes, I'm using a small brush with a very good point. It's a synthetic sable brush. So unlike the natural hair ones, which I personally find a little bit too soft and floppy to control, the synthetic hair brushes have a little bit more spring and robustness to them. And you can see that the hairs are quite short, which again, I personally find helps me to get more control over where the paint is going. I've painted both of the irises with some watery quin gold, working carefully around those little highlight shapes and the pupil. Then while that quin gold is still wet, I'm touching in some burnt sienna around the outer edge. As the birtsiena moves towards the middle of the eye, it gets lighter. So I get a lovely range of the birtsienna outside and some lovely golden glints coming from the quin gold beneath it. Again, I'm painting around those little shapes that are going to be the white highlights in the eye, being very careful not to go over them. However, if you do accidentally go over them, you can always paint in some highlights later on when everything's dry with some white gouache or white acrylic or ink. But nothing is ever as white as the white of the paper. So if you can manage to leave those little fiddly shapes unpainted, that's really going to give some zing and sparkle to your painting later on. It doesn't matter if you go over the pupil because that's going to be painted black later on. I've rinsed my brush in clean water so there's no paint on it, and I'm just going to lift a little bit of that paint off the right hand side of each eye, which helps to give them that glassy look. To paint the eye sockets and the wrinkles, I'm using my little micro mini brush. It's another synthetic brush, but the bristles are a little bit firmer than the last one I used. So it's ideal for getting into all these creases and wrinkles. I've added a little bit of burnt umber to my watery black mix, and I've just painted around the socket and then taking that into the shape that I've drawn for the socket recess. And then as it moves up towards the brow bone, I'm just warming it up a little bit with some birtsienna. And then with a clean damp brush, I'm just softening and blending that edge so it disappears into the brow bone. I'm adding a little bit more of the Bertsiena color down that left hand side and kind of smudging it in so that I don't get hard edges, keeping everything wet. Although I've started off wet on dry, as I keep putting on more paint, obviously, it's wet on wet. And now I'm adding some even darker color into the eye socket area. And with everything nice and wet, I can use my dark black to go around the socket area. And because it is all nice and wet, that dark black will just soften and blend into the colours that I've just put on. And then I'm going to follow pretty much the same process for this right eye. So starting with my brown black in the crease, taking that color up into the shadow recess area of the eye socket, taking it a little bit down this time over the nose and under the right eye. And then adding a little bit of Bert sienna to warm it up as I did before and blending and softening those colors together. Then again, whilst everything is still nice and wet, being brave and putting that dark black into the socket crease. If you're a bit nervous about painting the eyes and you've not done them before, you could always draw the eye out on a piece of scrap paper and just practice doing the eye first before you do it on this actual painting. Like most things, the more that you practice, the easier it will become because you get familiar with the way that your paints behave different paints with different amounts of water, how they blend and soften into each other, and how they dry, of course, which is always an important part. One of the most important techniques that you can develop is the art of looking, just taking the time to observe and notice how things really appear. Studying those little details and where the light falls, where the tones change, where you might get an unexpected shaft of color. I do sometimes think I spend more time looking than actual painting. And if you have a really good look at wrinkles, you'll see that even they have a little shadow, they have some variation in tone. So we need to bear that in mind now whilst we're painting them. And strangely enough, I'm painting the shadow first. So I've just used the brown black colour or the light black colour to go into the wrinkles, just painting kind of a smudgy line, not a dead straight line, and not a really dark line. So this is going to act as the shadow. I'm taking these wiggly lines over the bridge of his nose to join that shaded area on the right. And then to accentuate those wrinkles, give them a bit of depth, I'm just dropping in little touches of my dark black. You don't need to add the black all the way across each wrinkle. Just add a little bit here and there and have that variety in between. You don't want these wrinkles to look as though they're stuck on. What we're trying to achieve is that they are kind of sinking in to the underlying skin color. So I'm using the tip of my brush to add a few little smudges to the wrinkles here and there. Now, the top and bottom eyelids are looking a bit stark and unnatural. So I'm adding a little bit of shading darker colour to those as well. And now I'm moving over to complete the right eye and the wrinkles on the right side of his face. A a I'm going to leave everything to dry for about four or 5 minutes before I come back to it and finish the eyes off with my very dark black color. I'm starting on the left eye again and using my micro mini because it gives me that little bit more control with the brush, using the dark black to go around the iris. And I'm also using the black on the inner side of the top and bottom eyelid. Because the iris is in shade at the top from the upper eyelid, that little area there will also need to be a little bit darker in order to avoid a kind of unnatural stair. So I'm just adding a little bit of shading just underneath that top eyelid. And I'm also making the left side of this left eye a little bit darker than the right. Mm. Then with a clean damp brush, I'm just going to smudge some of that black color that I've already got on over the white area, so give it a more gray look because the whites of the eyes are not really white. If you look very closely, even at your own eye, you'll see that they're not pure white. There is some tinting of that area as well. And, of course, the last bit of detail here is to paint the pupil with my very strong black color. Again, I'm being very careful not to go into those tiny white highlight shapes. And then repeating that process over on the right hand side for the right eye, again, using the black underneath the upper and lower lid, and then using the tip of my brush to smudge some gray over the white of the eye. And going around the outside of the iris just as I did over on the left hand side. I do usually advise people to work as quickly as they can with watercolor, because if you work too slowly, you're in danger of fiddling and overworking it. Having said that, when it comes to the eyes, I do think this is the time when you should slow down and take care to get all the detail in the right places. Because we've got the darkest dark, which is our black pupil, right next to the whitest white, which is the highlight in the eye, this is where the viewer's eye will immediately be drawn. There is a saying that the eyes are the window of the soul, and I do think that actually they can make or break a good painting. Just a few little touches here and there, and I think the eyes are now finished, and I'm ready to go on to the bottom part of his face. I'm using my strong black mix to, first of all, paint the top part of the two nostrils, following that curve around, as you can see. So I'm still using the point of micro mini brush. And then I'm going to rinse my brush, clean it so it hasn't got any paint and just drag some of that black down into the shadow beneath the nostril. And again, adding that lighter tone forme shadow stops it looking as if the nostrils have just been stuck on as it were. Then using my watery black, my paler black, which is more of a gray, really, a dark gray. I'm adding some of the wrinkles that occur around the outside of his muzzle. Now, the important thing here is that you don't want these wrinkles to be exactly the same all the way around. So you want them to be different thicknesses, some wider than others. You want them to be a different tone, so some darker or lighter than others, and you don't want them all to be the same distance apart. So you don't want to, like, a row of soldiers. So just keep the variety going with these wrinkles around the muzzle. And as previously, I am using the tip of my brush to kind of just smudge or blend them in to the underlying color. I'm doing exactly the same thing with the wrinkles above his mouth. So varying the tone, varying the distance between them, the length of them and smudging them in into the underlying wash again to give them a more natural appearance. I'm also adding a little bit more of the dark flesh color to this area just above his lip, just to get that tonal variation where it curves around. And I'm just stroking some of the darker flesh color below the lower lip. I've added a little bit of pink to it for that small area, and then just the dark flesh color coming down on the right side of his chin. I'm using the dark black to paint a line between the upper and lower lip and softening that in with a damp brush at both ends of it. I'm continuing to add some more shadow shading to this right hand side, I don't feel it's got enough definition. I'm using my dark flesh color, which I've actually added a little bit of my dark gray color to, so darkened it even further. Also dropped in a touch of the purple and cobalt blue, as well, just to liven those shadows up a bit. And I'm now adding some shadow color to the left hand side as well. So I'm accentuating this kind of egg shape that we've got on this part of his face. And again, I'm adding little touches of blue and purple into that shadow color because they don't have to be just a plain gray color. There is warmth in shadows or sometimes coolness, so it livens them up to keep them a little bit colourful. This is where you need to just stand back for a moment and assess your own painting. In my case, I think because I've put this extra shadow and shading and bit of color on the muzzle, the ears are a little bit too pale. So I'm now going to add some shading and some drops of color into the ears, as well. So I've got a more cohesive look. And this is the thing with watercolor. It does quite often dry much lighter than when you first put it on. So you do need to go back and just add a little bit more color or shading here and there. As long as you leave the layers to dry in between and use a soft brush that doesn't disturb the underlying layer, you can carry on adding layers multiple times. Obviously, if you do overdo that, you're going to end up with a muddy look, so it's just really down to experience and a judgmental eye as to when to actually stop. Well, that only took me a minute or two, and I think that the extra shading and color has given me a more balanced look across all of the skin areas. So it's time to sit on my hands now and have a little break before painting the rest of his fur. 5. Paint the body hair in a loose abstract way; use spatter technique to suggest an abstract background: We've got quite a bit of detail in the face, and that's where the viewer's eye will go. That will be where the main focus will be. So I'm going to paint the body in a rather abstract and loose fashion. I'm starting off with the dark black and running that all the way along underneath his chin. And then I'm dragging that very dark color down into his body area. Now that I've got that definition below his chin, I can switch to my lighter black, my dark gray really with the indigo in it, and bring that color down in towards the right and left sides of his body. Now, I have actually raised my board up. I've put a small box underneath the top of it, and that's giving me a downward tilt, so the paint should naturally flow down towards the bottom of the paper. If it doesn't, you can just pick it up and give it a good old shake, encourage the paint to flow downwards. And to ensure that the colors are in keeping with the dark hair on his head, I'm also dropping into this mix some cobalt blue, some cerulean and some purple, adding that quite random really here and there, and letting the color mix into the dark gray and the black. I'm going to be adding more and more water so that as that color flows down towards the bottom of the paper, it becomes much lighter and more abstract. I'm going to let you watch the video run now for the next 5 minutes or so as you watch me build up this loose abstract impression of fur on his little body. The There are various products you can use for white hairs and whiskers. Here's a few of the ones that I've tried and kept. The artistro small nibbed acrylic paint pin is one that I use. For an even finer line art and fly white gelpin is one of my favorites. Similarly, Cigna's Nibal gel pen is another good option for fine lines. The jelly roll pen is a cheaper option, but not quite as white as the last two. But then you don't always want something to be absolutely bright white. Windsor Newton's designer gouache is the best opaque white gouache that I've come across. It does tend to dry lighter, so you might have to put on several applications. However, on the plus side, it behaves a little bit like watercolor in that you can lift it off. Any cheap white acrylic paint will do or some white acrylic ink. Of course, they are more permanent, so once on, you can't remove them. My absolute favorite is doctor PH Martin's bleed proof white. It really is the whitest white I've come across. To apply the paints or ink, I use a fine pointed Chinese brush or a glass pin. If you don't have those, you could either use an unwound paper clip or a cocktail stick, anything with a fine point, really. Here, I'm using my glass pen to apply doctor PH Martin's bleed proof white. Now, I have added a tiny bit of water to it just to keep it a little bit more fluid. The beauty of a glass pen is that it holds more ink paint than a traditional dip pen, so I don't have to keep dipping it in the paint as often. I'm working my way around his chin, and you can see that the little hairs that I'm painting on are longer in some places than others. They are more wispy, so they're not absolutely dead straight. Some are a bit whiter than others, and some are grouped in little clusters. As well as the whiskers on his chin, he does also have some growing from just above his top lip line. Of course, where you've got the lighter tone paint, the white hairs are not going to show up very much. They'll show up a lot where you've got dark paint dark tone underneath. As I'm painting these whiskers, I'm also varying the pressure that I apply to my pin. Some lines are crisp, others are broken or fading, because real whiskers are not uniform. I'm adding a few longer whiskers that are emerging from his brow bone. Now, you certainly don't need as many up here as you do on the muzzle. So just a few from the brow bone will do. There are good reasons why chimps have such a lot of hair on the chins. It actually helps shield sensitive skin from the sun, scratches and insect bites, and that's very useful because chimps spend a lot of time outdoors. It's also part of their individual identity. Chin hair patterns vary, and that helps chimps to recognize each other visually. And just like humans, the beard becomes fuller or whiter with age, and that can signal maturity or social status within the group. Interestingly, they also help to define their expressions. When the chimp calls out or laughs or grimaces, those little hairs catch the light. So they help to subtly highlight movement and emotion. Now, if you find you've gone a bit overboard with putting these little hairs on, you can just dip your brush into some black paint and add a little bit of that in and amongst the hairs. As always, there comes a point when you know you're fiddling too much and in danger of overworking the painting. I've got quite attached to this little fellow, as I've been painting him. So I'm going to call him Tanna after the River Tanner in Kenya, which means gentle but full of life and movement. And I'd really love to know what you call yours. I do hope you've enjoyed this painting and that you've learned some tips and techniques along the way that you can incorporate into your own paintings. And why not pop it into a mount and a frame, and you'll be amazed how good it looks when you do that? If you've enjoyed this class, it might encourage you to look at some of my other videos. I've got lots of lovely subjects loaded with more tips and techniques to help you with your own exciting art journey. I'd really love to see your own finished painting, which you can upload to the your project section. And if you could just take a moment to leave me a short review, that also would be really great. In the meantime, thank you for joining me, and I look forward to seeing you next time Happy painting. I 6. FINAL THOUGHTS: Well done on completing the painting of our gorgeous little chimpanzee. We've covered quite a few different techniques as you've been following alongside of me. Instead of just copying the reference photos, we've used them in a more loose and imaginative way. We use the wet on dry technique, putting wet paint on dry paper, then we use the wet on wet technique, putting wet paint on wet paper, and we use different skin tones and tonal values to add structure to the face and head. We used additional layers of color to add richness and depth. And we went from using big brush strokes for spontaneity and vigor to using small brush strokes when we needed to paint the tiny details of the eyes. And we finished off with a very loose abstract approach to his body, keeping the main focus on his face. Now, don't forget to upload your own painting through the project and resources tab. After all your hard work, I'd really love to see it, and I'll be sure to give you some personal feedback. And if you've enjoyed this video, do have a look at my other classes on Skillshare, which are packed with more tips and techniques to help you on your own art journey. If you click the follow button, you'll be able to follow me, and then you'll be the first to know when you upload a new video or any exciting updates. And if you could just take a moment to leave me a short review, that also would be really great. In the meantime, thank you for joining me, and I look forward to seeing you next time, Happy painting.