Wet on Wet Watercolor Cats

1. INTRODUCTION: Hey there, I'm terryrunyan, visual artists and creative encourager. And in this class, we're going to paint some wet on wet watercolor cats. And I need to tell you, I've got inspiration in my very lap. This is Tucker. He always likes to be on the camera, as you can tell, will let them go to sleep. Now. This is Riley. There are four projects in this course, all of which are a little different from each other, will be Painting floof cat heads. Well, let's be really honest with each other. They're all Floofs. We'll be painting a white cat on a dark background, will be painting a tabby cat. And I'm even going to sneak in a cat on head in here, all wet on wet watercolor of course, I just wanted to say a little bit about my background. I grew up that hallmark for 30 years was an artists before that two and continued my Art FUN. When I left hallmark in 2016 and had my own business. I have a couple of books out. Actually have more than coupled, but the most recent ones are Painting happiness, creativity with watercolor. And my most recent book in the series is Painting Cats. In this book you'll actually find projects that are wet on wet watercolor cats. So I'll be taking some of the projects from this book and demonstrating them here. Watercolor is amazing to me because when I use it, it has a mind of its own and there's always a mystery in the application of it. You never really quite know what you're gonna get. And it's exciting and it takes you in different directions. You may not have considered going on your own. I hope you enjoyed this class and let's get started. 2. SUPPLIES: Okay, here we are. We're going to go over our supplies. I tried to keep my supplies to a minimum to keep it simple for me and for you, I'm going to switch over to my camera now to show you my supplies. When I wet paper, I use a spray bottle. I also use a big flat, really inexpensive painters brush. I just got this. It's a white nylon brush at the hardware store. I also like to use a inexpensive, relatively inexpensive, synthetic brush by Creative Mark. It's called Mimic and I use a size ten. Now I've been using this one a while. It doesn't have quite as sharp point as it did at the beginning. But that'll be okay for what we're doing here. I'll be using a really crappy little overused brush to use this drawing gum by. I don't know how to pronounce that. Tobacco. Anyway. I'll have the supply list in the about section. So got that brush. So basically three brushes here. It's not going to break the bank. And links for all these in the about section. In addition, I'm gonna be working with a palette. This is a big palette, very large and has a top for it. I am not gonna be using all these colors. I have a tendency to use just these. These are Winsor and Newton and Daniel Smith tube watercolors. They're awesome because they're easy to squirt out because they're professional quality. They have a ton of pigment in them. I've got the Daniel Smith black lamp black. Daniel Smith transparent oxide got Winsor Newton Payne's gray, the ultramarine. Winsor Newton loved this cobalt turquoise light. Winsor Newton, Hooker's green, a gold green, Winsor Newton, actually that's called green gold, Windsor, yellow, yellow ocher by Winsor Newton. These are all Winsor Newton here, and scarlet lake by Winsor Newton. And finally I have an opaque white by Winsor and Newton, It's designer gouache. I have 11 tubes of paint here. If I sneak in another color, I'll certainly let you know. In addition to those, I will be using posca pens that this blue color. I'm not sure of the names of these because they're in Japanese, so they're just awesome colors by posca and I use the most these black and white pens anyway. So there's those, I like to do details with the Staedtler permanent luma color pen. I use a lot of pink on my cats in the cheeks. So these are prismacolor pencils or a rose color. I come in with this cool gray, light gray and also get a darker grays is one of those Prismacolor watercolor pencils. This is a cool gray as well. It's a little darker as you can see. And let's see, I got a black one, also, Prismacolor, watercolor pencil. I might throw in a few others. They're just know they're mostly Prismacolor pencils, either watercolor pencils or just regular Prismacolor paper I'm going to use. There are a couple. I love using this fluid. One-hundred cold press Finish. I use an eight by 840 pounds. I really think it's important to use a heavier weight paper like 140 pounds because with wet on wet, you have a lot of moisture on the paper obviously, and thinner papers that's going to cause buckling. And you don't want that while you're working with this. So the eight by eight paper, this one is bound on two sides, the top and the bottom. So it won't buckle as much. I'm also going to do a little larger size with the arches, aqua watercolor. This is a cold press as well. 140 pound. This paper is awesome. It's got a little bit more tooth to it that makes it a little more absorbent and it has glue on all four sides. So that's an awesome paper for this. If any other supply shop, I will certainly let you know during the projects. So let's jump into one of those 3. PROJECT 1 Floof heads!: Okay, I'm here with you now to do our first project and we're going to start with the floof cat heads. So, yes, one more time all that you see these and don't be afraid while you're working here to do crazy colors. I mean, who doesn't love seeing a green and blue cat? I'm working on the square format. As you can see right here. This is the fluid one-hundred paper as I talked about in the last section. We are going to start with wetting the surface, getting it nice and wet, which I will do with my handy-dandy spray bottle. I started off with that. Then to get things smoothed out, I take this flat brush and I run it across the surface. I've, I've put a little water in this brush as well. So we've got a lot of water going on in this surface. And if you're anything like me and your studio, you've got lots of hair in your artwork. So I might try to pick a little bit up there, but it's kind of a losing battle around here with these fuzzy kitties. And of course I wouldn't have it any other way. So I've got this nice and wet. I'm making sure I'm looking at it at an angle to make sure there's no huge puddles left on there. And I've got my size ten round brush now. I'm going to dip into my black paint. This is the Daniel Smith lamp black paint and my pain is really fresh because I just painted some of these kitties yesterday. So it's there's a lot of paint in here. You can see here it's very, it's full of paint and now I've just put that on top of my page. I can I come back in. Just going to even this out one more time? Make sure I've got plenty of water on here. Got my loaded brush here. I'm going to get started here with the ears on this black kitty. And you can see I have a ton of paint there. Because I have all that water there. It's really spreading. Maybe a little more than I want. And if you have this going on for yourself, you can take a regular tissue without lotion on it and come in and stop the running of the pain. I soaking it up a bit. This is something that's a bit tricky. So just know you may not get this perfect the first time you want to make sure you don't use it. A dirty tissue like I just did to get those sides cleared. I might even want to do a bit in the center of this. This was a very wet paper there that looks more like cat ears. I'm going to continue around. I know this looks really dark right now. It is watercolor dries. It does lighten up quite a bit. Let this one go maybe a little bit more on that ear. And go on to my Payne's gray kitty. This one, I'm not going to load the brush quite as much because I want it to be a lighter color. I usually will check my colors over on a separate piece of paper. And think about doing maybe slightly different shapes on these. Maybe this guy has got a skinnier Head than the last one. If they run together. That is awesome. Make a yellow one. Now, I'm using the yellow ocher on this one and some Winsor yellow. Quite a bit of paint in this brush on this one. So some more delineation with these ears. Using the tissue to pick up some of that water on the edge to help to find the ears. This one has also gone crazy a bit. If you're a delineation is not looking perfect. No worries. We're gonna be coming in with another layer of paint. Course. You don't have to come in with another layer of paint. Remember to get the clean edge of that tissue on there. You don't want to be putting your blue in the middle of your yellow. I know from experience on that one. Next time we're going to do a turquoise cat Because I love this color. And I know the cats, I do love this color as well. My paper is starting to dry out, but not to worry, I can come in with a little clean water and re-wet a little bit to get that paint moving again, I'm trying not to drag that brush through the actual paint I'm putting down. So I've reactivated the water on this this kitty. I'm going to use the oxide red with a little bit of ultramarine in it, which makes a really nice brown. And I can see right now that this paper is a little too drippy and it's also working a little bit. So that's interesting. You can see the ultramarine in here and this red oxide, which I really think is cool on this last one. Let's go ahead and make a green kitty. This is a mixture of the green, gold and some Hooker's green. And another skinnier head shape. You can see how this spread out so that this one doesn't look quite as skinny anymore. Anyway, that's what I love about Watercolor. I don't know. At this point. I'm always learning, as we all are, How would this paint is going to flow? It goes where it goes, and I live with it. I'm going to now take my hairdryer. I'm going to at this point speeded up and give you a moment to go get your hairdryer or whatever it is you want to use to dry. Maybe you just put it aside for awhile, let it dry completely, and then we'll come back in. So I'll see you in a minute. Okay. Got it dry. And now I'm going to a wet on dry layer on top of these Floof kitty heads. Because I've done a few of these. I sort of know what direction I'm gonna go. That's way too dark, so I'm going to lighten it up a bit. And I'm going to define the ears a bit and give this kitty some spots. Still retaining that fuzzy edge. If you came in with wet on wet at this point, it would blend into the back ground head shape. So waiting was a good idea. Remember again that this is going to dry lighter than it goes on, on this yellow kitty. I'm gonna go with a tiger stripe. And I'm adding some scarlet lake to my yellow to get a little darker color. Might have added a little too much red, but that's okay. I'm not going to put this on really thick because I want it to be more transparent. Testing it a little more water. Okay. I'm gonna move my palette over here while I'm working on this. I think I'm also going to make this blue kitty into a Tabby because they have so much Tabby inspiration around here. To keep it a little different. All create it with thinner lines. Variety is always a good thing. I'm not meaning to say that doing things all the same, it doesn't also have benefits. But for me I like to have a wide variety in what I do. I think the brown kitty is holding its own. I am going to come in with some little ear shapes for it. And little green to the, I'll add a little more hookers, green to my color, maybe a little Payne's gray to it as well. Checking it all my sheet. Defining the ears. Okay. Because this little guy is so long. I think I'm going to add just a little bit of for the bottom of it. A little for hash marks. Case you don't know what these are? Intake my tissue and come back in and just grab some of that paint. So there's little hash marks are very light. So there's that layer. I'm gonna come in with a hairdryer again. Still I'll see you on the other side. Something to keep in mind when you're using a hairdryer on these will loosen the glue. So particularly on this fluid 100 paper, it. Let's go on the edges. When you use a hairdryer, often, you can hold the hairdryer or further away, but it'll take longer to dry. And I wanted to get back into this. So the next step is to start adding the cat details. I will use these pens. We're going to hope they do well. Posca pens are fantastic when they're running well and a little frustrating when they're not. So you need to make sure you shake them up a lot off the actual artwork. You can slowly get the color to the end. And then once it's prepped, you can fill in the I mostly try to make my eyes similar, but not always successful at that that kid, he's got very wide eyes. I think I will bring them in just a little nice and big eyes. I'm trying to make sure there's no excess black on that pen. I think this kitty here will be also yellow eyes. The posca pens Ken's bladder. This paper is actually relatively smooth compared to the last paper I was using. So just know, you're going to probably get a little bit of splatter. I don't care about splatter. Also, when I'm using these posca pens, I cannot seem to get them completely opaque. So I usually wait for them to dry and then come back in with another coat. Next one, I'm going to use this, this orange. And they give it a shake again. And come over to my other paper and get that. Hopefully paint to the surface. This one may be gone, will see it's not cooperating very much. Give it a try over here. I will mostly outline the eye first. You can also do this where you take a larger posca pen. I'm not sure I have this actual color. Will see this is a bigger size. Yes. Yes, it is the same. So that makes it easier to fill in. The color is definitely thicker. That's what the color you'd get when you're paint pen is full of paint. We'll use this one more time. Outlines finish with this larger one on these because it seems to be cooperating a little bit better. The blue. So I've got what appears to be not the same color, blue here. I'm going to test these out on piece of paper. So this actually is just really close to this one. This one's a little lighter, but it's also completely out of paint. So I'm going to use this one You can see I'm mixing up my shapes for these eyes. One more to go. And I'm going to use why it got this white. It's a newer one right there. I wrote that. Shaking it up. You can test the white ones on a dark paper. Here we go. Back in with this yellow. Larger size, seems to have a lot of pain in it. And go over this again. Get it nice and opaque. Practice. I shaves off to the side of your painting. If you don't feel comfortable with it. If you're just starting out a little more hairdryer company I can with the white and get this a little bit more opaque here. That really came out. That's why you got to test it on that extra paper to make sure you're not gonna get a huge blob. I tried to remove a little bit of that. Now I'm just spreading it around. I think the blue eyes are okay. I don't need to go over those again. While everything's drying still with those eyes are going to take a black Posca pen and do a little triangle for the nose. Again, I'm going to be thinking about doing them in a different position, maybe 12 wider than the other. Maybe one smaller than the other. Maybe one small, rounded than the other. Where are you place your features is what makes the Art unique to you. I know you're learning here and maybe doing something very similar to what I'm doing. And that's great. That's how we learn. Eventually, the more you create cats and anything else your own hand will come through more. This guy will be happy. This one will be surprised. This one seems a bit grouchy. More happiness on this guy. Well, this one do. I think a big happy smile here is a good idea and or happiness. So you can see I'm trying to do all different kinds of metals and stuff to mix up the kitty. Kitty faces. These whiskers in. This is what the Staedtler, permanent ohmic color pen. Still waiting for those eyes to drive to add the pupils. I'm going to grab a light gray watercolor pencil. This is the darker gray that we talked about earlier. And put some insights on this black keys ears. Kitty, I'm just going to use a black Prismacolor, watercolor pencil. This feels like it might be a little too dark for the insides of those ears. So many come in with a lighter color, so they show up. I'm not sure anybody else needs it, but I will go ahead anyway and give it just a little bit. On the insides. Last but not least, little grouchy kitties, ears. I think these eyes might be dry by now. Yes. Again, thinking about variation in a theme. Since this guy is grouchy, I'm going to make them beady-eyed. This one is surprised. Tiny little pupils. This one's distracted by something off to the side, slightly larger pupils on this one. Wide-eyed kitty can just have some slippery ones. This guy might be just slightly distracted by his friend next door. Sometimes I'll come in with these Cats and add an upper lid of black where I think it might need it. It doesn't really need it on any of these, but I wanted to demonstrate that anyway. This guys, I show up just fine. I think the rest are doing fine. So I'm gonna stop there. You can always come in and add more white if you want to change the markings on one of your kidneys. I think I'll put a little white on this one as well. Not easy to tell that's there. I think the pupils on this one cat can be slightly thicker so that the artwork now is informing me. I'm also not sure about this guy. He looks possessed by the devil, but sometimes cats are possessed by the devil. Sometimes often possessed by the devil. Getting close to being done with this. I always like to sign my work, so I usually do that with this Staedtler permanent luma color pen. It's kinda FUN to do it around shapes. And I don't usually assigned my first name, but that just happened without me thinking about it. So there you go. We could keep going in this and add more and more details. I think you get the point. We could add some birds in here, all kinds of different things. Maybe we'll do that later. Who knows? That's the end of this project. Make sure to share your project. I'd love to see it. You can hashtag me at terryrunyan on social media. And now we're going to move into the next project. 4. PROJECT 2 Tabby Floof!: Back to play some more on our second project. We're gonna do a tabby cat wet on wet kitty. And I am going to use some of the masking fluid that I mentioned earlier and my crappy brush. I'm going to use a pencil on this one to draw a little bit before I start. The reason I'm doing this is just so I get an idea where these eyes are gonna go. I'm not going to draw a lot. I mean, some people will draw their whole character out before they put the what? Wet on wet. But for me I like to see where it goes. I enjoy that mystery, the craziness, the what's happening. And wow, I'm glad to see that. So let's go ahead and get started with the pencil. And I've got the other paper here, the arches, aqua color, hundred and 40 pound. This is the one that's glued down on four sides and it's got more of a tooth to it, which the to the ***** will give you a lot more texture when you are using a colored pencil. It's also a little tougher on your posca pens. I'm not gonna be using posca pens on this one. I'm just going to guess at an area here, draw some cat eyes, shapes. Those are not really what I want to see. So I'm gonna go ahead and erase those off with a kneaded eraser. It's not abrasive. It's important not to use a brace of erasers when you're watercolor because that will show up when you're painting. I'm going to come in now with just spilled some right there. Yet to be careful with this masking fluid, I've already stirred it up, but I'm gonna go ahead and give it another little stir. It's kinda clumpy because I haven't used it in awhile. But I've got my little crappy brush here. And I'm going to let that dry before I start painting and putting the water on and I can just rub that off, which is what we'll do with this after we're done with watercolor. Wet on wet portion anyway. So because it's got a little blue tint to it, you can see where you are with it. If you're really good at doing eyes without a drawing, you can didn't have to use a drawing. You could just be painting them in which you could see by when I was doing the eyes that it took me a few attempts with the pencil to get something in the shape I wanted. I just did it again, didn't I? This is very drippy. You will have to get that off before I start. And if you've got a thin enough brush, you can do some whiskers. You just gotta make sure they're thin or at least that's the way I like them. To angle my brush when I'm doing this, probably would have done better with the eyes if I had done this. Sort of trying to keep them at the same position as the other ones. So this is preserving the white where this Lewis, I think the rest of it, wherever there's white, I'm going to even with the muzzle, I'm going to come in with my paper towel and make sure I don't get too much color on the area. And I'm gonna watch this even though it's a crummy brush. I do like using it. There we go. Covering this up. I'm going to give it a little dry from a distance. I'm going to use a clean piece of the kneaded eraser. You can also do this with your fingers. If your fingers are clean and pull off that excess. Hopefully it's going to come off. Like I said, this is an old we can work with it if it makes a white mark. The next thing I'm gonna do is use clean water to cover the page and get it nice and wet for the wet on wet portion of this demonstration. First, I'm going to take my spray bottle and give it a good squirt. And then I'm gonna go back to my flat brush, wet it down a bit with clean water. And even things out on the page. Now this paper actually handles the Watercolor a little better than the fluid one-hundred paper. Unfortunately, it doesn't come in a size eight by eight, which is my favorite to use. So I'm looking at this from an angle to see. I've gotten a puzzling. You can wait a little while to have it absorbed into the paper, but I usually don't wait too long because I'm rather I don't know if the word impatient, but I don't want to sit and watch things dry. I'd rather jump right in and give him my my palette a little wipe. So I have plenty of room to get my paint ready. And on this spine I'm going to mix again some of the red oxide, that's Daniel Smith, red oxide, and some of the Winsor Newton ultramarine to get the color I want, and I'll go back and forth with that until I get a color that feels good to me. It's pretty saturated. I'm going to start with the ears again. I can tell right now that I'm going to have to come in with a paper towel and stop some of that spreading to make sure this looks like an year. The thing about this paper is it picks up a little bit better than the other with this tissue. You can also use the masking fluid to get the edges of these ears looking for that clean spot. Now they have a little bit of a dry edge. I can come in here and do this without it running too far. I can go right over those eyes because they've got the masking fluid on them. I'm trying to work around the area that is the muzzle. It's going to spread a lot so I don't wanna get too close in here. It won't spread as much as we go along because the paper's drying a little bit as we go. I'm going to go ahead and leave a white area there in the center of this kitty. You can see how this paint. It's got a blue halo to, it's awesome. So cool looking. Because of the mixture. I'm going to add a little bit more in here. You really do want to not touch on it any more than you need to. Because the more you touch it, the more it's going to not have the color separation and it just starts to look overworked. Starting get a little bit of buckling with this paper too. But it tends to flatten itself out pretty well because it's got the blue on four sides. Loved skinny legs. If you know me, you've seen me do that quite a few times. Maybe not quite that skinny. I'm going to come in with a background now. I like using this turquoise. It's just so pretty. It's good contrast to the color I just used. I start towards the outside and work my way in towards the kitty. Because I dried around those ears. We won't get any blending there. It's okay to leave a bit of white around the cat. Were no colors put down? If the page is still wet, the colors will still continue to move a bit. I don't worry about things like this happening. I do have a buckle here. This is the spot where there's an opening to be able to move. Remove the paper. I'm going to throw in a different color down here. Just FUN. Little greenish color. It's drying out a lot down here. So part of what's going on that makes it look a little bit like he's, this kitty is sitting in grass. Very dry down here. Can be rewet. I'm choosing not to re-wet it at this point. It's now time to do some drawing. Got the first codon here. You can see how where I've blended some of the paint and it looked like Ohno that the blues getting in the brown and that sort of thing. It does kinda blend together as long as you have water still on your paper. So I'm gonna go ahead and dry it now and please pause your video, do the same. Or maybe you just want to keep working on a wet surface. So let's go back to it. I have a little spot here where there was a chunk of something that might have been the spot where that extra bit of mask was. I'm actually going to use a dark, almost black color now I'm going to check it on here. There were a black and do the stripes. You can also add the stripes before you've dried the image. I chose not to do that on this one. I have not picked up that mask yet, so I don't have to worry about the eyes or whiskers getting it on them. I'm also not concerned about making sure we have the exact same number of stripes on both sides. And of course, we need the striped tail In striped legs. A quick shot with the hairdryer. And then we'll start doing the rest of the details. Right? We get it dry. I'm gonna go ahead and peel off this area. I'm using my fingers on this one because I think they work better than that. Better race rep is using. Every kitty is unique. So right now we've got these areas where there's no paint. And so I can treat each one of these as a painting in itself because there's nothing I'm working on top of. I don't know if that makes sense. Before I do that though, I'm going to clean up my brush. This is an experiment. I'm not sure how much paint will pick up here. Wedding back in here for the insides of the ears. Taken my tissue and blotting it out. That worked really well with this paper Some papers just stain too much to do this sort of thing. This Arches paper is pretty marvelous. I'm also going to make a few kitty, little kitty fuzzers on here because I like them. Dab, make them lighter. Now I'm going to start on the eyes. And I think it'd be PFK-1 to do some yellow eyes. For contrast. I'll start with a bit of yellow. This will be my base coat. You might want to switch to a smaller brush on this. I definitely need the trustee glasses. I'm not preserving my white here. I'm going to come in with a Posca pen or white gouache to add. A little too much pain in their first bit of yellow is drying. I'm going to start messing with some details. I'm attempting to do this all in mostly watercolor rather than bringing in mixed media very much. So I have my brush again, and this one doesn't make the best point, but we'll see what we can get. Taken some of the paint off trying to get a better point. And you can see that, why did that malloc got a little bit Teddy want bus, but what cat doesn't have a weird marching like that? I asked you. Might also use a little this for whiskers. Because my tabby cats have different color. We screws infers coming out of their ears. Don't love the point on this, but I'm working with it anyway. Oh, don't forget clause or the best. I'm gonna go back to the eyes now. Think they might be dry enough to be able to pull in just a bit. Other color, add a little warmth to the bottom. There's still wet, but we're kinda doing wet on wet eyes right now. So they're blending in a bit. Stop the progress on that just a tiny bit. Also want to put a little blue in there to reflect the blue of the background. The blue-green of the background anyway, it's pretty dark. So I think I'm going to just plop it up a tiny bit with some clean tissue. When I use that color combination, the darker color and actually mixing in the redder color and the blue and the yellow to make a gray color, sort of a gray blue, isn't it? I'm going to add a little bit more black into it. I'm doing this for the shadow inside the eye. That's a little dark. Let's see how that looks. Too wet to do that yet. So we'll stop that process. I'm going to have to wait on those puppies. In the meantime, I'm gonna give myself some opaque designer gouache white, and add a few more whiskers to this kitty. In order to get a thinner line, you can use a smaller brush. This is a Princeton velvet touch round size for any smaller brush that's got a really great point will work. Mostly going to use gouache for the I highlight. So I'm getting my gouache ready. You can see how much thinner the line is there, which is really nice. You could have actually added more. Now, if you get that too wide, you can always come in on the edge and just grab up a little bit of it. I'm going to stop on those for now because I want to see how the rest of this goes. Before I add too many whiskers on his kitty. I'm going to try again with the with the shadow in the eye Way too dark. Still a bit dark. So there's a kitty shadow on the eyes. Need to wait for that to dry. So while that's going on, I'm going to add a bit of foliage in the background. On the bottom with some of the green gold and mixture that with the Hooker and a little of the turquoise and a tiny bit of black. Because I want it to be darker than what's going on in the Art. Watering it down quite a bit. I'm just gonna make some leaf shapes, but I'm not worrying about making sure it's completely opaque. Because I dropped this down below the cat, then these leaves would be in front of the cat. So I'm sort of avoiding the cat at this point. I'm actually going to use little different color. And some of this to give it some variety. Maybe there's a few grassy bits. So making this one a little smaller than the other one. And maybe there's one poking out from back here. Bit more time to wait for those. I'm going to give it a little dry. I'm going to put the pupil in going ahead with the smaller brush because I have it here. You could, if you have a nice new larger brush that will also work. Long as your brush has a point. That's what's gonna make all the difference. The thing, the reason I avoid these smaller brushes is because they just don't hold enough paint and I liked to have a lot of paint and my brush. They're not perfect but good enough. I'm also gonna give this kitty at darkness around the top there to help to find the I. You can see how each one of these has its own uniqueness. It's also looking a bit wall slides. I'm going to bring up a little in a little bit, looking back and forth. While I'm waiting for that to dry, I'm going to use some of my ultramarine and give this kitty a friend. I love painting birds using ultramarine. So it'll show over the turquoise. That's really dark. I'm going to water it down a little bit. My birds are very simple shapes. Coming back in with a little bit of white. To give this give you a little glimmer. Is it dry? Yes, it is. It just makes such a big difference when you do that little glimmer. I'm going to make the one on the nose not quite so opaque. I'm going to blot it up a little bit. Give the birdie and dry. See how this might not be able to notice this, but because the paint is still a little wet, I can put a little darkness on the face there. And I think I'm also going to add the wing while it's still a bit wet so we can soften into the rest of the bird. Will wait on the I for that birdie. Given a little dry. Because we did not maintain the white on this bird. For the eye, I'm going to come in with some designer gouache that was in black here for some details. I'm all into these birdie head dresses trying to get a little tiny bit of that light off of their shape of the bird's eye a little bit better. A little pupil in that Verde, I sure it's dry. I'm trying not to leave a lot of white and that is because it's not very natural to have white broody. I give it a little bit of a definition around the top. Definitely need glasses. And just for PFK-1, I'm coming in with some very light white and giving it a little bit of definition in the front. Take a little of migraine. Like there to be some interaction with the birds. I'm gonna just give it a little too watery branch with some leaves on it. Right in the edge here. Pretty close. Something I tend to do, not necessarily the best idea. I'm just gonna give it a tiny bit of white there, like I did with the kitty. I think that's done. Okay. Glasses off. So it got this one square root of way. Every time I create a cat. It's totally different in a lot of ways. Then the last cat, even when I'm looking at something that I've done before, I really don't try to follow it exactly. That would be for me the kiss of death from my artwork. I really like for there to be an element of surprise and just a sense of magic and what I'm doing, I'm not trying to make it exactly like something else. I'm not following a drawing, I'm just messing around with paint. So I hope you're having a good time with this and let's move on to the next project. 5. PROJECT 3 Siamese Floof!: Okay, We're on project three. And this one, we're going to be using wet on wet again, of course, but we're going to be creating our cat shape from what's leftover after we paint in the background. And I'm planning on doing, it might be, it might be a siamese, it might be something else, I don't know, but it's gonna be a primarily white cat. And yes, let's get started. Once again, I'm going to wet the surface. I'm using the arches watercolor paper one more time, 140 pound. And you've seen this here. So I'm going to take it out of the way because I usually don't work with my palette right next to me like that. I usually have my paper that I use to test colors right next to my work. So I'm gonna put that there now. I have the square root of my paper. I'm taking clean freshwater again and I'm wetting it down, getting a nice and wet but not caudally. Looking at it from the side just to make sure you don't have too much water in any one area. I've also decided to use a little bigger brush for this. This is a 14 round Creative Mark mimic brush. It will probably go back to the smaller ten brush as we go along. And I might come in with the tiny brush as well. Now, just know the Creative Mark brush you can get in a set that as a smaller brush like this size. This is the Princeton again, but the one in the mimic Creative Mark series Group are just as good. So I'm going to set these off to the side for now. My background on this is gonna be gonna be a blue-gray. And I'm going to create that with primarily Payne's gray. I'm going to start out at the edges. Maybe get a little more color in their little more water. And I'm guesstimating where this cat is gonna be right now because I don't have a drawing on the paper. And getting it plenty of room for these ears. I love these bigger brushes because the pickup so much water and so much color compared to the smaller brushes. Big advocate of a larger brush. Come in a little closer on this kitty. Use little tissue here. Find that edge a little bit. Once again, I'm writing that edge quite a bit. Help these ears out a little bit. Making sure I don't run that tissue through the rest of the painting. I'm sure there's a better way to do this. I just don't know what it is. Okay. Now bring the hairdryer and here pretty soon. But first I'm going to darken up this bottom area a little bit as if it's a ground area. Just adding more paint to the mixture, not as watery eyeball on this ground. I guess I'm gonna do a siamese. I'm going to put a little bit of color in the center here and let it work its way out from the center. I'm actually going to move back to my smaller brush, get some water in it, and makes sure we had some bleeding out to the sides with this. So I've rewritten wet the outsides of this a little bit. And now I'm sort of getting it to move outward. I'm going to leave that alone for now. I'm gonna come in here a little lighter color that was actually darker than I intended. And give it some for Marx. The reason this happens so dark is because I had that area dried down there. We need to find this tail a little bit while I'm cleaning up that law by just made. So this kitty is get it back turned to us. And that's why I'm making this little shelf where the back is. I'm just going to come in with some very light. It's to show some for I want this tail to come up a little farther. Some in a wet. This a bit experimenting now. Okay, I'm ready to give this a little bit of a dry. You can see up here where I dropped some water. And that actually gives me an idea to get a little more texture in this background. I am going to take a little hard brush with some moderate clean water and see if I can get some drips going. Just to put some interests in the background. Now, if I was smarter would have covered that face. You can take something and cover the face up. So you don't get these blocks remarks, but we're just gonna go with it since that's what happened. Oh, Kevin experiments more. I'm just going to bring a little more color into that face. It's still slightly wet and a little bit of wet on the outside. Steering clear of the edges. And I'm gonna make little spot for the muzzle Comes off nicely. I'm going to stop messing with this right now and give it a little dry. It looks a little snowy here. Sort of PFK-1. I am going to try to remove a little paint where I'm going to have the eyes more experimenting here. I'm coming in with a very clean water. I have no drawing for the eyes. So I'm just doing it where I think it should be this water because I dried this. It's probably not gonna go to white like that area there did. It's more penetrated into the paper now, so it's not as easy to pick up. So we learn something with that. If you want to keep preserve this way, you want to use the drawing gum prior to what you're doing. But these are light enough that I can come in. And I'm gonna do some turquoise eyes. Start with a fairly light color. Once again, these are each little paintings in and of themselves. And I'm trying to get his them as even as I can. Oh, my goodness. Here's the problem. Forgot the trustee glasses on how to use this bigger brush. Like I said, I like big brushes. Come in and make a nose. Now, staying with watercolor, instead of moving to some other type of instrument of line, I'm using my fine line. Now. I want to get this kitty a little happier than the last one. Just made a boo-boo right there, but I can fix it. Nothing that's some white gouache won't help. Most siamese cats have dark ears, not all. So I'm going to do some dark ears on this kitty with a mixture of black and Payne's gray. Watering down my brush a bit. Try to soften this edge. Getting more of the paint out of the brush. And I'm going to come back to the tissue paper to sort of stop that paint from going too far. And maybe a little softer edge. Unfortunately, I ran my self through that paint there. And so I am going to mess with it a bit. Probably not a good idea, but I'm doing it anyway. Lost a little of my white here. If you have problems on white specifically, you can come in with that same hard bristle brush and scrub it out a little bit. To get back to white. This will mess the paper up a little bit, but at this point I'm not planning and painting in here and more on this one. I'm grabbing my fine brush here. Still with this fine brush. You think these are mostly dry? Yes. They weren't. Well. Okay. Everything's a learning opportunity. And since I like to use a shadow under my eyes, this will work out just fine. Well, I've got this thin brush. I'm gonna do a few whiskers groups. Because this is white quash. It's not posca pen it, it's not quite as dark or I'm sorry, light. I'm going to add a little bit here too because I lost some of my white. You can come back in with this white and for the whole thing out if you want to. My goal most of the time is just to be able to do this with the wetness of the paper. I'm sort of thinking, this can totally mess this up. But do I want to see a little leg coming out here? I don't know yet. I think I'm going to just leave that for a moment of thought and decide. And in awhile, darkening up these ears a little bit again. Maybe I'll put a little pink in there. Sometimes the insides of kiddies ears are pink. Go for the shadow now on the eye. Like we did before. And while I'm at, it seemed very light. Black. Let me give it some whiskers. Usually I add more than one color to I shapes. I am going to bring just a little bit of the ultramarine blue into this. I, that'll be the base of the pupil. I'm still thinking about this arm here. Sometimes you can sort of fake it was stuff to see if you could make it work. And I'm going to just paint a swatch here. As that could be an arm. Give it a dry. Dry this a little while. And then take a pair of scissors and cut out a shape that might be an arm. And this consent, oh, that's gonna be a very thin arm. Typical terry cat arms. This is just to get a general idea. If the arm would help in their squinting my eyes. I think I do like the idea of arm in there. See if we can pull it off. You can decide whether or not this was a huge mistake. As Bob Ross says, there's no mistakes, just happy accidents. I love brought Bob Ross philosophy. And while I'm at it here with his dark as that is, I'm going to add a little bit more dark to the ears. Of course, to the eyes. That paint is still wet. There. Might be going way overboard here, but I've decided to add another arm in here so this cat doesn't look like and only as one arm. Sometimes I stand up and look through my camera lens to see if how much of a mistake I'm making. But at this point, the mistake is made. If it is a mistake or a happy accident. Thank you, Bob. This might be a good point is which to talk about. The inner critic. I'm having the inner critic come fast and furious here because my original intention was not to have the legs on here. I was going to the cat facing backwards. So this is probably not quite right as far as the perspective goes. We're trying to make it work here. So I really would like this to blend a bit more. I might end up coming in a little bit of white gouache here. Right now I'm using my hard bristle brush to soften that edge. Sometimes we're just trying to trying new things and then trying to salvage them. Also, a lot of times the tail on a flat on a siamese is black, but I'm not going to do that to this one. Work back into the eyes now, few more whiskers might have to come in with another shadow on those two. I'll show you what I mean in a minute. If this was a realistic cat, whiskers usually come out from the mouth more than that, what I'm doing. But this is terry making up a cat. So not to worry. I'm going to dry this a bit. Gonna make a little bit more of a shadow underneath the lid It gives the eyes more depth. Here. It really needs a little shading under that. Spill a little bit. It's all an experiment. One more time on these eyeballs in the center here. That's gonna be the black is black in the whole painting. I do wanna do this. One thing. I'm going to add a little bit of white to the turquoise. And now it's mixed with a little bit of whitewash. I'm just gonna give these a little bit more lightness around. Clean them up a little bit. Come in with some clean ultra marine. I decided to come back in a little bit with more with this designer gouache and turquoise mix. Now, quash is generally the opposite to watercolor as far as it dries darker. Is that right? Yes. Darker than watercolor and watercolor dries lighter now, I don't want to be held responsible if I'm saying the wrong thing here, it just seems to be the case to me. How these eyes don't look all bright and beautiful yet. Because I haven't added that magical dot of white. I'm going to give up on that. I'm just going to come in with this dotted white and call it good. You can work on eyeballs all day long. But ultimately, the final say is that dot of white to bring life to the eye. I'm just putting in some more opaque white on these whiskers and such. Get a little crazy there. I got a hungry cat trying to soften this edge a bit. Maybe soften this edge a bit with some opaque design are white. Most of this will go away. Unless you put it on super thick. Yes. I'm not going to keep going with this. Just know you could spend the whole day adding hair. That's not the point of this project. The point of this project is to do wet on wet, not gouache to create for fixing a little bubble there. And all I have left is a little signature. This time. Now that I'm thinking about it, I forgot to sign that last one. I'm only going to do Runyan because that's usually what I do. And doing it with a brush, very small brush. Usually draw my lettering on. So when I do paint it on, it's always feels a little tricky. I'm using that size four brush again. And I will go back to this one and add a signature. But for now I'll just make you watch me do that. I'm going to call this one done. So there you have it. A little Floof white kitty in the middle of a crazy background. That kitty emerged from the background. So that's the way to do it. If you want to have a primarily white cat, you add the background first. You can also do a white cat with light grays, but I prefer to see a white cat emerged from a darker background personally. So, yeah, that's that one. That's project three. And we're gonna do one more project. And this one is going to incorporate a little more than a cat. See you there? 6. PROJECT 4 Floof on Head!: Just to give you a clue as to what's to happen next, let's try this thing that I'd never tried before, maybe. This. Okay. I'm going to go back to the fluid 100 paper for this one. So let's get started. All right. You have got the paper ready and I'm just gonna do what I've been doing all along and wet it down, you know, hanging a minute. I am going to cut out a little shady. He's kinda never tried this before. But out a little shade might resemble the shape all my head. Which is basically a light bulb shape. No need to get too complicated with these shapes. I'm going to just set it in here. And this is generally get my wet brush and then go out from the middle. So basically what I'm trying to do is leave an area that's not wet. Like I said, I've never been saying never done. This is important. Have you tried to take up some of this excess? Got a lot of water on there and pull up those pieces of paper. And it has already got a little bit of a dry spot right there, which is gonna be the face of this person who has a cat on her head. Going back to my paint here. Now I'm gonna to be relatively careful. Gonna go around but head and let it go crazy with the wet on wet. Okay. Or are you may call it a cat hair? I wanted it to be darker than that. So I'm going to come in and listen more intense or less watered down paint. I'm going to add a little kitty Head on here. Still wet out there, but not totally soaked. Kitty tail. Papers gotten pretty dry already, has it's crazy. I am going to have a yellow background on this. Yellowy, yellowy orange. I couldn't mixed up this color prior to this. That would have been a smart thing to do to get it all but mixed. I didn't do that. Mixing it well, I didn't do that, sir. Mixing it well, we're going here not really touching all the way to the edge of the cat and sort of holding back slightly. And my paints, my surface has gotten pretty dried out, unfortunately because they didn't move quite fast enough. But he's still like it. So we'll call that a happy accident again. Bob Ross. Yes, I use so much paint that everything gets very splashy. That's how I like it. Lots of paint and lots of water. To try to fix this spot. I'm gonna kinda was more black paint. I completely dry yet, so maybe I'll be able to get away with it. Still want to add some clothing. Turquoise contrast clothing. Water streaming along the edge here. Try to take care of that a little bit. So much paint and as watercolor, it looks like opaque watercolor. Female quiet. Okay, that's good. Maybe a little something down here. Soften that up. Soften that up. I am gonna give the color to this flesh tone. And what I'm gonna do for that is a mixture of the yellow with a little bit of the red oxide. Kinda play around here with it to see what colors I'm reading. That's a little too yellow. I also need to add Sunday, it's calming down a tiny bit of black and I also in nice and dark. I know this is going to dry lighter since it's Watercolor. Added a little bit more color to it. And if you want to make the sides a little bit more soft, you can just come over that edge a little bit and it'll pick up a tiny bit of the black. Kinda like that. It gives it sort of a shadow effect. Remembering not to overwork like I'm doing right now. Losing some of my clean edges. This is what happens. See if I walk, if I come back in here and try to rework it, I've just got to completely coated the end because it just gets looking like it's overworked. So there I've added another another coat on there. Now I'm going to leave it alone. So for those grabbing a little bit of that excess paint and I'm going to let it dry. It's a matter of fact, I'm gonna give it a little hairdryer there. Okay. Looking good so far. I'm going to come in with my number ten brush and I'm going to start working on a face here. I'm going to establish where my eyes are gonna be. I usually don't do this. I usually just paint in the eyes that I'm going to put my little pupils in. First. I'm get some sort of dividing it in half, sort of like a professional face painter or anything. These are the eyebrows, brows in case you couldn't tell. Need to be able to do a fine line. So I'm not getting these. I's perfect obviously. But it's gonna be okay because I can come back in with some white to establish where they're sitting. I'm going to water this color down a bit. Maybe add some brown to it. So it's not so layering. Practicing with it here. Under part. I'm kinda fine, fine to the smoky eye looks I'm gonna give her just a little bit of a Smokey eye. It's running into my eyebrow. And as we've seen before with this type of paper, doesn't pick up very well. So you're seeing experiments here first friends. Okay. This isn't beyond to help. Even though at this point it looks like it might be trying to let the magic happening here. Now, a little bit lighter in color, I'm going to use to establish a nose, which is basically an L point. I'm going to add my cheeks because I love cheeks. Trying it out over here course. Sometimes I remember to do that. This is just straight scarlet lake. Very watered down. That is I think while I'm at it and I think some of that scarlet lake and add just a tiny bit of dark color to it. And I'm going to try to work with his fat brush, this big brush and make some lifts. I always kinda like to make my character smiling. Just because happiness is a great thing. And they can establish the lifts with a smile and then add the parts and pieces afterwards. You normally our eyeballs, which I'm going to make blue. Okay, well, while I'm waiting on that, I'm actually going to cave and use my blue positive Ben for the cat size. Hopefully it's going to work. Keep your fingers crossed. I get actually, you know what, I'm going to start with the bigger ones because they're basically the same color. All right. You all know is how to do these guys. Now, because we did those workers at the beginning, first project. Rarely. Sometimes that happens. I'm going to come in with some white. Please work, right? Seems to be working, but I don't want it spilling everywhere. So I'm going to make sure it's not going to go crazy on me. You need to with not wanting to work. Dark one here. Those are not dry yet. Okay. What I could do in the meantime is bringing some details on this kitty cat I got that. Cool gray light, Prismacolor pencil, sharpener the edge, nose, mouth. Go with the darker one for the ears. Black Posca. I, people wet. Not too wet, but I'm going to wait a little bit. While I'm waiting, I'm going to bring in some of my strap. Your permanent movement color. A few whiskers on here. Might actually come in with his eyes. Define the top of the eye. Now, admittedly, this black is not going to be as black as the Posca pen. So just so you know, back to the brush, a little bit smoky color. This began to crash. So why don't we get down to that. That works. Okay. Back to the black. I'll give you an angle. Wipe it to let's see, what else can I do here? I think I'm pretty done. You can always hit me with the colored pencil and make lines and the heater. But I kinda like the simplicity of this. Going to sign with a pen and ink. Okay. Project four in the can, as they say. Yes, that was four projects. I hope you're able to hang in there with me and all the experimentation and some of that inner critic stuff that was coming up. I realized that we all have some of that that happens. We have our hated phases, we have our religion, were living on the edge of our comfort zone with this type of stuff and with most things in life. That's when we're growing, is when we're slightly out there, a way from or in front of where we've done something before? That happened a lot for me in this whole course. And I'm sure it happened with you to. So just know that those voices that come up and try to stop us, they really have nothing to do with anything other than the part of our brain that wants to keep us safe, that wants to keep us comfortable. That doesn't want to be in danger. It's kinda that flight or fight response. And we can just let that go through. We're painting the ear, we're not fight and tigers. So this is, if I had completely mess these up, I could have checked them in the trash, although I probably would never do that. I like to share my work and oftentimes, the things that I think are the worst things are the things that people like the most. So I can't necessarily always trust my own judgment on these things. I like to just put stuff out there. And with that said, I'm gonna go ahead and wrap up this section. And I'll see you in the next section. 7. FINAL THOUGHTS: Thank you so much for being here and journeying along with me on this wet, on wet watercolor cat course. Riley also wanted to thank you. She really likes me right now. Anyway. Again, thank you for being here. Please share your projects. And yeah, whatever you want to share is great. There are supplies in the about section. And what else can I tell you? You want to share your work online, please tag at terryrunyan. That would be great for me to see it. Also, I have a Daily Creating Group and you can find the link to that in my profile, my Painting happiness book That's outright now. And Painting Cats book that is probably pretty much out by the time you see this video. So yes. Thank you so much again, and I hope you have a awesome Creative day. I'll talk to you soon.