Parrot (or Macaw) REAL TIME How to Paint and Draw Tutorial with Watercolor

you're the frugal crafter are you ready
for some watercolor pencil painting
today I sure am I've been meaning to get
these up for a long time and I just
wanted to do some really fun and easy
painting we're gonna paint this um this
parrot this is a photograph obviously I
found a new website one of my viewers
shared it with me for public domain not
really probably domain a copyright free
summer public domain photo so you can
use for your projects and the name of
the website is morgue file and you just
have to make sure it's kind of tricky
cuz you have to make sure that you're on
the morgue file tab because there are
other stock photo sites that advertise
on there and the stock photo photos from
those companies would not be okay to use
but the morgue file ones are fine cheese
for free so I'll put a link to that
parrot you don't have to sign up to see
the photos you can log in and register
but but you don't have to I'm using my
inktense pencils and I'm going to show
you the colors I have what I did was
when i swatched up my set and i really
recommend that because it can be very
deceiving if you're trying to tell what
color you have here by the end of the
pencil so this is a five five hundred so
that's the color really looks like so
you can see it's much more vivid than
what's on the end of the pencil I'm also
using 2020 which is Indian ink right
there it's kind of like a greenish Brown
dark dark greenish brown I'm using I'm
hookers green which is fifteen twenty
that's that one right there I am using
it to 30 which is golden yellow right
there I am using two hundred which is
this little is called Sun yellow but
it's a very like a deep lemon kind of
color I'm using 1720 which is a tan that
one is right there and I am using bright
blue which is one thousand right there
so really swatch out your colors or
pencils it's really important it's going
to make your paintings a lot a lot
better a lot easier to control I'm going
to start off with the tan and and we're
actually gonna do is kind of weird we're
actually going to start with a detail
and work out from there I hope it works
out well if not then I guess I'll be
doing this video again and I'm going to
start by putting actually would help you
to see the
prints file photo won't we do that
that's probably helpful isn't it okay
we'll start by putting in um I'm going
to start with the eyeball actually which
is this is completely different from how
I you're normally work so I think that's
kind of kind of fun I think it's good to
stretch ourselves now look at the
eyeball in relation to the beak look how
big the beak is its really really tall
and I think that we may our brains will
think it's not that big so we draw it a
different way but really it's quite big
and I'm also going to get this shovel
looking at the negative space and
looking at the red there and I'm
actually going to draw around here right
back and I'm getting that white that's
what I'm putting in is the white by
looking at the red around it it made it
easy to sketch I hope I'm not going too
slow for you guys I'm feel free to watch
me into x speed if you want so I'm
getting this shape this it's like a
triangle okay and then I'm going to do
the upper beak look how big look how
much that points down look at the
negative space if you have a hard time
drawing it look at right look at the
space around your object if it's
difficult now I'm going to go up here
kind of figure it about where the top of
that beak is it's up pretty high and
then I'm going to draw that curved shape
down to the tip of that beak so there we
have our little parent eyeball and beak
and then I think maybe I'll just put a
little bit of lump there just so I know
where the top of the head is okay so now
what I think I want to actually do and
those get the know they see the red
feathers actually come down here I'm
just getting in a very very light basic
sketch just so I can kind of figure out
where things are going to be at this
group of feathers there then we get the
long feathers I'm looking at the
negative space and looking at the space
around the parrot because you can look
at a parent say well that's hard to draw
but or you can look at look at the
background the background is pretty
simple let's just draw that line that
lines not hard
that line we can handle right you get
those gestures right guys and
the painting is gonna be a breeze okay
that's all I'm putting in there not a
lot of detail okay so I'm gonna color in
just a little bit of this tan color into
the top of the beak and into the eyeball
but we're going to do some other
techniques for actually painting so I'm
gonna grab a bucket of water and a paint
brush and we're gonna start painting
this all right I got a number six round
I got a bucket of water and I got a
little tile here that I can mix on and
I'm actually going to be using these
more like watercolor paints but the
reason I'm using the pencils is just
because well it's a couple reasons
actually I know that my colors are going
to be they're going to be easily easy to
control you know if I do that you should
probably also have a tissue handy for
wiping your brush off I'm just kind of
i'm liquefying the color i have but i
also picked up a little bit of color on
my brush when I use pencils I feel like
I have a little more control sometimes
like if I want to get a little bit of
that that Indian ink color I can pick it
up on my brush and then I can go in and
add it to that what area that I just
painted you could do this with paints on
your palette just try to go easy with
the amount of color using now the other
benefit to this particular pencil the
inktense by Derwent is that it will like
once it dries you can actually wash over
it so if you wanted to do that
background to not worry or even go back
go in and around into a background later
you can which is nice
I'm going to pick up some more color and
I'm going to paint in this bottom this
bottom beak and then we'll leave a
little bit of space there because it's
very yellow in like a streak kind of an
area and I want this a little bit
lighter than what I'm going to pay on
the inside of the mouth which is just
going to be a little bit darker of a
version and I like that you can work wet
into wet when you're lifting the color
from the tip of your pencil because um
if I went right in with this black
pencil there I would get a really dark
line which might be what I want but but
it's not so that's not what I'm going to
do I have this I have it's almost like I
have
of a tin of paints and I've got a set of
pencils when I work this way it will not
damage your pencils as long as you don't
like soap don't don't stick the pencil
on the water as long as you're bringing
the brush to the pencil it shouldn't
cause any harm I'm going to also liquefy
the the eyeball here where I colored it
in and I'm going to let that dry before
I attempt to put any sort of dark around
there now on this area here it's not
pure white it's probably the whitest
thing in this picture but it's not pure
white it's almost a grey so I'm going to
take a little bit of that Indian ink I'm
going to mix it on my palette there just
one of my leftover scrapers from the gel
transfer kit from Jerry's you got a
bunch of there is like three of those in
that kit and I am just going to kind of
tap in the illusion of feathers I'm
working on a Strathmore 140-pound
greeting card by the way and that might
be a little dark I'm actually going to
grab a paper towel and blot that before
it sets
once the inktense dries it is permanent
unlike your typical watercolor oh and
that's just about perfect right there
just blotting it off so you know there's
so many different ways to use your
mediums really explore with them and you
know see what you can do now you can do
this with a regular watercolor pencil I
don't anticipate we're going to be doing
over washes so go ahead and use whatever
watercolor pencils you have I'm sure
they'll be fine now I want to move
around the picture a little bit because
I want to I'll come back into the inside
of the mouth and what not and I want to
work on the red area actually I think
maybe I'll work on this kind of yellow
blending area first and that's pretty
light and I could probably just sketch
right on there now one little word of
caution when you and hopefully this is
actually on the bird not just because
and that's all that's the thing about
working from photographs though
sometimes the camera or your printer
will do weird things they're not really
there in the picture but I kind of like
the way it looks so I'm going to go
ahead and put those colors in there you
know so it's always best if you can get
out in the world and paint from life but
I'll tell you what I got chickens they
don't stand still very long I can't
imagine a parrot wood so sometimes you
just have to work from from photographs
but
as much as you can even if you're just
you know sitting on your porch and you
know painting you know the squirrels in
your front yard or you know painting
your backyard chickens or you know
sketching your kids as they're playing
Legos you know whatever you you know
whatever you do just to build your your
skills is wonderful before I had kids I
used to go to a a painting a life
drawing class and it was wonderful
because you stay started you off with
two minute sketches so you know the
model would change positions every two
minutes so you just got over the fear of
you know of getting charcoal to paper
because you just didn't have time you
have time to the luxury to fart around
you just had to get to business all
right now I'm going to the same thing
with the red I am going to as I did with
the the other colors I'm going to pick
it up with the tip of my brush now
here's something that I want to tell you
about these pencils though with your
really intense colors I think if you're
using it this manner you're not going to
have a problem but when you are using
the intents and your coloring really
thickly and then you go over in your
head water chances are you're not
activating every single bit so it may
lift and I've noticed that with the Reds
before but I think it's because I had
colored really thickly and it was just
really hard to to go back in to get the
paper wet enough that you've liquefied
all of that so you still have some
unliquidated in case you're like maybe a
card maker and you're using this look I
had done a card where I painted a silk
kimono well it was like a Geisha with a
kimono onto this deep deep red and then
I went to go over and it did not set
enough because I had colored so thickly
so keep that in mind
with any of your vivid colors or anytime
that your coloring really really thickly
now looking my eyeballs you can't see my
face but my eyeballs are going from
there to there to there to there to
there to there a back and forth really
cool you know I'm like constantly
looking back some sketching as I go I
don't want to just forget that I have
this reference photo because if I do
that I could go off in a completely
different different way and not be
accurate not that you have to be
accurate I don't want to say you
absolutely have to follow a photo to the
letter but I'm trying to demonstrate
on how you would do that so I know there
are a lot of artists out there that are
really against using photographs but you
know I mean we don't all live lives
where we can just travel to where you
know parrots and elephants live and you
know do all that firsthand is you know
and I think it's important that you
paint you know don't worry about what
some pretentious artist has to say about
it I'm not and I'm not you know I'm not
calling anybody here pretentious just
say it just saying paint all right and
I'm actually making a choice now because
if we're artists we have artistic
license right I'm making a choice not to
paint it as dark as the photo I'm making
a choice to let my brushstrokes let some
light through because I want to see that
texture of feathers and sometimes and
that's a thing our eyeballs can perceive
way more colors and a camera can
reproduce so you know a camera's gonna
say oh that's red we're going to put the
red ink to it but our eyeballs can see
more than that so because I have painted
birds in the wild in well my backyard
chickens I guess it's not Birds a lot of
my painted bears okay I can kind of say
well I know there's going to be a more
there's going to be more contrast
between those feathers just because I
you know I pick up my chickens and I pet
them and you know I know what the
texture feels like I know how the
feathers overlap in France and I'm not
doing a really detailed study here but I
said because I have gathered those
experiences and you gather experiences
every day because I've gathered those
experiences I know kind of how these
feathers would feel I know like how they
would kind of overlap and that's why I'm
putting my brush strokes down like this
and you know you could do this with
water with your regular watercolor
paints or inks whatever you have please
don't feel like if you don't have
watercolor pencils you can't have fun
and do this use what you have you may
need to adapt it a little bit but I'll
give it you know if you're using a pan
of paints just kind of drag your your
brush I'll show you my brush here let me
I'm like with this paper towel
underneath look at that I just want you
to see about how much pain I have there
it
your watercolors might not look quite
that dark oh I'm going a little too low
there because I can see I should be at
yellow there at that point so what I'm
going to do is kind of look at the
negative space kind of get my reading
where it should be I know I have a big
patch of yellow and if you remember if
you're if you're a fan of my channel
you've been around for a while you
probably remember how I used to paint
upside down all the time
and you guys would be like I can't
believe you painted that upside down and
that's just because of the way I had I
didn't have my my camera mounted to my
ceiling and I had to use a tripod but
the secret is it's really no harder to
do it that way in fact it's easier
because I would flip my reference photo
upside down so instead of looking at
like oh I gotta paint a bird this is
hard I'm thinking I gotta paint some red
shapes here and then I gotta paint some
yellow shapes there so you know I really
look at this as more of like painting
something abstract than painting an
actual bird now I'm going to switch over
to my it's color number 200 if you're
following along it's more of a lemony
yellow and I am going to pick some of
that up you really shouldn't do this
over your painting by the way I just
want you to see how I'm doing this but
in case you get drips I would do this
off to the side but I just wanted you to
see how I load up my have a load up my
thing here now the cool thing with the
intense is if that's already dry and I
go in there I'm not going to lift up
that other color so that was kind of the
other reason I wanted to I wanted to use
these but honestly it's not that big of
a deal they're not completely dry anyway
I could I can lift up a little bit if I
want to if I get like some right on my
brush I can just go and rinse it and get
some fresh
and I think I'm going to want to blend a
little green in here so I'm going to
work pretty quickly here and keep that
kind of wet and again I'm not sure if
the green I'm seeing in this yellow area
is actually green or if it's like
something that like in my computer
printer did is it helpful seeing the
photo while I'm doing this let me know
if if this you find this helpful do that
more often I didn't know if that's
distracting or helpful but and if it's
an instance where I can use the photo
which the morgue files terms of use
seems to be that I can then I will I'm
not I'm not sure on paint my photo if I
could because the artist does retain all
the rights to the photo and then you get
the rights to do whatever you want with
the art so I don't know if I'd be able
to use that I would probably just I
would probably just have to email the
photographer and get a written
permission because um wicked nerd in
case you haven't noticed I'm I'm uh I
tried to do the right thing okay I have
to move over a little bit oh I guess
that's all I can see anyways that should
be a little more yellow so I'm just
gonna actually it's still wet so I can
block that off always blot never rub if
you rub your paper it'll pill even the
best paper you know that that's gonna
happen so make sure you blot just like
trying to get a stain out of your
favorite silk shirt you blot it you
don't rub it you get that club soda
I don't know I'm lousy at laundry I'm
lousy at laundry I got you wouldn't know
what my pet peeve of the day is it's
been so long since we chatted I've been
so serious in all my videos I've been
like trying to just crank out stuff but
my pet peeve of the day is getting a
slow cooker cookbook and like the first
ingredient is in a medium skillet I'm
sorry but if I want to sell a slow
cooker cookbook I obviously do not want
to get out a skillet I do not want to
have an extra pan to wash I mean
seriously if it's a slow cooker cookbook
don't you think everything you should
just be in the slow cooker I mean I
didn't buy a slow cooker and a skillet
cookbook I don't I want to just use a
slow cooker that's want to set it and
forget it I want to sell when I cook my
meal at 8:00 in the morning and surprise
it's done at dinnertime so I'm not
having my 4:00 p.m. panic that I I'm
trying to get more
organized and simplified in my life so
I'm not like running around with a
chicken with the Ted cutoff at like 4:00
p.m. trying to you know do eight hours
of housework and cook dinner and
everything in 45 minutes I'm trying to
get a little bit more more organized so
my sister actually gave me a stack of
budgetary cookbooks cuz she used to be a
vegetarian I've been a vegan for oh my
gosh 21 years 22 years old lordy um and
but I'm not a great cook and she had all
these cookbooks but her husband isn't a
vegetarian and so she ended up she's not
either anymore so and she's not cooking
two meals so she gave me all of her
cookbooks and one was though I didn't
take them all I took the slow cooker one
thinking well this is right up my alley
because I have slow cooker and I just
use it for chili pretty much but boy was
i little um disappointed at the amount
of pots they require so I said you know
what I'm not I'm just gonna do the
recipe without the skillet and we'll see
what happens so I've got some doll
cooking upstairs I do love my my
Pakistani and Indian food and it smells
great I hope it tastes good I hope kids
will eat it but my theory is because my
kids are running cross-country that
they're going to be so hungry when they
come home that they're going to eat
whatever I give them which by the way
when did we start giving our kids
choices you know I I guess as a
vegetarian I always plan on cooking like
a meat meal and a vegetarian meal
because I only have one child that's
vegetarian my husband and my other two
or not so we've created my husband I
kind of decided this whole uh this whole
choice thing is uh is gonna be done
we're gonna go simpler we're gonna you
know it's just why put all the extra
work work on ourselves I mean this is
insane
let me get a choice and I was a kid
growing up unless we're at a restaurant
which by the way I totally would eat a
restaurant every day my dilemma to small
town we actually had a few that you
could go to but uh I do like living in a
small town so it's a trade-off life so
upsets not the color I want that's
Indian ink I want actually that bright
blue and you know what since I don't
have very much led here I'm going to
pause it and sharpen it
I wanted to let you know that I prefer
to use a blade to sharpen my intense
pencils usually because you lose a lot
of lead if you just sharpen it in a
sharpener I just take the wood off but
look how much color is in there you
really waste a lot if you um if you
sharpen it sometimes you'll want to
sharpen it just cuz you you need that
finer point to sketch with but if you
know you're going to be doing a
technique like this use a blade so that
you have you have a little more control
you keep all that lead and another
question I get asked a lot about the
intense is whether it's better to get
the blocks or the or the pencils and I
have I have both and I would say that I
actually prefer the the pencils I think
they're more versatile i honestly this
is going to sound really strange and
they're supposed to be identical like
the material that's in them but I find
that the pencils it seems like the
pigment is is clearer in richer and I
feel like the I feel like the blocks are
chock here and maybe I'm alone in this
does anyone has anyone observed that
about the blocks versus the pencils they
just feel a lot choppier to me what I'm
doing here is I'm just kind of getting
in some of that definition I can see
between the colors here this kind of
splashes I that's probably not coming
across very well on screen because I
just printed this on cheap copy paper I
didn't even use photo paper so when you
pull this illustration when you pull up
this photograph on your on your computer
to see for yourself
you can see what I mean it just feels
like it's a um you know you can see the
big definition but I think that might
actually be a little darker than it
really is but it just feels like the in
type in text oh my gosh I can't talk
inktense blocks they're they're
wonderful but they feel a little bit
chalky to me and maybe they had to do to
add something to them the pigment so
that they can be in a block form and not
break but um but that's just what that's
just what I felt so when somebody asks
me if I they can only afford one what
should I get
honestly I would I would get a full saw
all set of intense pencils over like a
small set of each because I think you'd
be really happy with it and I don't see
that when you can do this with them I
really don't see that much of a benefit
of having the blocks versus the snow
they are fun they're a wonderful product
I think most of stuff from door one is
really great but we're going to do more
to that don't worry but I just feel like
for your money you're much better off to
do the to do the pencils okay so now I'm
gonna go back in a little bit I think
I'll go in first with some of the green
and define a few of the green splashes
that I see on the petals it's funny when
you look at a chicken or if those are
the little close-up bird experience I
have but because you know the other the
wild bird you can't get that close to
but when you look at birds and you can
really tell with chickens because
they're big and you can get pretty close
to them you'll see that you know you may
even think that chicken is like it is
all one color and then you get close to
them you see that they're actually
speckles and chunks of different colors
and I'm sure it's you know it's from
their ancestors to be able to camouflage
away from predators but it's just really
um I think it's really interesting you
know and when you you see some when you
think oh that's that like we have a
chicken it's a silver Leghorn I think
and it just looks look silver or gray
and you get close to it and you see that
it's just all these little speckles
almost like pointillism the way that the
feathers are it's really it's really
cool they're pretty and like other
things you might notice like I have we
have some brown leghorns and there's
these beautiful red combs but I think
it's looking beautiful red because they
got that red comb but then they've got
this patch under here which is like a
slightly tinted green color and I'm sure
you know you don't perceive it as green
you perceive it as white or maybe a
little yellowish but it's the it's that
contrast because they're complementing
complementary colors that make it look
so red makes the comb look so red on my
chicken so you know look observe observe
things in nature you're going to learn
some wonderful things just by looking at
stuff with your eyeballs I'm going to
add some more this gold here building up
my color just at all
totally stuff you can do with inks or
watercolors the key is just don't get to
don't get your paper too wet don't get
too much media on it we reworked wet on
to dry which is a technique a lot of
times we start off working wet into wet
right because we're wetting our paper
and we're putting in a background today
we worked wet on dry so we got more
control with our paintings and I stopped
I'm looking at looking at the monitor
like I'm looking at you guys in the eyes
because I do when I teach but sorry
about that this is going very slow I
apologize go to some of the red here
maybe deepen a little of the color up
there loading at my brush like this is
when I had sharpened if I had sharpened
it with my knife instead of a sharpener
I would have had a lot more pigment to
grab and to work from but I probably had
to sketch something with that the last
time I use these so that's why I love
what's going on there so I don't want to
go over that I just wanted to build up a
little deeper color over here sometimes
you have to trust that okay that looks
good I'm not gonna go back in and frig
with it and that's the hardest thing you
can't teach it's just one of those
things you have to learn by by doing
unfortunately you got to mess up a few
pancakes before you cook one right every
doll comes back two pancakes I don't
know why that's how it is
lease forever you know I make pancakes I
got the bad pancake and sometimes I
might build a salvage up but usually no
it's usually the bad pancake and I don't
worry about that pancake that's like my
first project of the day it's a bad bean
cake I'm going to move on and then you
know you make something halfway decent
and nobody has to see the bad pancake
sometimes you have those days where a
pancake comes out good but not all the
time not even usually I swear if you saw
the failures on the like of your
favorite artists
you'd be like oh my it took all that to
get to that you know you'd be like oh
but hopefully it wouldn't make you want
to full you know full fold up the towel
throw in the towel hopefully it would
make you a you don't want to want to try
harder and get better and and realize
that we all feel struggle that's an
awful fun struggle isn't it I think so
okay now I'm going to put this a few
like these feathers feather
these beautiful red lines in the middle
and I'm going to try to throw those in
you have to be very careful with detail
you don't want to detail everything or
or you kinda lose that fresh sponsor
spontaneous look to be very careful with
that all right so I'm gonna need some
darker Brown darker blue for down here
so I think I'm going to use that Indian
color with my bloom and I mix it on my
little card here I might even be able to
scribble it on I wonder if I can get
enough pigment that way might be able to
try it see how it works actually if i
sanded this card with a piece of
sandpaper but I thought it would grab a
lot more that's a little too watery
though I'm gonna have to pick up the
colors from the from the brush I think
so techniques I mean I know a lot you
guys have the watercolor pencils I think
these these techniques are handy one
with that Indian color and the nice
thing is it doesn't really dirty up the
other the other tip that much because
you're you know it's you're removing
color your brush isn't totally wet your
pencils dry pretty much the pigment is
and it's not really going to grab much
of that so that's that's good I felt if
I was to use a wet medium here as
opposed to the pencils even though I'm
using it like a wet medium I would end
up with way too much pigment and I would
end up watching this because I tend to
go whole hog with paints and I just kind
of throw a lot down quickly and I didn't
want to do that and and end up with a
situation where it's going to be more
difficult to paint because I had put too
much color in to begin with and I'd
spend most of my time removing colors I
kind of like I did that with my pirate
parrot mixed media piece and that's why
he became a mixed media piece and it
almost wasn't even shown because I'm
just like this is awful I was able to
salvage it but if I had started with
something like this where I could slowly
build color it would have taken me less
time ironically and it would have been
better a better painting I think I mean
it was fine but I but I wasn't I wasn't
really happy with it we all have that we
all have those so okay and now I want to
do this inside part of the mouth and I
also want to do around the eyeball so
I'm going to go in I'm grabbing some
more that brown I'm just want it tiny a
little bit of water on there so I can
bring some up now this is um this brush
is great this is a number six a little
Cornell it's actually it's a comfort um
3000 round and it comes to a really nice
point so you'll want to brush that's a
really nice point you may need to go to
a smaller size I'm actually going to
turn my piece around so I don't put my
hand in my wet paint and I'm going to
give this guy an eyeball and also oh
it's just some definition on the outside
of the eye look at how I'm holding my
brush I know you can see the eyeball I
know it's pretty it's pretty hard to
sales oome in a little bit here okay I'm
holding my brush almost straight up and
down so that you get just those hairs
just right on the end and that's it okay
look at that
okay and now this is going to be a piece
of cake next to the other one so I'm
just going to go in and paint the inside
of the beak here doesn't even need to be
this dark actually
a little nostril whole Birds gotta
breathe you know and I do want a little
bit of a darker area right there and
maybe just a little bit of any other
details I want to put in here sorry for
mumbling I really self I don't mean to I
just kind of get in my chilling out
chill in his face and if that's a little
too dark which it is I can rinse off my
brush slightly touch it on a paper towel
and just pull a little that color out
and it shouldn't bother anything
underneath because of that these are
because these are ink tents and I can
also add a little bit of the okra color
on that spot of the beak where I could
see it right there
oops I just pointed something you can't
say hold on I'll show you where we were
right there there's like a little like
light kind of streak on the beak and I
wanted to put that in there all right I
think I'm gonna pause the video right
now I'm gonna let this dry and we'll
come back and see if it's done or not
okay I've dried it I think that I wanna
put a little more detail on the face
area and kind of leave this a little
looser so that we've got a focal point
and then everything else just kind of
fades off so what I'm going to do is go
back to the number six round we're just
gonna use that brush for the entire
thing and I'm going to make some of the
kind of like gray details so what I
think I'm going to do is zoom in a bit
so you can see that a little bit better
both of those in the picture and I'm
gonna I've just scribbled out some of
the India Indian ink and the yellow on
my on my credit card here we're just
doing glazes and intense is really good
for that so whoops my brush is a little
wet so I'm just blotting it I just want
to get whoops just a little bit of a
shine on there try that again that was a
little too juicy
what's really going to be hard to
perceive because I'm really using just a
tiny bit of pigment here fact I'm a
little bit more of that yellow on that
crack on the bottom of the beak and I do
a little bit more in the feathers around
here a little bit more blue in that
because that Gray's a little cooler just
tapping on the hint of feathers
I'm just going to blot it a little bit
so it's a little lighter if I want a
little bit more intense red around the
face so again pulling the eye into the
focal focal point focal attention point
here and you can build up a lot of
glazes on this because that you're not
going to lift your colors underneath
especially like this because we know
it's all been liquefied because we added
water to the pigment then brought it
over
and then I'm just going to kind of
feather it out a little bit feathering
on the feathers just so that it kind of
gradually goes down to the the color
that's a little bit less intense and I
think that pretty much does it if you do
want a highlight and you can do one of
two things you can use a knife and you
can cut it out you could use a pencil
and you can draw it in fact maybe I'll
try but try this side the white intense
pencil I really I really don't know how
this is going to work but we're going to
give it a we'll give it a go here I give
a little bit of a shine I know if I'm
crazy about it I think I want to sharpen
it a little bit because I have like an
0.2 there to work with I don't know if
it's going to give me anything bright
enough to where I'm sharpening this I
should pause the camera sorry about that
guys geez Louise got to use to editing
here there we go um I'm gonna try to
give that a little bit of uh just a
little rim of a highlight there I
actually kind of like that it's very
subtle you don't really get a dark a
dark look well that I don't think that
would be bright enough to do the
highlight on the eyeball but um I'll
just kinda you could also use a
thumbtack this might be a little little
dangerous that's me I like to live
dangerously once you do something like
this to the paper though and you scratch
out a highlight you cannot go back over
there and paint it or that area where
you've scratched it is gonna take the
paint a lot a lot a lot stronger so I
got a little bit of a highlight there I
might go back in and dig some more L but
that's pretty much it if you enjoyed
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so much for watching until next time
happy crafting