Art & Craft Exam > Art & Craft Videos > Master the Art of Watercolour Painting (English) > Let's Paint a Baby Fox Kit in Watercolor Real Time Tutorial
Let's Paint a Baby Fox Kit in Watercolor Real Time Tutorial Video Lecture | Master the Art of Watercolour Painting (English) - Art & Craft
FAQs on Let's Paint a Baby Fox Kit in Watercolor Real Time Tutorial Video Lecture - Master the Art of Watercolour Painting (English) - Art & Craft
| 1. How do I paint a baby fox kit in watercolor? |  |
Ans. To paint a baby fox kit in watercolor, follow these steps:
1. Start by sketching the outline of the fox kit using a light pencil.
2. Apply a wash of water to the paper where you want to paint the fox kit.
3. Mix the appropriate colors for the fur, such as reddish-brown, white, and black. Start with light washes and gradually build up the layers.
4. Paint the basic shape of the fox kit, leaving out the finer details.
5. Add darker values and details to create depth and texture. Pay attention to the fur's direction and use thin, pointed brushes for finer lines.
6. Once the paint is dry, gently erase any visible pencil lines.
7. Finally, add any additional details like the eyes, nose, and whiskers to bring the fox kit to life.
| 2. What materials do I need to paint a baby fox kit in watercolor? | |
Ans. To paint a baby fox kit in watercolor, you will need the following materials:
1. Watercolor paints in various colors, including reddish-brown, white, black, and other shades for background and details.
2. Watercolor brushes in different sizes, including pointed brushes for finer details.
3. Watercolor paper or a watercolor sketchbook.
4. A pencil for sketching the outline and any necessary guidelines.
5. A palette or mixing tray for blending and diluting the watercolor paints.
6. Water containers for rinsing brushes.
7. Paper towels or a cloth for blotting excess water and paint.
8. An eraser for removing any visible pencil lines.
9. Optional: masking fluid or tape for preserving white areas or creating crisp edges.
| 3. Are there any specific techniques for painting fur in watercolor? | |
Ans. Yes, there are specific techniques for painting fur in watercolor. Here are a few tips:
1. Start with light washes and gradually build up layers to create depth and texture.
2. Use a dry brush technique to create the appearance of fur strands. Load your brush with paint, then remove excess by dabbing it on a paper towel. Lightly stroke the brush on the paper, allowing the texture of the paper to create the illusion of fur.
3. Pay attention to the direction of the fur and use thin, pointed brushes for finer lines.
4. Experiment with different brush strokes, such as stippling, hatching, or cross-hatching, to create different textures and patterns.
5. Add darker values and details to create dimension, focusing on the shadows and highlights within the fur.
6. Don't be afraid to mix different colors to achieve a realistic fur color. Use multiple layers of washes to create depth and variation.
| 4. Can I use masking fluid to preserve white areas while painting a baby fox kit in watercolor? | |
Ans. Yes, you can use masking fluid to preserve white areas while painting a baby fox kit in watercolor. Masking fluid is a liquid material that can be applied to specific areas of your paper to protect it from paint. Here's how you can use masking fluid:
1. Apply the masking fluid to the areas you want to keep white, such as the highlights on the fox kit's fur or the reflection in its eyes. Use a small brush or a specialized masking fluid applicator.
2. Let the masking fluid dry completely. It forms a barrier that prevents the watercolor paint from reaching the paper.
3. Once the paint is dry, gently rub off the masking fluid with your fingers or an eraser, revealing the preserved white areas.
4. Be careful not to leave the masking fluid on for too long, as it can become difficult to remove and may damage the paper.
| 5. How can I add realistic details to the baby fox kit's eyes in watercolor? | |
Ans. To add realistic details to the baby fox kit's eyes in watercolor, follow these steps:
1. Start by observing reference images of fox eyes to understand their structure and color.
2. Begin by painting the iris using a light wash of the desired color. Pay attention to any patterns or variations in the iris.
3. Once the iris is dry, paint a smaller circle inside it to represent the pupil. The pupil is usually black or dark brown.
4. Use a thin brush to add a reflection or highlight to the pupil. This can be a small dot or a curved shape.
5. Add a thin, dark line around the iris to represent the edge of the eye. This line should be darker than the iris color.
6. Paint the eyelashes using a small brush or a fine liner brush. Use short, flicking motions to create the appearance of individual lashes.
7. Finally, add any additional details like shadows or catchlights to make the eyes look more realistic.
Text Transcript from Video
[Music]
hey there Lindsey here the frugal
crafter today I'm going to do a
watercolor using my new petite levity
deck where Elsa Linear's a student line
or the student travel box I don't know
if the paint's are really that much
different than the artist line actually
I'm going to start by sketching on this
little pot so I'm going to start the
sleeping Fox so I'm gonna start with an
oval to kind of incorporate the whole
body and then I'm just going to get the
head that kind of shape on here head and
nose I'll put a link to the reference
photo it's from paint my photo so you
can follow along too if you want meet
this ear in here and then another ear
just about up like that and get his
little brown nose on there and let's see
his eyes are closed so we're just going
to get that little bit only be able to
see one eye so we're going to get that
there and get the bushy fox tail let me
see that
and then that's pretty much all we have
for definition it's very very simple
when you break it up and uh into simple
simple shapes now in the photo there are
some um like wild flowers growing over
here but I think I'm gonna put a
snowbank because because it's kind of
almost Christmassy times when they're
supposed to actually get a really big
storm oh I just realized I have the back
way too big so what I'm gonna do is
actually make that a little bit smaller
here there we go kind of way too big on
there I didn't hit his head big enough
so I'm just going to go in with a soft
white eraser and erase any of the lines
I don't want and soften up any of those
harsh lines I have make them a little
bit lighter and the tap this off
here we go I don't know I'm like I might
put some I don't know if I want it
snowing or not now that I think about it
we're just to get a big snowstorm so I
really wanted that snowy um I am just
gonna go in and fluff up that tail a
little bit just so I have that and we
fluff the fur a little bit going that
way too
you know what I think I'm gonna do
wildflowers but I'm just going to get
rid of that long line and I'll put them
in a little bit I am going to start by
wetting my Fox I think I'm going to go
with a round brush actually I feel a
little out of sorts and actually
painting here I don't know when the
phone's going to ring to pick up you
know a kid or not it's just one of those
uh kind of lazy Sundays I feel like I
have just kind of lambs de round a lot
and wasted a lot of the day so I'm like
I can do something productive
um one productive thing I should have
done was changed my water because it's
pretty uh it's pretty grimy looking
actually but a bowl muddle free okay I'm
going to do some different shades of
orange I'm going to start with this
Venetian red I think it is it's kind of
a nice foxy run actually is what it is
um this fox isn't super vibrant so I am
going to push the color up a little bit
more than what there is in the picture
I'm going to get a little yellow ochre
these colors are really nice I find that
they behave a lot like the the regular
sommelier paints that I'm used to that I
did I purchased earlier this year I'm
just kind of playing with them so I'll
have the information so I can do a
review because I don't like to go into a
review unless I've actually done some
paintings with it and played with them a
little bit I don't think it's fair to do
a review otherwise I mean you can if
you've painted a lot you can get a lot
of you can get a lot of information just
by looking and watching stuff out but I
really like to put it to practice
because sometimes you can't really
full quality of a paint just by
swatching it so I've got that that wash
down there and it's unifying wash and I
think I'd like to also get some color on
the rest of the painting too and this
old down almost looks like a little in a
little trench or trough or something so
I'm going to go in I'm going to take a
little bit of ultramarine and I'm going
to add it to that Venetian red that's
going to give me a nice dark brown I'm
going to stick to a limited color
palette here I do have to be careful
that wants to go purple a little purple
on me so I'm going to add a little
yellow ochre to that so it's a nice dark
brown there we'll put it in this area
this might turn into a speedpaint I'm
not sure and I'm gonna pull a little bit
of this behind the Fox try to keep my
hand out of the way I know if sometimes
it gets in the way there some texture
from the paper and I think I grab some
more yellow ochre and there's a pretty
green in the kit it's called olive green
but it really reminds me of a lovely SAP
green I really like it so I'm going to
go ahead and grab some of that too to
add in because it is kind of a spring a
spring scene that I am looking from I
decided that I just didn't want to be
able to snow any more than I have to so
we're going to go with spring colors I
hope you can hear me well enough I guess
you can I'll have to turn it into a
speedpaint
you can tell me what you think about
speed paints in the comments below and
us I know a few of you like though I
know most of you prefer some of the
other ones though so what I like to do
in these first layers is I like to just
get some kind of unifying colors I'd
like to get on the colors I plan on
using incorporated so if I know I I'm
going to use that green I'm going to try
mixing that with some ultramarine blue
and see what kind of darks I get that
way and I get that right in right off
the bat I find it's really
to get as much of that stuff in right
off the bat if you can and I think it's
a really nice color for shadows in the
grasses so I'm going to go ahead and mix
up a bunch of it to go over here I'm
going dry dry on this part because I
want to keep some of the colors I want
to keep some of my brushstrokes fairly
crisp I do need to put in the rest of
that little path behind our foxy right
here let's sneak that right in there and
I love starting my paintings off this
way because I don't have to keep
anything too precious I don't have to
worry about really ruining something
I've spent a lot of time on that's why I
don't like to put my backgrounds in
after I know some people do that's
totally fine but for me I like knowing
that that I don't have to worry about it
get too much paint on you can blot it or
if you want to give a little texture you
can block that too I just want to change
a texture up from the little path from
the kind of the greenery the vegetation
they're all it's coming up kind of cute
actually so now I want to do a little
bit more I wanted to do some pretty
purple flowers in there so I'm going to
decide what I want to do for that I've
been using ultramarine so I can use that
I can add a little bit of my it's pv 19
it's kind of like Rose madder or
permanent Rose very pretty color put
some of that very loosely in here for
some close-up flowers no detail yet just
blocking out shapes okay so don't don't
worry about anything yet the I wanna see
what the SAP green and the yellow ocher
look like together to see if that's
vivid enough to be my brightest green I
think it is it's really kind of a pretty
color so I'm going to go in and add some
of that and I'm just trying to keep my
foreground a little bit more a little
bit more fresh and vibrant
box though because I I know that's still
wet so I don't want it to get too
muddled so far I'm impressed with these
paints though they seem to be performing
like their artist grade counterpart I
didn't email the company to see if the
paint is the same in their lip PT
aquarelle and they're extra fine
watercolors and hopefully they will get
back to me and now I'm going to let this
portion dry and then we'll go in and
start adding some layers okay I let my
painting background dry and I just
wanted to show you what colors I ended
up using and these will be the colors
that I mix for all my colors throughout
the painting I've olive grain which if
you don't have these paints SAP green
will work yellow ochre Venetian red you
could also use a burnt sienna more
Indian red or English red those are all
very similar PR 101 is a pigment
ultramarine blue and um this is a gosh I
can't remember what it was it called the
college Rose permanent permanent rose
it's PB 19 any sort of cool rosy red so
that's what I'm using and we are going
to go on with our second layers and I
think I'm actually going to get right in
there and paint on the little fox there
so I'm going to work on I'm going to
work on the back behind the head there
I'm going to start with the Venetian red
and let's see what this looks like just
on its own and this is the back I'm
painting it next to the tail so I am I
want that fluff so I'm kind of negative
painting into the fluff of the tail to
kind of give it that texture and then
I'm gonna pull this up but this is just
a cheapy brush this is a Princeton art
brush company it's the realvalue series
it's a ocean state job lot is a discount
place in Maine it carries I think it's
all over New England and I find that
there's a little pack of brush little
short handle pack of five brushes and it
is just wonderful for anyone getting
into watercolor or if you just want to
like a backup set to travel it so you
don't have to worry about you know
losing your good brushes I can't
recommend it well enough in fact I was
just
store the other day and I recommended it
somebody that was standing can kind of
confused around the brush are like like
this is the one you want if you're doing
watercolors it's actually decent for
acrylics too so I highly recommend that
now I want to get a little bit darker
and I'm gonna do the Venetian red with a
little ultramarine blue I kind of have
been hard between zooming out so you can
see my palette or zooming in so you can
see more of the painting I decided to
stay zoomed in to see the painting so
this is the Venetian red and the and the
ultramarine blue it's got a lot of
fluffy fur on the back of the animal so
I'm just gonna try to um I'm just
putting this shadow under the fluffy fur
if you go check out the reference photo
that I linked up in the video
description you'll see what I mean it's
got this really kind of like fluffy
overcoat I don't know if it's growing in
for the winter or if they're or if this
fox is shedding it for the spring I'm
not 100% sure but it's kind of fluffy
looking so the Fox isn't super bright
it's a it's more of a more of a kind of
fluffy lighter colored fox so now I'm
going in in the tail area and I am
painting in some of the fluff and it's
going to be darker at the bottom because
it's more shadowed but I want that
fluffy fuzzy fluffy fuzzy look he's all
rolled up all taking a little snooze so
cute oh my gosh when I saw this photo I
immediately saved it in with my photo
albums pick my photo is free in case
you're wondering it's PNP - a rt.com
it's completely free you can make a
donation if you want to um but it's
great you can organize things into photo
albums so like if I know I might want to
do this with pastels or watercolor or
oil since I paint in several media's I
will organize it that way or if I think
I might use it on a live show I'll put
it in my live folder but it's a great
way to keep your stuff organized I don't
think the folders are private I think if
you went to my you probably even take a
get a little sneak peek or what I'm
planning on painting here you could
probably through my my albums and what
and and it's just a great way to get it
keep it organized
but just keep in mind I don't think it's
private when you when you're organizing
your photos so if you're trying to make
a secret painting for somebody yes you
might not want to do that so I'm going
to brush very dry you can see how my
bristles are kind of spread apart there
because this is a synthetic a stiffer
brush I can use that to my advantage and
make my tail nice and fluffy get all
those little brushstrokes you could also
use a rake a small rake brush just be
careful that because sometimes the rake
brushes will make it look I'm kind of
fake as does a fan brush when you're
using it for fur sometimes not always
just want to keep you know keep an eye
on it and it bringing some of that dry
brush texture up here too I mean my
fox's tail a little fluffier than it was
in the picture I need to make kind of a
gray and we've done that before gonna
take a little ultramarine blue and and
add it into the Venetian red color right
down at some women add some water I want
to kind of transparent and my pain is
kind of ah it's kind of loose actually
loose skin no consistency and I want to
get that shadow in because I'm losing my
my brush my pencil marks so I just want
to kind of get that in there so I don't
lose my definition there and then I'm
just gonna I'm wicking out those um that
color my brush is pretty full right now
so that's why I'm kind of bringing it
out doing these choppy little strokes so
I can graduate it into the fluffy or
drier texture here so a rather than blot
my brush and waste that pigment I know I
can use it I'm just bringing it over and
if it does bother you if you don't feel
like if you feel like you're bringing
too much paint over you can blot your
brush um I like to do that like this
just because I can kind of save a little
paint and and save a little time just
keeping on doing that just adding that
shadow in a little bit um now I can't
see too much of the back because of the
the foliage is going to be growing out
but I do want to put something in there
I'm going to
with the Venetian red it's a very foxy
color and I'm going to add this behind
the face here and I'm going to start
getting that fur
the direction of the fur in here and I'm
actually going to I don't want a hard
edge there when I got to bring in some
brushstrokes even though I can't really
see it right there I want to make sure
that I don't have a really harsh edge
going onto the face and I'm just going
to bring some of that back so if you
think if you're going to pet this fox
which I don't recommend going up to a
fox and trying to cut it but if you if
you want to pet a fox you want your
strokes to go with the direction that
the fox's fur would go pick up a little
that grey I just mixed get that in there
a little bit
and look how I'm moving my brush and
moving it with the direction of the fur
well choppy strokes I'm moving my arm
and my hand in an arc and I'm just
touching it down here and there not a
lot of paint on the brush you could go
to a smaller brush if you're feel if
you're feeling like you have too much
paint and you can't control it they
don't want to do more than I can that I
can undo if I if I decide that I don't I
put too much paint in there and yellow
ochre just kind of tapped off my palate
a bit so I don't have too much and I'm
going to do some of that in there too I
do want my Fox a little bit brighter
than what the reference photo is but I
don't have a lot of experience um
painting foxes I don't know if I've ever
painted a fox before truth be told so I
am heavily relying on a reference photo
and only taking a little bit of Liberty
with the color just because I really
don't have enough experience painting
foxes too to go too crazy with it so I
get some texture in there
they can take a little bit that yellowy
color I can put a little bit in the
fluff the tail fluff that's kind of
fluffing out everywhere and I'm not
trying to get a photograph here guys I
am really really kind of impression to
stick and I'm just kind of dragging a
little texture under there that's going
to be covered up a lot of that's going
to be covered up so I just don't want to
get too carried away in there okay so
now I want to take a little time on the
face that's where I want to spend most
of my energy I'm going to go the
ultramarine blue in the Venetian red for
to make a nice dark my darkest values
for like the tip of the ear and whatnot
if this is too right I can do two things
I can add yellow to it or I can add my
green to my mix because that's going to
make it gray down if it's too red the
green will counteract any of that red if
it's too purple then the then the yellow
will counteract it so keep that in mind
if you're if you mix this two purple add
yellow if it's yellow ocher if it's too
if it's too red add some green because
Venetian red kind of is more most mostly
brownish orange color so that's why we
go in with the blue so now I'm getting
the shape I really want to get the shape
of that year right this ear is darkest
now I have to do a little negative
painting because I've got some Tufts of
fur coming up so I'm flicking up the fur
here I'm going to bring that right up
like that and I'm just going to take my
time and make sure that what I'm doing
is accurate okay this isn't for speed
this is for accuracy and it's okay to
leave a little rim around because you
can add some later hair and there to
give it that little bit of a halo now
I'm going to go over to this year and I
am going to put the dark in the middle
that's kind of how it how it is they
have a lot of lighter fur and I am going
to get that color in the middle and then
I'm going to drag it backwards because
we can't well we could if we got into a
fix we can go back in with white
we can get those little hairs in that
way or with a gel pen nothing wrong with
that but typically with traditional
watercolour we want to kind of stick to
the transparent color so we're going to
paint around that for the time being so
just we're just flicking that dark out
to get the inner part of the ear
probably looks really strange and
awkward right now but don't worry and
we're going to get there
I feel super mellow I know I probably
sound like Lindsay why are you so mellow
sounding cuz it's Sunday I'm feeling
mellow my kids Olive aisle are all off
doing different things and I'm just
chillax in with my paint there's a lot
of things I should be sorting laundry
truth but truth be told but uh that'll
keep and there'll be more like you know
this is always more okay and then this
kind of gets dark uh under here so I'm
gonna go in and get that I'm just like
if you were to look at me which you know
you wouldn't want to uh a very sloppy
bun going on just like no makeup or
anything but if you were to look at me
you would see my head looking from the
paper to my reference photo back and
forth kind of like a cat watching uh you
know you know I hypnotist swing and
swing in a watch or something you know
I'm looking back and forth as one pride
to say here very uh neligan tlie trying
to say I should say um because I did not
draw in that much detail so I constantly
need to look back and forth to make sure
that I am accurate now I'm dabbing on
this eye for the line this align for the
eye because I want it to be kind of
fuzzy and furry and almost a little
noncommittal to tell you the truth
because I am I'm jump trying to draw and
talk and paint at the same time
basically getting the little nose in
here I like to fade out as much as I can
and I can fade out with these little
stippling marks tap the tap at ab c--
and i can get a lot of a lot of work
done with those little tapping marks
and I could even go in and kind of
figure out where I'm gonna put my little
little dad you know they have those
little whisker spots spots where the
whiskers come out from okay and I'm just
looking anyplace I see that I will be
using a little darker color and I'm just
putting it in because I find I like to
get those values in first so now I'm
going to go in with my lighter color
that I'm using which is yellow ochre and
I'm going to see I'm going to be putting
some yellow ochre up here and flicking
it up and anything that's my lightest
lights is going to be that light that
first wash that we put on the paper so
some things are going to stay that color
and some things are going to get a
little bit darker now I feel like that's
a little too yellow so I'm going to grab
some of that Venetian red to tone it
down and I can also mix it around with
some dirty stuff in my palette because
all the colors on my palette or stuff
that I've used already so if I see gosh
that's too yellow I can correct it
as long as you stick with the same
colors you're not going to go wrong and
it's it's a slow buildup of colors the
slow buildup of pigment that's why I was
thinking I would speed paint this
because um it's probably going to be a
little boring to watch it all in real
time hopefully it's not hopefully you
enjoy a relaxing pain tea time so I'm
almost got like I kind of go until I
have like no paint on my brush and then
I reload so I like getting that dry
brush texture this needs to be a little
bit bigger and I can see that now that
I'm looking at my reference photo I see
that I made it a little too I should
have so much space between the ears so
I'm just working that paint and lifting
it up in between the ears okay now I
feel like I need to work my paint a
little bit wetter so I'm going in with
the Venetian red and we're going to work
some of that into my scene here because
I feel like everything's gotten a little
too dry brushing and textured so I'm
going to need to move moving with a
little bit of this separate those ears a
little bit now that I brought them a
little close together
it's probably going to see it probably
seems a little fiddly next to a lot of
my paintings pulling these strokes here
down towards the face down towards the
nose want some water in that yellow
ocher I'm going to pick up a little bit
of that brown that we mixed got to tone
it down the yellow is a little too
strong and I'm going to start kind of at
the top of the eye and flick backwards
here to get that movement that I want to
get because the fit does a lot of
different patterns a lot of different
directions on the hair on the face so I
don't have to paint every hair and good
you want to be accurate and I want to
make sure them going in the right
direction and I've got to make sure that
I keep the light area where it's
supposed to be light so I'm going in
carefully and I'm looking back and forth
of my reference photo and I'm making
sure I keep the area light that needs to
be light
and see if you do get too much texture
too many lines you can just go in with a
wetter brush and brush over them and
they will dissipate a little bit I love
how you can combine all the colors the
only color I haven't used in this Fox at
night I still may is that a bright red
the bright rose color that doesn't have
to be that's we haven't use that in the
Fox yet does that mean that we won't but
we've used every other color would you
SAP green we've used that SAP green it's
actually olive green but it looks very
much like SAP green we've used that too
to kill some of the red we've of course
used the the ultramarine with a with the
the Nia Venetian right is a Venetian red
or Indian red the PR 101 we've used that
to kind of darken it we're getting all
those colors in there all the colors
from the background everything's going
to feel like part of nature and it
really should because even moles are
meant to blend in that's part of their
survival so of course they would be
using them
I feel like a little bit too much going
on in the ear you need to add a little
more dark in some areas you can always
go on to another part while you're
thinking about what to add I mean a
little more red in the face right in
between the eyes remember we can only
see one eye um the paper is damp I'm
going on to but that's alright because
it's softening out my strokes a little
bit so I don't end up with too much
detail and don't worry if you're getting
a little like burnt out I'm working on
the fox's face we will go into the
background a bit so we can give our eyes
a little bit of a chance to to rest from
this I just want to get that second
layer on the Fox and I feel like I need
a little bit of blue kinda on its own so
I'm taking some of the ultramarine blue
which is a little dirty from from the
the Venetian red that's on there and I
just want to kind of get some of these
whiter areas I want to go in with this
watery grade down blue and just kind of
glaze over it and that's going to cool
down the area and make it appear a
little bit more white or like there's
white fur this is not you don't really
see the white in nature a lot of times
and I won't be able to go in and lift
off some of that if I decide to later so
now that I have that second layer down
I'm going to go on and work on some of
the foliage so I think I'm gonna switch
to different brush I think I'm gonna try
this this is really kind of kind of
floppy and unruly I'm gonna see what I
can do with it so I'm going to start by
mixing up kind of a dark color I'm going
to use the ultramarine in my Venetian
red just to make snuffly kind of Brown
oops I put way too much water in there
and I just want to kind of get a little
bit of a shadow under the Fox I like
that I can hold a ton of water this way
it's right up under his note and just
kind of get that path pulled away from
the the other stuff we're going to be
painting a nice and dark in there this
is a then half 3/4 3/8 half inch through
Josh's n38 sword I really like the way
the colors these two colors mix because
they kind of separate and granulating I
think it's really pretty and I'm going
to do the ultramarine grab a little
yellow ochre so I mean kind of like a
dead grass color
the path has been trampled the lit a
little bit so I want to get that in
there too and I can go and get some of
this behind the Fox in that path and I'm
going to go back in with that dark color
and I'm going to get a shadow behind my
Fox now this is super soft brush and
these are student grade paints but I'm
finding the mix route like I'm able to
make enough color so it kind of tends to
make me believe that perhaps the paint
in this set is just there artist grade I
kind of remarketed kind of to give
people like a good start in a crow in a
watercolors which i think is admirable
and I really I'm really pleased just
pleased with the quality of this so it's
it's nice alright so sometimes when I'm
when I'm just approaching a different
area I want to turn my paper so it's a
little more comfortable for me to get to
and I just wanna make sure I don't have
any real harsh lines I'm just pulling in
some fuzzy shapes by doing this kind of
pulling the shadow color in so I get
some nice
fuzzy shapes so where the tail looks
fluffy is what I'm going after here and
this also makes him look a little
nestled but he's nestled into this scene
on the water to my brush so I can still
get that um and get those kind of like
the foliage look back there without
looking at making him look outlined
and I want a little more that step clean
in there actually that's pretty I like
that I say SAP green it's actually olive
green but they're all of green looks
like a SAP green which I was really
pleased because I'm not terribly fond of
olive green usually as a colour so
keeping it super juicy and Lucy in the
background and I'm actually going to
just brush a little bit of water to make
it more out of focus and soft and now in
the foreground I want to pull up some
yellow some of the SAP green let's just
pull some of that up on its own and see
what we get
I really like the look of that it's
really fresh
I think our Fox is dry enough that I can
go and pull up some of the blades of
grass around him right on top of him
rather pulling it right up over if you
need to make it more opaque like it's
not covering the fox enough you can just
add a yellow ochre to it so you're still
staying with those transparent colors
but you're but it's just that's a
heavier pigment so it just tends to be
have better coverage but it's not like
you're adding white to it or anything
and nothing wrong with adding white to
it it just wouldn't be a transparent
watercolor let's you do what you want to
do you're painting there's no police
and I like this brush because I can um I
can use a full side of it and get like
really thick lines or I can use a tip of
it and get thinner lines I'm getting
used to handling it I'm not I'm not that
experienced with a sword but oh boy does
do a nice job for getting these random
effects now I'm going to switch over to
a I think I'm going to use like a
smaller not only a small around with a
pointy around some number 12
nimac I'm going to mix up some more of
that ultramarine blue and permanent rose
take myself a nice violet and I'm just
going to put on some of these little
flowers a little bit more detail than
screaming not a ton of detail though
just a little bit of just a little bit
the Fox is the detail part the Fox is a
star of the show
getting a little muddy because my color
got into the green go in with a little
bit more of that purpley color mixing it
of course not taking it right from the
right from a prop and I'm just mixing
what I have we're going the same colors
a little time I want this stuff to be
loose so that my Fox will appear to be
really detailed fox isn't actually going
to be really detailed is just going to
appear that way because everything else
is loose and I'm also going to spatter
some of that purple what you may think
that why would you spatter you know you
could ruin it but I'm not really that
worried I think that it gives it kind of
a nice nice texture and then I can um
blot it really quickly you usually can
go in when you spotty or you can go in
and blot anything that you're not happy
with now I'm going to go to a smaller
brush and put a few more details on our
Fox and I'm also going to grab a
scrubber brush this might be a little
too stiff but I do wanna have something
I can put some more more scrub details
oh I got this I love this little
scrubber brush this is a Maxine's mop
this one is a fabric brush but it's a
little it's almost too stiff like it
will damage my paper from not careful so
I'm going to go into this'll Maxine's
mop and I'm going to scrub out with some
highlights on my Fox I'm going to get
the FIR back here and because we used
yellow ochre ultramarine blue in
Venetian red it should lift up pretty
well those are all very liftable colors
see it's getting nice and bright they're
rubber I lifted it you don't want to
take all that paint outs we work too
hard on that but I do want to get some
some fluffy there we go nice I'll fluff
I see some fluffy on the back here and
kind of fuzz him out a little bit too so
this is a Maxine's mop a quarter inch
Maxine's mop I really like this brush I
only have one of them and you know yeah
you don't worry about keeping it nice
because you use it for scrubbing so it's
like the older it is the better it is
you know it just gets gets more you know
ragged and scribble so it's kind of a
nicer
and they spreche to have and no worries
about brush care with it really there oh
I think that really added quite a bit I
also want to scrub a little bit here in
the ears I got a little too light a
little too dark like that quite a bit
better actually I have a tendency going
with too much um too much paint and then
have to go in and remove but you know
what it's fine it's fun the top of the
nose - I feel like this really adds a
lot
there makes me feel a lot more realistic
I'm gonna let this dry and then we're
going to come back and put on our final
touch okay this is dry and I mixed up
some Venetian red and ultramarine blue
and I am going in and adding my darkest
darks and my darkest details
I just want to lose the freshness I feel
like I have some nice freshness in here
and I don't want to lose it I am using a
small number two pointed round this is
the this is one of the mimic faux
squirrel brushes just giving any sort of
little detail I feel like what I I find
that if I have a good point to brush I
don't have to go with a teeny tiny brush
and I really kind of want to get those
little details like little whiskers I
probably could go with a smaller one but
I think that if you use the biggest
brush that you're comfortable with
you're going to be a better painter
because it just teaches you brush
control and when you get a good brush
you can get a good range of strokes from
one size and I do think these mimics are
good brushes and they're they're quite
affordable and they're not that they
don't hurt harm any animals in their
production which is nice I'm just going
in anytime I see that my darkest colors
I want to get those in- painting along
with these up here near the ear because
I'm kind of trying to keep the light of
my of the ears now I could go in with a
gel pen or some white gouache but but I
would really want to keep it kind of
fresh looking so I'm going to try to
avoid that if it so happens that you
want to use gouache that's fine or you
want to use white gel pen go for it you
do what's right for your painting I
don't know what your painting looks like
at this point and um and you might not
want to put in as much time you might
want to just kind of kind of wrap it up
go right ahead and do that that's fine I
am NOT gonna judge you I used to be so
like oh never use white but now I'm like
you know what
use whatever you want to use online some
of my business what you want to use is
one for myself and never use white I
didn't I didn't go around judging other
people's use of any color they want to
use their business not mine oh right no
over here oops watch out for any beads
you don't want any bead the waters
slipping down your brush when you're
doing this I'm getting into the area
where the foliage is going to come
around so I don't want to get too
detailed in there in fact that's a
little dark so I'm going to blot it and
we can give a little bit of this dark
here in between the ears I don't think
I'm going to add any more detail on the
rest of the rest of the Fox I'm just
going to do some stuff on the face and
that is going to be it just barely I'm
barely flicking this the paper with my
brush just little like tiny tiny little
strokes now I'm going to go into my
Venetian red I am mixing it with a
little bit of that a dark color that I
used before just because I want it to I
wanted to I wanted to be too bold
block my brush a little bit I got that a
little wet
short strokes with the direction of the
fur is what we're going for
go into your brush runs completely out
of paint so you're not tempted to have
too much on there and then when I go
back in with my brush I'm going to put
it where I want the most color and then
I'm going to keep flicking until I
completely completely run out of paint
again I don't know if that's how most
people do fur but for me it just keeps
me from getting too crazy
that's way too dark water in there to
light it up it's Venetian it's against
the Venetian red I had just gotten into
a little bit too much of that gray mix
I'd done before keeping it light at the
brow bone to kind of give me that raised
form I'm going to add a little yellow
ochre into my mix
so I have kind of like a caramel color
so it's very caramely I think now we're
kind of like caramel tea it's a little
too much pink on there though you can
add water to get to date to the darkness
lightness that you want and then blot it
to remove the excess water and you'll
still keep that color that you want a
little bit darker in here under the brow
bone to give it that form all right I
think it's hung really the face honestly
I think I'll leave it like that and I'm
going to go in with my liner I'm going
to do some more grasses I'm going to do
yellow ochre and then I'm going to do
some this of the olive green together
with it to give it a little bit more
Pisa tea and color the yellow ochre is
giving it the opacity the olive or SAP
green is giving it the color
just be careful when you do this when
you pull this up over the Fox it's going
to be there for good
and I want to do a little of the SAP
green or olive green with the
ultramarine blue to give it a little bit
of a shadow
now I'm going to switch to a bigger
brush because that's not carrying enough
paint hey I think I'll go to this
smaller dagger I like that it's a more
of a more of a dagger because the
bristles are shorter I'm going to grab
the SAP green and we drag in some bigger
blades I need a little more water in
there because it's not coming off of my
brush
now you might be tempted to reach for
your lemon yellow to lighten that up a
little bit you can do that but you
haven't used that anywhere else in the
painting so I would highly recommend you
just to not do that just so that you can
keep that harmony if you want to the
painting again or maybe you haven't
painted it yet you may decide that well
I'm going to add lemon yellow into that
background right from the get-go so I
can have that option of doing it later
and having it look nice and fresh you
could totally do that I think this is it
I think I'm going to leave it like this
I think this is kind of cute and fun and
I like my little foxy Fox I hope you
enjoyed this video if so please give me
a thumbs up and I'll check out some more
of my videos and I do hope you try it
and let me know how it turns out thanks
so much for watching until next time
happy crafting
okay so started thinking they didn't put
any of that rose on the Fox and
sometimes after I'm done filming a video
I'll take some chances with my artwork
and I thought you know I really want to
see what would happen if I took some of
that rose and I added it into my
Venetian red and and I'm doing that here
and you know what I got to tell you I
really love the pop of color that I'm
getting and because I haven't used that
anywhere else on the Fox I can really
draw the viewers attention in so I just
wanted to to come back on real quick and
share that with you in case you were
thinking in case you were wondering what
would happen if you added some of that
color in there I think it's a great idea
any time you can get every color into
your into your focal subject that's why
I work with a limited palette so I have
to be creative with the colors that I
use and I think that really helped to to
bring this this picture together and you
can mix it with yellow ochre and you get
a nice bright color as well I just think
it's a great way to kind of bring focus
into the sweet little face okay that's
it I just wanted to uh I wanted to share
my my experimentation because it
actually was working well and sometimes
I totally destroy painting when I do
this but uh but in this case and
actually it actually is working out
pretty well so you can fuss with that as
much as you want I'll pop up of a photo
still shot of how it turned out so you
can see and also of that photo on my
blog so you cannot check it out there as
well
thanks so much for watching until next
time happy crafting
hey there Lindsey here the frugal
crafter today I'm going to do a
watercolor using my new petite levity
deck where Elsa Linear's a student line
or the student travel box I don't know
if the paint's are really that much
different than the artist line actually
I'm going to start by sketching on this
little pot so I'm going to start the
sleeping Fox so I'm gonna start with an
oval to kind of incorporate the whole
body and then I'm just going to get the
head that kind of shape on here head and
nose I'll put a link to the reference
photo it's from paint my photo so you
can follow along too if you want meet
this ear in here and then another ear
just about up like that and get his
little brown nose on there and let's see
his eyes are closed so we're just going
to get that little bit only be able to
see one eye so we're going to get that
there and get the bushy fox tail let me
see that
and then that's pretty much all we have
for definition it's very very simple
when you break it up and uh into simple
simple shapes now in the photo there are
some um like wild flowers growing over
here but I think I'm gonna put a
snowbank because because it's kind of
almost Christmassy times when they're
supposed to actually get a really big
storm oh I just realized I have the back
way too big so what I'm gonna do is
actually make that a little bit smaller
here there we go kind of way too big on
there I didn't hit his head big enough
so I'm just going to go in with a soft
white eraser and erase any of the lines
I don't want and soften up any of those
harsh lines I have make them a little
bit lighter and the tap this off
here we go I don't know I'm like I might
put some I don't know if I want it
snowing or not now that I think about it
we're just to get a big snowstorm so I
really wanted that snowy um I am just
gonna go in and fluff up that tail a
little bit just so I have that and we
fluff the fur a little bit going that
way too
you know what I think I'm gonna do
wildflowers but I'm just going to get
rid of that long line and I'll put them
in a little bit I am going to start by
wetting my Fox I think I'm going to go
with a round brush actually I feel a
little out of sorts and actually
painting here I don't know when the
phone's going to ring to pick up you
know a kid or not it's just one of those
uh kind of lazy Sundays I feel like I
have just kind of lambs de round a lot
and wasted a lot of the day so I'm like
I can do something productive
um one productive thing I should have
done was changed my water because it's
pretty uh it's pretty grimy looking
actually but a bowl muddle free okay I'm
going to do some different shades of
orange I'm going to start with this
Venetian red I think it is it's kind of
a nice foxy run actually is what it is
um this fox isn't super vibrant so I am
going to push the color up a little bit
more than what there is in the picture
I'm going to get a little yellow ochre
these colors are really nice I find that
they behave a lot like the the regular
sommelier paints that I'm used to that I
did I purchased earlier this year I'm
just kind of playing with them so I'll
have the information so I can do a
review because I don't like to go into a
review unless I've actually done some
paintings with it and played with them a
little bit I don't think it's fair to do
a review otherwise I mean you can if
you've painted a lot you can get a lot
of you can get a lot of information just
by looking and watching stuff out but I
really like to put it to practice
because sometimes you can't really
full quality of a paint just by
swatching it so I've got that that wash
down there and it's unifying wash and I
think I'd like to also get some color on
the rest of the painting too and this
old down almost looks like a little in a
little trench or trough or something so
I'm going to go in I'm going to take a
little bit of ultramarine and I'm going
to add it to that Venetian red that's
going to give me a nice dark brown I'm
going to stick to a limited color
palette here I do have to be careful
that wants to go purple a little purple
on me so I'm going to add a little
yellow ochre to that so it's a nice dark
brown there we'll put it in this area
this might turn into a speedpaint I'm
not sure and I'm gonna pull a little bit
of this behind the Fox try to keep my
hand out of the way I know if sometimes
it gets in the way there some texture
from the paper and I think I grab some
more yellow ochre and there's a pretty
green in the kit it's called olive green
but it really reminds me of a lovely SAP
green I really like it so I'm going to
go ahead and grab some of that too to
add in because it is kind of a spring a
spring scene that I am looking from I
decided that I just didn't want to be
able to snow any more than I have to so
we're going to go with spring colors I
hope you can hear me well enough I guess
you can I'll have to turn it into a
speedpaint
you can tell me what you think about
speed paints in the comments below and
us I know a few of you like though I
know most of you prefer some of the
other ones though so what I like to do
in these first layers is I like to just
get some kind of unifying colors I'd
like to get on the colors I plan on
using incorporated so if I know I I'm
going to use that green I'm going to try
mixing that with some ultramarine blue
and see what kind of darks I get that
way and I get that right in right off
the bat I find it's really
to get as much of that stuff in right
off the bat if you can and I think it's
a really nice color for shadows in the
grasses so I'm going to go ahead and mix
up a bunch of it to go over here I'm
going dry dry on this part because I
want to keep some of the colors I want
to keep some of my brushstrokes fairly
crisp I do need to put in the rest of
that little path behind our foxy right
here let's sneak that right in there and
I love starting my paintings off this
way because I don't have to keep
anything too precious I don't have to
worry about really ruining something
I've spent a lot of time on that's why I
don't like to put my backgrounds in
after I know some people do that's
totally fine but for me I like knowing
that that I don't have to worry about it
get too much paint on you can blot it or
if you want to give a little texture you
can block that too I just want to change
a texture up from the little path from
the kind of the greenery the vegetation
they're all it's coming up kind of cute
actually so now I want to do a little
bit more I wanted to do some pretty
purple flowers in there so I'm going to
decide what I want to do for that I've
been using ultramarine so I can use that
I can add a little bit of my it's pv 19
it's kind of like Rose madder or
permanent Rose very pretty color put
some of that very loosely in here for
some close-up flowers no detail yet just
blocking out shapes okay so don't don't
worry about anything yet the I wanna see
what the SAP green and the yellow ocher
look like together to see if that's
vivid enough to be my brightest green I
think it is it's really kind of a pretty
color so I'm going to go in and add some
of that and I'm just trying to keep my
foreground a little bit more a little
bit more fresh and vibrant
box though because I I know that's still
wet so I don't want it to get too
muddled so far I'm impressed with these
paints though they seem to be performing
like their artist grade counterpart I
didn't email the company to see if the
paint is the same in their lip PT
aquarelle and they're extra fine
watercolors and hopefully they will get
back to me and now I'm going to let this
portion dry and then we'll go in and
start adding some layers okay I let my
painting background dry and I just
wanted to show you what colors I ended
up using and these will be the colors
that I mix for all my colors throughout
the painting I've olive grain which if
you don't have these paints SAP green
will work yellow ochre Venetian red you
could also use a burnt sienna more
Indian red or English red those are all
very similar PR 101 is a pigment
ultramarine blue and um this is a gosh I
can't remember what it was it called the
college Rose permanent permanent rose
it's PB 19 any sort of cool rosy red so
that's what I'm using and we are going
to go on with our second layers and I
think I'm actually going to get right in
there and paint on the little fox there
so I'm going to work on I'm going to
work on the back behind the head there
I'm going to start with the Venetian red
and let's see what this looks like just
on its own and this is the back I'm
painting it next to the tail so I am I
want that fluff so I'm kind of negative
painting into the fluff of the tail to
kind of give it that texture and then
I'm gonna pull this up but this is just
a cheapy brush this is a Princeton art
brush company it's the realvalue series
it's a ocean state job lot is a discount
place in Maine it carries I think it's
all over New England and I find that
there's a little pack of brush little
short handle pack of five brushes and it
is just wonderful for anyone getting
into watercolor or if you just want to
like a backup set to travel it so you
don't have to worry about you know
losing your good brushes I can't
recommend it well enough in fact I was
just
store the other day and I recommended it
somebody that was standing can kind of
confused around the brush are like like
this is the one you want if you're doing
watercolors it's actually decent for
acrylics too so I highly recommend that
now I want to get a little bit darker
and I'm gonna do the Venetian red with a
little ultramarine blue I kind of have
been hard between zooming out so you can
see my palette or zooming in so you can
see more of the painting I decided to
stay zoomed in to see the painting so
this is the Venetian red and the and the
ultramarine blue it's got a lot of
fluffy fur on the back of the animal so
I'm just gonna try to um I'm just
putting this shadow under the fluffy fur
if you go check out the reference photo
that I linked up in the video
description you'll see what I mean it's
got this really kind of like fluffy
overcoat I don't know if it's growing in
for the winter or if they're or if this
fox is shedding it for the spring I'm
not 100% sure but it's kind of fluffy
looking so the Fox isn't super bright
it's a it's more of a more of a kind of
fluffy lighter colored fox so now I'm
going in in the tail area and I am
painting in some of the fluff and it's
going to be darker at the bottom because
it's more shadowed but I want that
fluffy fuzzy fluffy fuzzy look he's all
rolled up all taking a little snooze so
cute oh my gosh when I saw this photo I
immediately saved it in with my photo
albums pick my photo is free in case
you're wondering it's PNP - a rt.com
it's completely free you can make a
donation if you want to um but it's
great you can organize things into photo
albums so like if I know I might want to
do this with pastels or watercolor or
oil since I paint in several media's I
will organize it that way or if I think
I might use it on a live show I'll put
it in my live folder but it's a great
way to keep your stuff organized I don't
think the folders are private I think if
you went to my you probably even take a
get a little sneak peek or what I'm
planning on painting here you could
probably through my my albums and what
and and it's just a great way to get it
keep it organized
but just keep in mind I don't think it's
private when you when you're organizing
your photos so if you're trying to make
a secret painting for somebody yes you
might not want to do that so I'm going
to brush very dry you can see how my
bristles are kind of spread apart there
because this is a synthetic a stiffer
brush I can use that to my advantage and
make my tail nice and fluffy get all
those little brushstrokes you could also
use a rake a small rake brush just be
careful that because sometimes the rake
brushes will make it look I'm kind of
fake as does a fan brush when you're
using it for fur sometimes not always
just want to keep you know keep an eye
on it and it bringing some of that dry
brush texture up here too I mean my
fox's tail a little fluffier than it was
in the picture I need to make kind of a
gray and we've done that before gonna
take a little ultramarine blue and and
add it into the Venetian red color right
down at some women add some water I want
to kind of transparent and my pain is
kind of ah it's kind of loose actually
loose skin no consistency and I want to
get that shadow in because I'm losing my
my brush my pencil marks so I just want
to kind of get that in there so I don't
lose my definition there and then I'm
just gonna I'm wicking out those um that
color my brush is pretty full right now
so that's why I'm kind of bringing it
out doing these choppy little strokes so
I can graduate it into the fluffy or
drier texture here so a rather than blot
my brush and waste that pigment I know I
can use it I'm just bringing it over and
if it does bother you if you don't feel
like if you feel like you're bringing
too much paint over you can blot your
brush um I like to do that like this
just because I can kind of save a little
paint and and save a little time just
keeping on doing that just adding that
shadow in a little bit um now I can't
see too much of the back because of the
the foliage is going to be growing out
but I do want to put something in there
I'm going to
with the Venetian red it's a very foxy
color and I'm going to add this behind
the face here and I'm going to start
getting that fur
the direction of the fur in here and I'm
actually going to I don't want a hard
edge there when I got to bring in some
brushstrokes even though I can't really
see it right there I want to make sure
that I don't have a really harsh edge
going onto the face and I'm just going
to bring some of that back so if you
think if you're going to pet this fox
which I don't recommend going up to a
fox and trying to cut it but if you if
you want to pet a fox you want your
strokes to go with the direction that
the fox's fur would go pick up a little
that grey I just mixed get that in there
a little bit
and look how I'm moving my brush and
moving it with the direction of the fur
well choppy strokes I'm moving my arm
and my hand in an arc and I'm just
touching it down here and there not a
lot of paint on the brush you could go
to a smaller brush if you're feel if
you're feeling like you have too much
paint and you can't control it they
don't want to do more than I can that I
can undo if I if I decide that I don't I
put too much paint in there and yellow
ochre just kind of tapped off my palate
a bit so I don't have too much and I'm
going to do some of that in there too I
do want my Fox a little bit brighter
than what the reference photo is but I
don't have a lot of experience um
painting foxes I don't know if I've ever
painted a fox before truth be told so I
am heavily relying on a reference photo
and only taking a little bit of Liberty
with the color just because I really
don't have enough experience painting
foxes too to go too crazy with it so I
get some texture in there
they can take a little bit that yellowy
color I can put a little bit in the
fluff the tail fluff that's kind of
fluffing out everywhere and I'm not
trying to get a photograph here guys I
am really really kind of impression to
stick and I'm just kind of dragging a
little texture under there that's going
to be covered up a lot of that's going
to be covered up so I just don't want to
get too carried away in there okay so
now I want to take a little time on the
face that's where I want to spend most
of my energy I'm going to go the
ultramarine blue in the Venetian red for
to make a nice dark my darkest values
for like the tip of the ear and whatnot
if this is too right I can do two things
I can add yellow to it or I can add my
green to my mix because that's going to
make it gray down if it's too red the
green will counteract any of that red if
it's too purple then the then the yellow
will counteract it so keep that in mind
if you're if you mix this two purple add
yellow if it's yellow ocher if it's too
if it's too red add some green because
Venetian red kind of is more most mostly
brownish orange color so that's why we
go in with the blue so now I'm getting
the shape I really want to get the shape
of that year right this ear is darkest
now I have to do a little negative
painting because I've got some Tufts of
fur coming up so I'm flicking up the fur
here I'm going to bring that right up
like that and I'm just going to take my
time and make sure that what I'm doing
is accurate okay this isn't for speed
this is for accuracy and it's okay to
leave a little rim around because you
can add some later hair and there to
give it that little bit of a halo now
I'm going to go over to this year and I
am going to put the dark in the middle
that's kind of how it how it is they
have a lot of lighter fur and I am going
to get that color in the middle and then
I'm going to drag it backwards because
we can't well we could if we got into a
fix we can go back in with white
we can get those little hairs in that
way or with a gel pen nothing wrong with
that but typically with traditional
watercolour we want to kind of stick to
the transparent color so we're going to
paint around that for the time being so
just we're just flicking that dark out
to get the inner part of the ear
probably looks really strange and
awkward right now but don't worry and
we're going to get there
I feel super mellow I know I probably
sound like Lindsay why are you so mellow
sounding cuz it's Sunday I'm feeling
mellow my kids Olive aisle are all off
doing different things and I'm just
chillax in with my paint there's a lot
of things I should be sorting laundry
truth but truth be told but uh that'll
keep and there'll be more like you know
this is always more okay and then this
kind of gets dark uh under here so I'm
gonna go in and get that I'm just like
if you were to look at me which you know
you wouldn't want to uh a very sloppy
bun going on just like no makeup or
anything but if you were to look at me
you would see my head looking from the
paper to my reference photo back and
forth kind of like a cat watching uh you
know you know I hypnotist swing and
swing in a watch or something you know
I'm looking back and forth as one pride
to say here very uh neligan tlie trying
to say I should say um because I did not
draw in that much detail so I constantly
need to look back and forth to make sure
that I am accurate now I'm dabbing on
this eye for the line this align for the
eye because I want it to be kind of
fuzzy and furry and almost a little
noncommittal to tell you the truth
because I am I'm jump trying to draw and
talk and paint at the same time
basically getting the little nose in
here I like to fade out as much as I can
and I can fade out with these little
stippling marks tap the tap at ab c--
and i can get a lot of a lot of work
done with those little tapping marks
and I could even go in and kind of
figure out where I'm gonna put my little
little dad you know they have those
little whisker spots spots where the
whiskers come out from okay and I'm just
looking anyplace I see that I will be
using a little darker color and I'm just
putting it in because I find I like to
get those values in first so now I'm
going to go in with my lighter color
that I'm using which is yellow ochre and
I'm going to see I'm going to be putting
some yellow ochre up here and flicking
it up and anything that's my lightest
lights is going to be that light that
first wash that we put on the paper so
some things are going to stay that color
and some things are going to get a
little bit darker now I feel like that's
a little too yellow so I'm going to grab
some of that Venetian red to tone it
down and I can also mix it around with
some dirty stuff in my palette because
all the colors on my palette or stuff
that I've used already so if I see gosh
that's too yellow I can correct it
as long as you stick with the same
colors you're not going to go wrong and
it's it's a slow buildup of colors the
slow buildup of pigment that's why I was
thinking I would speed paint this
because um it's probably going to be a
little boring to watch it all in real
time hopefully it's not hopefully you
enjoy a relaxing pain tea time so I'm
almost got like I kind of go until I
have like no paint on my brush and then
I reload so I like getting that dry
brush texture this needs to be a little
bit bigger and I can see that now that
I'm looking at my reference photo I see
that I made it a little too I should
have so much space between the ears so
I'm just working that paint and lifting
it up in between the ears okay now I
feel like I need to work my paint a
little bit wetter so I'm going in with
the Venetian red and we're going to work
some of that into my scene here because
I feel like everything's gotten a little
too dry brushing and textured so I'm
going to need to move moving with a
little bit of this separate those ears a
little bit now that I brought them a
little close together
it's probably going to see it probably
seems a little fiddly next to a lot of
my paintings pulling these strokes here
down towards the face down towards the
nose want some water in that yellow
ocher I'm going to pick up a little bit
of that brown that we mixed got to tone
it down the yellow is a little too
strong and I'm going to start kind of at
the top of the eye and flick backwards
here to get that movement that I want to
get because the fit does a lot of
different patterns a lot of different
directions on the hair on the face so I
don't have to paint every hair and good
you want to be accurate and I want to
make sure them going in the right
direction and I've got to make sure that
I keep the light area where it's
supposed to be light so I'm going in
carefully and I'm looking back and forth
of my reference photo and I'm making
sure I keep the area light that needs to
be light
and see if you do get too much texture
too many lines you can just go in with a
wetter brush and brush over them and
they will dissipate a little bit I love
how you can combine all the colors the
only color I haven't used in this Fox at
night I still may is that a bright red
the bright rose color that doesn't have
to be that's we haven't use that in the
Fox yet does that mean that we won't but
we've used every other color would you
SAP green we've used that SAP green it's
actually olive green but it looks very
much like SAP green we've used that too
to kill some of the red we've of course
used the the ultramarine with a with the
the Nia Venetian right is a Venetian red
or Indian red the PR 101 we've used that
to kind of darken it we're getting all
those colors in there all the colors
from the background everything's going
to feel like part of nature and it
really should because even moles are
meant to blend in that's part of their
survival so of course they would be
using them
I feel like a little bit too much going
on in the ear you need to add a little
more dark in some areas you can always
go on to another part while you're
thinking about what to add I mean a
little more red in the face right in
between the eyes remember we can only
see one eye um the paper is damp I'm
going on to but that's alright because
it's softening out my strokes a little
bit so I don't end up with too much
detail and don't worry if you're getting
a little like burnt out I'm working on
the fox's face we will go into the
background a bit so we can give our eyes
a little bit of a chance to to rest from
this I just want to get that second
layer on the Fox and I feel like I need
a little bit of blue kinda on its own so
I'm taking some of the ultramarine blue
which is a little dirty from from the
the Venetian red that's on there and I
just want to kind of get some of these
whiter areas I want to go in with this
watery grade down blue and just kind of
glaze over it and that's going to cool
down the area and make it appear a
little bit more white or like there's
white fur this is not you don't really
see the white in nature a lot of times
and I won't be able to go in and lift
off some of that if I decide to later so
now that I have that second layer down
I'm going to go on and work on some of
the foliage so I think I'm gonna switch
to different brush I think I'm gonna try
this this is really kind of kind of
floppy and unruly I'm gonna see what I
can do with it so I'm going to start by
mixing up kind of a dark color I'm going
to use the ultramarine in my Venetian
red just to make snuffly kind of Brown
oops I put way too much water in there
and I just want to kind of get a little
bit of a shadow under the Fox I like
that I can hold a ton of water this way
it's right up under his note and just
kind of get that path pulled away from
the the other stuff we're going to be
painting a nice and dark in there this
is a then half 3/4 3/8 half inch through
Josh's n38 sword I really like the way
the colors these two colors mix because
they kind of separate and granulating I
think it's really pretty and I'm going
to do the ultramarine grab a little
yellow ochre so I mean kind of like a
dead grass color
the path has been trampled the lit a
little bit so I want to get that in
there too and I can go and get some of
this behind the Fox in that path and I'm
going to go back in with that dark color
and I'm going to get a shadow behind my
Fox now this is super soft brush and
these are student grade paints but I'm
finding the mix route like I'm able to
make enough color so it kind of tends to
make me believe that perhaps the paint
in this set is just there artist grade I
kind of remarketed kind of to give
people like a good start in a crow in a
watercolors which i think is admirable
and I really I'm really pleased just
pleased with the quality of this so it's
it's nice alright so sometimes when I'm
when I'm just approaching a different
area I want to turn my paper so it's a
little more comfortable for me to get to
and I just wanna make sure I don't have
any real harsh lines I'm just pulling in
some fuzzy shapes by doing this kind of
pulling the shadow color in so I get
some nice
fuzzy shapes so where the tail looks
fluffy is what I'm going after here and
this also makes him look a little
nestled but he's nestled into this scene
on the water to my brush so I can still
get that um and get those kind of like
the foliage look back there without
looking at making him look outlined
and I want a little more that step clean
in there actually that's pretty I like
that I say SAP green it's actually olive
green but they're all of green looks
like a SAP green which I was really
pleased because I'm not terribly fond of
olive green usually as a colour so
keeping it super juicy and Lucy in the
background and I'm actually going to
just brush a little bit of water to make
it more out of focus and soft and now in
the foreground I want to pull up some
yellow some of the SAP green let's just
pull some of that up on its own and see
what we get
I really like the look of that it's
really fresh
I think our Fox is dry enough that I can
go and pull up some of the blades of
grass around him right on top of him
rather pulling it right up over if you
need to make it more opaque like it's
not covering the fox enough you can just
add a yellow ochre to it so you're still
staying with those transparent colors
but you're but it's just that's a
heavier pigment so it just tends to be
have better coverage but it's not like
you're adding white to it or anything
and nothing wrong with adding white to
it it just wouldn't be a transparent
watercolor let's you do what you want to
do you're painting there's no police
and I like this brush because I can um I
can use a full side of it and get like
really thick lines or I can use a tip of
it and get thinner lines I'm getting
used to handling it I'm not I'm not that
experienced with a sword but oh boy does
do a nice job for getting these random
effects now I'm going to switch over to
a I think I'm going to use like a
smaller not only a small around with a
pointy around some number 12
nimac I'm going to mix up some more of
that ultramarine blue and permanent rose
take myself a nice violet and I'm just
going to put on some of these little
flowers a little bit more detail than
screaming not a ton of detail though
just a little bit of just a little bit
the Fox is the detail part the Fox is a
star of the show
getting a little muddy because my color
got into the green go in with a little
bit more of that purpley color mixing it
of course not taking it right from the
right from a prop and I'm just mixing
what I have we're going the same colors
a little time I want this stuff to be
loose so that my Fox will appear to be
really detailed fox isn't actually going
to be really detailed is just going to
appear that way because everything else
is loose and I'm also going to spatter
some of that purple what you may think
that why would you spatter you know you
could ruin it but I'm not really that
worried I think that it gives it kind of
a nice nice texture and then I can um
blot it really quickly you usually can
go in when you spotty or you can go in
and blot anything that you're not happy
with now I'm going to go to a smaller
brush and put a few more details on our
Fox and I'm also going to grab a
scrubber brush this might be a little
too stiff but I do wanna have something
I can put some more more scrub details
oh I got this I love this little
scrubber brush this is a Maxine's mop
this one is a fabric brush but it's a
little it's almost too stiff like it
will damage my paper from not careful so
I'm going to go into this'll Maxine's
mop and I'm going to scrub out with some
highlights on my Fox I'm going to get
the FIR back here and because we used
yellow ochre ultramarine blue in
Venetian red it should lift up pretty
well those are all very liftable colors
see it's getting nice and bright they're
rubber I lifted it you don't want to
take all that paint outs we work too
hard on that but I do want to get some
some fluffy there we go nice I'll fluff
I see some fluffy on the back here and
kind of fuzz him out a little bit too so
this is a Maxine's mop a quarter inch
Maxine's mop I really like this brush I
only have one of them and you know yeah
you don't worry about keeping it nice
because you use it for scrubbing so it's
like the older it is the better it is
you know it just gets gets more you know
ragged and scribble so it's kind of a
nicer
and they spreche to have and no worries
about brush care with it really there oh
I think that really added quite a bit I
also want to scrub a little bit here in
the ears I got a little too light a
little too dark like that quite a bit
better actually I have a tendency going
with too much um too much paint and then
have to go in and remove but you know
what it's fine it's fun the top of the
nose - I feel like this really adds a
lot
there makes me feel a lot more realistic
I'm gonna let this dry and then we're
going to come back and put on our final
touch okay this is dry and I mixed up
some Venetian red and ultramarine blue
and I am going in and adding my darkest
darks and my darkest details
I just want to lose the freshness I feel
like I have some nice freshness in here
and I don't want to lose it I am using a
small number two pointed round this is
the this is one of the mimic faux
squirrel brushes just giving any sort of
little detail I feel like what I I find
that if I have a good point to brush I
don't have to go with a teeny tiny brush
and I really kind of want to get those
little details like little whiskers I
probably could go with a smaller one but
I think that if you use the biggest
brush that you're comfortable with
you're going to be a better painter
because it just teaches you brush
control and when you get a good brush
you can get a good range of strokes from
one size and I do think these mimics are
good brushes and they're they're quite
affordable and they're not that they
don't hurt harm any animals in their
production which is nice I'm just going
in anytime I see that my darkest colors
I want to get those in- painting along
with these up here near the ear because
I'm kind of trying to keep the light of
my of the ears now I could go in with a
gel pen or some white gouache but but I
would really want to keep it kind of
fresh looking so I'm going to try to
avoid that if it so happens that you
want to use gouache that's fine or you
want to use white gel pen go for it you
do what's right for your painting I
don't know what your painting looks like
at this point and um and you might not
want to put in as much time you might
want to just kind of kind of wrap it up
go right ahead and do that that's fine I
am NOT gonna judge you I used to be so
like oh never use white but now I'm like
you know what
use whatever you want to use online some
of my business what you want to use is
one for myself and never use white I
didn't I didn't go around judging other
people's use of any color they want to
use their business not mine oh right no
over here oops watch out for any beads
you don't want any bead the waters
slipping down your brush when you're
doing this I'm getting into the area
where the foliage is going to come
around so I don't want to get too
detailed in there in fact that's a
little dark so I'm going to blot it and
we can give a little bit of this dark
here in between the ears I don't think
I'm going to add any more detail on the
rest of the rest of the Fox I'm just
going to do some stuff on the face and
that is going to be it just barely I'm
barely flicking this the paper with my
brush just little like tiny tiny little
strokes now I'm going to go into my
Venetian red I am mixing it with a
little bit of that a dark color that I
used before just because I want it to I
wanted to I wanted to be too bold
block my brush a little bit I got that a
little wet
short strokes with the direction of the
fur is what we're going for
go into your brush runs completely out
of paint so you're not tempted to have
too much on there and then when I go
back in with my brush I'm going to put
it where I want the most color and then
I'm going to keep flicking until I
completely completely run out of paint
again I don't know if that's how most
people do fur but for me it just keeps
me from getting too crazy
that's way too dark water in there to
light it up it's Venetian it's against
the Venetian red I had just gotten into
a little bit too much of that gray mix
I'd done before keeping it light at the
brow bone to kind of give me that raised
form I'm going to add a little yellow
ochre into my mix
so I have kind of like a caramel color
so it's very caramely I think now we're
kind of like caramel tea it's a little
too much pink on there though you can
add water to get to date to the darkness
lightness that you want and then blot it
to remove the excess water and you'll
still keep that color that you want a
little bit darker in here under the brow
bone to give it that form all right I
think it's hung really the face honestly
I think I'll leave it like that and I'm
going to go in with my liner I'm going
to do some more grasses I'm going to do
yellow ochre and then I'm going to do
some this of the olive green together
with it to give it a little bit more
Pisa tea and color the yellow ochre is
giving it the opacity the olive or SAP
green is giving it the color
just be careful when you do this when
you pull this up over the Fox it's going
to be there for good
and I want to do a little of the SAP
green or olive green with the
ultramarine blue to give it a little bit
of a shadow
now I'm going to switch to a bigger
brush because that's not carrying enough
paint hey I think I'll go to this
smaller dagger I like that it's a more
of a more of a dagger because the
bristles are shorter I'm going to grab
the SAP green and we drag in some bigger
blades I need a little more water in
there because it's not coming off of my
brush
now you might be tempted to reach for
your lemon yellow to lighten that up a
little bit you can do that but you
haven't used that anywhere else in the
painting so I would highly recommend you
just to not do that just so that you can
keep that harmony if you want to the
painting again or maybe you haven't
painted it yet you may decide that well
I'm going to add lemon yellow into that
background right from the get-go so I
can have that option of doing it later
and having it look nice and fresh you
could totally do that I think this is it
I think I'm going to leave it like this
I think this is kind of cute and fun and
I like my little foxy Fox I hope you
enjoyed this video if so please give me
a thumbs up and I'll check out some more
of my videos and I do hope you try it
and let me know how it turns out thanks
so much for watching until next time
happy crafting
okay so started thinking they didn't put
any of that rose on the Fox and
sometimes after I'm done filming a video
I'll take some chances with my artwork
and I thought you know I really want to
see what would happen if I took some of
that rose and I added it into my
Venetian red and and I'm doing that here
and you know what I got to tell you I
really love the pop of color that I'm
getting and because I haven't used that
anywhere else on the Fox I can really
draw the viewers attention in so I just
wanted to to come back on real quick and
share that with you in case you were
thinking in case you were wondering what
would happen if you added some of that
color in there I think it's a great idea
any time you can get every color into
your into your focal subject that's why
I work with a limited palette so I have
to be creative with the colors that I
use and I think that really helped to to
bring this this picture together and you
can mix it with yellow ochre and you get
a nice bright color as well I just think
it's a great way to kind of bring focus
into the sweet little face okay that's
it I just wanted to uh I wanted to share
my my experimentation because it
actually was working well and sometimes
I totally destroy painting when I do
this but uh but in this case and
actually it actually is working out
pretty well so you can fuss with that as
much as you want I'll pop up of a photo
still shot of how it turned out so you
can see and also of that photo on my
blog so you cannot check it out there as
well
thanks so much for watching until next
time happy crafting
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Nov 15, 2024 Last updated |
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