All right, but the next step we're going to put in the base layer of color onto our fashion figures. So I have my paint set. What I've done is I've pre wet all the colors just by dotting some water onto them. That really helps when you go to work with them that they're already kind of. They're already soft and it's easier to get color out. And the first thing I'm going to do mostly because it's a lighter tone is illustrate the skin portion.

I'm going to grab kind of an orangish tan, make sure it's more tan than orange. Where we're going for here is like a soft, very light skin tone. Think peach and I'm going to start with a decent amount of water on my brush. Just grabbing a little that color going on here. Very Lightly to just touch on any areas where there would be skin. Do I forget the little hands peeking out here, little areas of the neck when you get to the face.

I'm only going to illustrate this side where there's shadow and then a little bit under the eyebrow of that right eye. We'll go fairly quickly because they're very covered up. here since she's looking to the side, I'm illustrating our whole face with that peach color The more water you have on your brush, the less easy will be to control your shapes. As you may notice I'm painting with very little water right now. That helps me to control to get into these tiny little spaces. Okay, I'm also going to grab kind of a brownish color for her hair.

A little brownish reddish. You don't want to touch these areas of your skin tone is still wet. Luckily because I have used such a little water and that layer, they pretty much dropped on my end, if yours aren't dry, give it a minute before you start this hair base layer you'll know it's not dry if it starts to bleed right. Just soft shapes, feel free to leave a little white space in here. Okay, registers highlights from our hair. Good.

I'm also going to put the base layer down for her clothing. So I'm going to work with a neutral palette today. It's going to take a really kind of Toby color here. That will be what's happening on her channel. I'm keeping these underneath colors pretty neutral, because it's not so important for us what they are. Maybe this one is a little more even lighter.

It's important to paint from left to right. For the singular purpose that your your hand gets caught in it, you can track your color across the page. If you are left handed, you should be working from right to left. Same reason. Here, let's have this black Fox for bass be a dark gray You'll see why later. I do like to add a little pigment to my colors, even if they're supposedly black, I'm adding a little, you know, reddish purplish tone in here, just to make it more interesting.

Okay, so I'm being careful not to get my hand in that. Next figures dress right at the edges. You want to use your paintbrush to work outwards and leave a little line at the edges of this bar. leave a little bit of whitespace in the fur. That's nice. It'll make it feel like the first really shiny.

If you can just leave little white slivers that's it. The most realistic looking and not the whole edge needs to be, you know, spiked like that. Here I've just made it soft. It's more interesting if it's varied. She's gonna be sort of a whitish, pinkish fur. So I'm just grabbing ever such little color with a lot of water on my brush.

And I'm gonna just soft and circularly feelin everything here. This is the shadow side. On the other side. I'm going to leave some white space inside the jacket, anywhere with a lightweight hit it so think this area over her chest is going to be a little raised, but her waist area would be in the shadow of that again her hip that Might be a little raised more whitespace there and then this that's kicked out to the side that has more white and her arm the background is more shadowed. This is the first layer for take several layers so don't worry about how it's looking exactly at this moment. We are not done.

What I was starting to get over here is a little bit of a watermark. So I'm just fanning out that excess water. All right, I should have done this Fox while I had it on my brush, but that's fine. Okay, this Fox, same as over here. Get some of the excess water off my brush by bringing this down. And then I'll go back and do my edges.

Don't worry about pre coloring the belt. We'll just do that with marker later going to make that black just makes it easier. If you think of how this would be worn, the firm would be facing downward. So as you're coming around these edges, just keep in mind, the firm should generally faced out the little for tips. I'm coming back with a little more pigment here. That wasn't quite as dark as I wanted this area back here that's in the shadows going to make this side of the furred darker.

And then I preserved a little bit of a white line here at the center. So you can see it's kind of criss crossing, painting around her hair. That's hypothetically coming up and over the fur. Good. Also her jacket will be black, the rest of that so I'm going to take a really saturated black color on my paintbrush with not too much water. It's going to go and really heavy with that here.

I'm leaving a little whitespace between her arm and the rest of the jacket or we won't see as clearly where that starts and ends. Also, when you're painting around this for use the same technique in reverse to make it feel like there are a little furry tips here, right out of this crease line before. I'm also going to paint around that. So we don't lose it in the black background. Is it true to life? No.

Do they understand what we mean? Sure. It's kind of telling us it's a soft fabric. It's wrinkling. Right there. You get the idea.

The faster you go, the more you'll realize the the shapes will become very themselves and organic, because the tips of your bristle are fewer. It kind of has that. It has that energy built in already. You just don't think about it too much. It'll kind of work for you. You can see as I go here, I'm getting really interesting brushstrokes that are visible in this black surface.

We're going to leave that it really tells the viewer that this is you know, this is done by hand. Those are the kind of things you can't fake digitally. So if you're interested in this as a craft, that's what you want to pay attention to. All right, we don't see much of the under surface here. So I'm going to do her other arm and call it good. Painting around her belt.

I'm going to use marker for that just because it's so small, but I will pre paint the buckle. Some I'll make that a gold color. To paint gold, I'm going to mix up an orangish yellowish color. Not too saturated. So I put a little brown in there. Just like that.

It's a little dark, that's okay. It'll look like brass. Okay, and her. This last code I'm going to illustrate in a tan color. So grab a little bit of brown, again for interest and adding some orange juice so it's not a really flat color. And here has a lot of volume.

So I am leaving a decent amount of white and I'm just kind of dotting onto the surface. Some downward facing wispy long for also going to color in this lapel area all the way up. Okay well I have this on my brush. I will use it over here on her booties. Since they have a lot of detail it's easier to use a lighter color rather than a black so we can go back in and really illustrate all the little fine lines but I am going to pick up some black for the booties here again anytime there are two black shapes beside each other I'm leaning a little fine white line so we understand where one shape ends and the other begins. schema paper towel handy, mostly in case of emergency.

If you spill water or if you paint something too dark, you can blot it up with paper towel right away usually and save the the painting so always keep one handy just in case also comes in convenient for cleanup. Good. The last underpainting we have is this leopard. So leopard, you want to pre mix a yellow and an orange. Put some tan in there so they're not too saturated. This I think is too bright.

Okay, so there's our orange. And then our yellow can be really kind of a tan. Okay, and they're closely related, but they're two different colors. I'm going to put the yellow where there would be highlights. So you can start with that and then the tan will go where there would be shadows. So here around the front edge, that's more yellow.

All surrounding outer edge of her jacket is yellow and some at the bottom over here. And maybe it swings over here too. Good. Okay, and then picking up my subdued orange and let these colors blend together. So it's important to keep a decent amount of water so they can kind of wash together before they dry. Here and here.

If you look at the for any sort of Ocelot, or Tiger or leopard, it has this muddled undertone, it's not all one color the whole way through usually has some variants. So that's what we're emulating here. It's gonna dot some of this color through And then we let it dry.