So I've left this dry again, it's not completely dry, but it is pretty dry. And I don't know if you can see on the video, but this is still buffering quite a bit and part of it is spam. And that is the reason why we push this tape around it because it's gonna help it lay down flat again, may not be super flat, completely flat, but it's gonna be as flat as possible once it's completely. So that is an important step. If you think about skipping it, I don't recommend especially on a piece like this, we're going to be using a fair amount of washes and just getting a sense of what kind of thing my trusty paper towels here. Finally, I'm gonna work on the eyes just a little bit to get a little bit of a sense of tonality in them.

It's really easy to think of eyes being black and they're really not trying to notice a little bit of a shadow on the top of the eye and then around the making the people amazing a fairly small brush, brush but to get a sense of the shape of this field Got a little bit of shake in the eyes now a little more friendly to start in completely. This is really just the process of modeling the shapes of the face. So I'm going to keep working on step by step. See, notice I've switched to a smaller brush as I keep getting into it. Add water to quickly. Sometimes it's nice to have two pieces going at the same time.

You're not waiting around so some people will use hair dryers. And that works too. I'm not particularly fond of that technique could cause changes in the pigments because of the heat. tonality of the burn now? Not so much You can also mask out some areas of masking. Some people might mask out.

Whiskers for example because they're delicate lines. I generally don't see that. If you want to you can go back in with a white person very quickly. Just kind of watching feeling adventurous you can take some opposite colors, maybe some blues or something the orange Just give it a little bit make the orange colors, the tones Something's different here. her eye shape is pretty distinct. I'm using the darker brown, the darker mixture you could wait until the end but it's done.

And it's gonna be really pale compared to something like this, so we're gonna need to put a lot more dark in this area to make it stand out, make it look like an actual shadow. I'm doing a little bit of tweeting in some areas to brushes on him so that I can work want to sort of bleed a little bit more of the color and So one problem with what I'm doing right now is that this area's not as dark as it used to be. So what I'm going to go over This with a darker tone, it's going to cause some of these hairs to bleed a little bit. And that is partly why you want to want to avoid working dark. Before you finish the lighter layers, it's going to create a little bit of an issue not just looking at areas Where I had lights and darks, I'm checking in, are they dark as we need them to be?

Or are they too diluted? They dried much lighter than what I intended. And then kind of just repeating what I'm doing with each step. I'd like to see a little bit of where you're standing with your piece. How have you come along with it? And do you have any questions?

So please take a little photo and add it to the gallery you into your project and let's just take a look