Alright, so now it's time to have more concentrated and bright colors over here. And I'm referring again to my detailed read. And we will start working on patterns that we see on the first of the cat. Here is the same task to stay alert that your layers they try pretty fast because of the cylinders, paper, which means that you really need to keep an eye on those edges of your strokes because when they will get dry it will be very challenging to make them soft again It's pretty hard to move layers and fix mistakes when you're working until the last paper so you don't really have much options to correct yourself. There's some beauty into it as well because this also doesn't give you time to, you know, overthink it and kind of procrastinate over your picture and it makes you move fast. Think fast decide what to do next.

So I think there's some beauty in this as well. Now while this layer is getting dry, it is still wet. I would like us to take Burnt Sienna which is warm brown color, maybe add just a little bit of alternating to make it less powerful, less bright. According to our color, we'll remember what we discussed in the previous class and edit to create this pattern on the fare of the kitty, and since the previous layer is still wet or almost almost dry, but still there's some human input into the paper, it allows us to add the pattern. But this pattern will also blend and mix naturally. So we will have nice soft transitions and in case you got Just sharp stroke just at some take a semi wet brush and correct the direction or the stroke.

Like for example here my my stroke is pretty sharp so with a semi wet brush, not not too bad, the water should not drop from the pistols. Semi what I'm applying the like I'm moving the layers with my brush I don't want to see any sharp strokes over here because the fear of the cat is very soft, very gentle. So everything we do should be very soft. And if you get sharp edges, just delete them with a semi wet brush and forward. I have read all from which is slightly brighter than burn Sienna and I want to mix it with a detailed read to achieve an interesting tone for some particular Your areas of pattern on differ. But don't worry we'll get back to this a bit later when the layer will be fully dry so we can work on it more.

For now let's get going to the lower part of the face. And here we have this cute little tips. I'm sort of preparing this first layer with orange t turned red in my case And then a little bit to the corner. Here I add a darker tone of burnt sienna with a mix of formatting just to make it darker over here and prepare this area software needs in all the strokes that I've done, don't worry we'll get back to it. Today we are working in layers which means that we will come back to the same ways few times. So you don't need to do everything from your first attempt.

I'm working with ultra marine. If you don't like the cannulation effect, feel free to use violet instead of determining but make sure that violet is not dominating so it's not too much of the color, so your cat doesn't turn into a cartoon character, the purple face Right here what's important in the place where over here where the blue area starts I want to make the trend transition or connection between the two areas more soft or softer. So I dilute this area with a tiny brush, so I have more control. And since I'm losing the color as well I'm need to edit again over here. Be very careful because you don't want to damage your paper. Meaning that you should not stay here for too long if you will, you know, move a lot and try to pick the color and put it back and dilute it with water and blah, blah, blah.

All this moves for too long. You will eventually see the paper When you read FLAC basically falling apart. So this is not the best paper for a lot of damages and picking up the pigment and all these manipulations that we're doing can be pretty damaging for paper. I'm slowly moving to the chin and with a bit of raw Sierra, I add some yellowish tone to it. You can do yellow, I like RC and a more. Plus rosianna mixed with blue doesn't give me green sub town.

So I feel more safe. Alright, so we arrived to this other side of the check and I'm working with this tiny brush because it's more comfortable to gain control over the water since this brush is synthetic and also pretty small so it can't absorb too much water and it can't release a lot of water damage in my picture. I would also like to get some light pink tone and edit here on the chain, I think it will make the key to even my kid. Well, you can do it, you can skip it, it's not really important. All right, so since we are already on this side, just to make sure that this part is also pretty soft, no sharp edges. All right.

And now we can switch back to Metro brush and work the left side and it's the same story to teach and read. First. By the way, did you notice that since I'm using the flip side of the paper and my my colors, my brush is literally sliding on paper so it doesn't have any texture on the surface of the paper to actually stick to which makes my brush literally slide all over the place. So if you do not like this feature, well don't use the opposite side of the paper, but I think it's important for an learning artist to experiment and try both sides just because them produce Have the paper decided that this side is the main one and doesn't mean that this should be your choice. So experiment, try both sides. Decide for yourself which one you prefer.

If you'd like to have some texture or if you like when there's absolutely no well, grains on your paper and no texture on your paper at all. So everything is super smooth like in my case, but also can be a little bit challenging to control the price because it's sliding all over the place. So, experiment and personal experience for sure. Right So now, the smaller brush. I want to work on a small details of them by 10 and again with my burnt sienna. I'm applying it.

Oops. Applying the pattern, the darker tone over here. In order to create this fluffiness of the flower, we always need to dilute the edges more soft the edge the more fluffy the face looks. So you can literally go around and dilute this edge of the cat cat's face to achieve this feeling platonists hear as well I want to make the transition and the connection of this elements more soft, so I'm deleting it. Besides, I might need to fix the shape of this left side. It's a bit too big compared to the right one.

If you need just to step away from your painting or take a photograph, to see the mistakes, or some of these proportions, it's a really great tool. Another way is to show your painting to yourself in the mirror. That will also help you see if you've made any mistakes in terms of proportions or like weird lines or anything. Sometimes you can learn to trust the eye. All right, and now we need to leave the phase to try to be able to continue applying new layers.