Mastering the Furry Effect: Squirrel Painting Techniques Revealed

This time you want to use as much moisture as possible for the smearing fairy effect. So load the brush wholly with light gray all the way, no clean water, I'll use just the gray. And squeeze out some in the front and add a little more, dilute it a little more to leave the darkest dark for the eye. I think it would do the eye maybe first so you can save the space. I don't know if that's a good idea but that's maybe an easy way for you because to save a spot for the eye or if you put an eye on the wet it will be difficult. So I just dip a little bit dark to the tip of the brush without blending. Do it fast because the water in the heel will drop, come down. So just start the position of the eye. It's not in the middle, it's on the left side, a little bit above the, below the middle line. And you can also do a mouth which is like a little squarish. They're about, they're not very far away. Do it like this, I don't know, maybe two or three eyes away. It's along the ridge of the nose. It's a little bit bigger but not too big. Okay it's a small. So you can use blotting paper just to control the bleeding. And then I diluted the ink into a darker gray and then I continue with maybe, when the brush is wet just try to do it in a safe zone, not very close to the eye. So just like that and I press a little bit, you know, try to catch the jar. So now I have a jar. You can use a blotting paper, just control the, because this perspective you see only half of the face, right? So don't be afraid to paint the end of the nose, you know. And then there's a little mouth, I think, just like a little there. So you can add that, maybe just a little lower, inward. So this nose actually could be a little flat on the, this ear, you see the inside, the near one, and then the far one is like this. The ears not straight up because they are steering the food. That's the kind of mood I sense, you know, like they're so timid, you know, kind of get worried about it. Okay, this is the shoulder and the front limb and it's upside down or just the L shape. I would say like a seven. Okay, and here is another leg, right, rear leg, limb. Okay, like that. There's no, because it's sitting, so you don't really see the limb under the thigh. So my brush is almost dry. I'm going to just exhaust that by doing a large curve. The back is very rounded like that. Okay, you can, the first one we see the angle is even higher like that, like that, should be a little bit, could be a little bit higher and you can make this heart a little bit larger. Okay, the brush is thirsty. I will just exhaust it and then add water and add water to the dry ink.